Podcast appearances and mentions of marina rosenfeld

Episode 91 The Silent Episode Playlist Morton Feldman, “Intersection” (1953) from First Recordings: 1950s (1999 Mode). Feldman, like Cage, had already been a proponent of including silence in his pieces. Feldman was a part of the Project of Music for Magnetic Tape (1951 to 1954), an artist's collective founded by Cage to explore experiments in magnetic tape music. From this period came several works, the most famous of which was Williams Mix (1952) by Cage. For Williams Mix, Cage commissioned the recording of hundreds of taped sounds by Louis and Bebe Barron and then specified how to splice them together using a daunting 192-page graphical composition created using chance operations. Cage conceived the work for eight tracks of magnetic tape played simultaneously. The other members of the collective, in addition to helping edit Williams Mix, also created some unique works of their own using the same library of sounds. Feldman was one of these composers but took a decidedly different approach than Cage. For Intersection, Feldman used a graphic score composed of a grid, a method he had been testing for various instrumental works such as Intersections No. 1 for Piano (1951). The score could be likened to a sheet of graph paper with one row assigned to each of the eight channels. Each square, or cell, of each row represented a unit of time to be occupied by either a sound or silence. The sounds were assigned only as numbers representing the lengths of tape snippets to be used, thus regulating the duration of individual sounds. The sequence and simultaneity of the audio was dictated by the “intersection” of sounds and silences across the columns of the score. The realization of the piece was left in the hands of Cage and Earle Brown, who assembled the tape segments by following the grid score. The choice of sounds drawn from the tape library was left to the executors of the score. Whereas Cage had not actually specified the use of silence in the score of Williams Mix, Feldman clearly had, and this is evident from the result. Speaking about the piece later, Feldman famously said that he “loathed the sound of electronic music.” He disliked the labor of executing a piece by cutting up magnetic tape and didn't feel the result was justifiably unique. He also said, “John [Cage] says that experimental music is where the outcome cannot be foreseen. . . . After my first adventure in electronic music, its outcome was foreseen.” 3:24 John Cage Variations I from Darmstadt Aural Documents Box 2 – Communication (2012 NEOS). Two Pianos, Electronics, Radio Sets, David Tudor, John Cage. This German disc is part of the Darmstadt Aural Documents projects and features recordings from 1958. This track was of the European premiere of Variations 1 and was recorded at the International Ferienkurse für Neue Musik Darmstadt September 3, 1958. This track is enlightening because it not only contains a work by Cage with purposefully scored silences, albeit by chance operations, but is also a live recording with an audience. You can clearly hear how the audience responds during the silent passages, mostly in their bemusement. Whereas the implied humor was unintentional, I often experienced this phenomenon while seeing a Cage performance. I wanted to include this as an example of what can happen when silence becomes part of a live performance. Chance operations were used to determine the placement and duration of silences. 8:50 John Cage, “WBAI” (1960) from Early Electronic And Tape Music (2014 Sub Rosa). Sine wave oscillator, record player, synthesizer, radio. Description of the piece from the score in the Edition Peters catalogue (1962) of Cage's works: “Certain operations may be found impossible e.g., 3 or 4 at once. Let the operator do what he can without calling in assistants.” Chance operations were used to determine the placement and duration of silences. This performance for sine wave oscillator, record player, synthesizer, radio. Not performed by Cage and recorded in 2013 by participants following the score. Originally presented on WBAI (NY) as a solo work scored for performance with Cage's lecture ("Where Are We Going? And What Are We Doing?"). From the comments of the score: “This composition may be used in whole or in part by an operator of machines.” Personnel on this disc include, Square-wave oscillator, Auxiliary Sounds, Radio, Robert Worby; Performer, Langham Research Centre Auxiliary Sounds, Cassette, Open-reel tape, Radio, Iain Chambers; Synthesizer, Auxiliary Sounds, Spoken Word, Philip Tagney; Turntables, Auxiliary Sounds, Open-reel tape, Felix Carey. 7:04 John Cage, David Tudor, “Klangexperimente (Sound Experiment)” 1963 from Siemens-Studio Für Elektronische Musik (1998 Siemens Kultur Programm). Interesting collection of tracks by a variety of artists invited to explore the technological possibilities of the early "Studio for Electronic Music" built and run by Siemens since 1956 in Munich and Ulm. In the case of the Cage piece, both Cage and Tudor programmed this work using punch cards, an early computer control device. Chance operations were used to determine the placement and duration of silences. 1:58 Henri Pousseur, “Scambi (Exchanges)” (1957) from Panorama Des Musiques Expérimentales (1964 Philips) is an electronic music tape composition by the Belgian composer , realized in 1957 at the Studio di Fonologia musicale di Radio Milano. Pousseur fluidly added silence patches throughout this piece, using them to create tension due to their unpredictable nature. This is an analog recording, so the silences include an abundance of tape hiss. 6:27 Ton Bruynèl, “Reflexen (Reflexes)” (1961) from Anthology of Dutch Electronic Tape Music: Volume 1 (1955-1966) (1978 Composer's Voice). Recorded in Bruynèl private electronic music studio. Another tape work that shows the potential for splicing in silence as a tool of the composer. The silences are carefully added from about the 2:14 to 4:00 mark to underscore the accelerating pace of the music. Note that the original recording has rumble from what sounds like a turntable, plus tape hiss, so the “silences” are not as abject as they are in digital recordings. 4:41 MEV (Musica Elettronica Viva), “Spacecraft” from Live Electronic Music Improvised (1970 Mainstream). Performers, Alan Bryant, Alvin Curran, Frederic Rzewski, Ivan Vandor, Richard Teitelbaum (Moog Modular synthesizer). The liner notes described the following editing process for this album that includes the random insertion of silent passages within the recorded live tracks: “The tape has been edited and interspersed with silence in accordance with a random number programme to give a representative cross-section of a concert lasting two hours.” 19:50 Maggi Payne, “Scirocco” from Crystal (1986 Lovely Music Ltd.). Composed, engineered, performed by Maggi Payne. This beautiful piece of ghostly, haunting sounds is long enough to create an expectation of a continuous soundscape, only to two drop off in two spots to present long silent or nearly silent passages. 10:26 Mika Vainio, “In a Frosted Lake” from Aíneen Musta Puhelin = Black Telephone Of Matter (2009 Touch). Produced and recorded in Berlin 2008. This piece seems to be about amplitude and inaudible frequencies, frameworked by silences. There is a pattern of eight peak tones from the start to the end of the piece. In between these peaks are quieter sounds and silences, with a tension that leans toward achieving a silent state. 5:53 Giancarlo Mangini, “September 14, 2020, from 4.50a.m. to 5.02a.m. ...and remember what peace there may be in silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. In this work, there is a steady pattern of silences from start to finish, but the duration of the silences gradually increases in many instances as the work progresses. 11:38 Richard Chartier, “Herein, Then” from Other Materials(2002 3Particles). This disc includes is a compilation of tracks and unreleased works from 1999-2001. Limited to 500 copies. Composed, produced, programmed, and performed by Richard Chartier. As with many of his tracks, Chartier explores the outer reaches of human hearing. Many of the sounds in this track cannot be heard when played on loudspeakers with even moderate background noise. There are actually only two spots of abject, digital silence in this track, although due to the low frequency and amplitude of many of the other electronic tones, you might think there in nothing there. This is a clever, psychological trick. 5:02 Marina Rosenfeld, “Formal Arrangement” from Plastic Materials (2009 Room40). Composed and performed by Marina Rosenfeld. Among the various commissions found on this disc is this solo electronic work. A pattern of silences in which 25 evenly-spaced sound events, mostly gong- or bell-like tones, are each followed by a fade and then a discrete, abject silence. 2:35 Tetsu Inoue, “Super Digital” from Fragment Dots (2000 Tzadik). Composed, Programmed by Tetsu Inoue. I knew Tetsu and he would probably be embarrassed to know that I counted every conceivable “digital” silence in this special piece of music. There are 293 of them that I think one can perceive. Many are short, but because silence is an important structural component of this work, I thought it warranted a fresh listen. The longest of these silences is but 2.5 seconds. The shortness of all the tones, either audible or silent, works together to form a unity. 3:39 Miki Yui, “Balloon” from Small Sounds (1999 BMP Lab). Composed, engineered, and performed by Miki Yui. Recorded in Cologne, Germany. The composer wrote, “small sounds are to merge and fuse with your acoustic environment—please play in a transparent level; in different atmosphere.” In this piece, the silences are placed in the middle of sounds to break up an otherwise continuous noise. 2:57 Opening background music: Mooshzoom, “Silence” from Electronic Music Philosophy, Vol. 27: Silence (2020 Bandcamp). From the twenty-seventh collection of tracks from the collective known as Electronic Music Philosophy (Tustin, California) came this disc devoted to works composed using silence as a principal technique. Plus clips from the following as examples: Amelie Lens, “Resonance” from Contradiction (2017 Second State); Nora En Pure, “Norma Jean” from Come With Me (2013 Enormous Tunes). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation: For additional notes, please see my blog, Noise and Notations.  

Die Brainwashed - Radio Edition ist eine einstündige Show mit Musik von den Künstlern und Labels auf Brainwashed.com. 1. Noveller, "Red Room remix" (Red Room) 2021 self-released 2. Directions, "Echoes (Radio Edit 4)" (Echoes – Anniversary Edition) 2021 Temporary Residence 3. Astrid Sonne, "Fields of grass" (outside of your lifetime) 2021 Escho 4. Elsa Hewitt, "Inhaler" (Lupa) 2021 Tompkins Square 5. Marina Rosenfeld, "Mezzo Piano" (Index) 2021 Room40 6. irr. app. (ext.) [+ Sigtryggur Berg Sigmarsson], "LOF 24 - Dizzy" (2021 Monthly Digital Single: Legends Of Frogtown [August]) 2021 self-released 7. Charles Lembe et Son Orchestra, "Quiero Wapatcha" (Cameroon Garage Funk) 1964 Analog Africa 8. The Myrrors, "Eyes of Copper" (Invocaciones: Singles and Strays 2014-2017) 2016 Feeding Tube 9. Galán / Vogt, "The Dark Opens The Way" (The Sweet Wait) 2021 Editions Furioso 10. The Aggrovators/Paolo Baldini Dubfiles, "Natty Roots version 1" (Natty Roots Controller) 1975 Pressure Sounds 11. picnic, "dewey (Dntel version)" (picnic) 2021 Daisart 12. Patrick Q.Wright & Edward Ka-Spel, "Waiting For The Cloud 2021" (plus ça change) 2021 self-released * Sendung vom 5. September 2021 # Brainwashed - Radio Edition Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening. * http://brainwashed.com

Ça faisait un moment qu'on n'avait pas dédié une tranche à un label, on en choisit donc un qui nous tient particulièrement à cœur : Room40. Né au crépuscule du millénaire dernier dans une volonté initiale de donner une chance à des compositeurs dans l'ombre, la maison australienne tenue par Lawrence English pourrait un peu rejoindre ce qu'on disait à propos de 12k et de son image de contre-culture musicale. Pourtant, son unité ne se trouve pas tant dans sa patte sonore que dans son intégrité : la room 40 était le service de décryptage britannique des codes ennemis durant la Ière Guerre Mondiale, rencontre de cerveaux aux compétences diverses mais au but commun. Room40 se nourrit aussi de son éclectisme de forme pour alimenter une vision artistique globale de fond ; pas facile d'en faire un tour vraiment fidèle donc, mais Amplitudes va tenter de lui rendre hommage de son mieux. Bonne écoute. Tracklist : Chihei Hatakeyama - Journey to the Imaginary Country (Moon Light Reflecting Over Mountains, 2015) Pinkcourtesyphone - Lure / Beyond Exactly (Indelicate Slices, 2017) Geneva Skeen - Leveled Ground, Bottomless Pit (Double Bind, 2020) Ben Frost - You, Me and the End of Everything (Steel Wound, 2003) M. Geddes Gengras - Vulture (Light Pipe, 2018) I/O - Flightpath (Calm, 2001) Kevin Richard Martin - Too Much (Sirens, 2019) Beatriz Ferreyra - Echos (Echos +, 1978/2020) Marina Rosenfeld - roygbivetb II (Teenage Lontano, 2021) Rafael Anton Irisarri - Reprisal (A Fragile Geography, 2015) Lawrence English - March 16 - Heavy Breath of Silence / April 4 - And He Sleeps (The Peregrine, 2011/2015)

Ça faisait un moment qu'on n'avait pas dédié une tranche à un label, on en choisit donc un qui nous tient particulièrement à cœur : Room40. Né au crépuscule du millénaire dernier dans une volonté initiale de donner une chance à des compositeurs dans l'ombre, la maison australienne tenue par Lawrence English pourrait un peu rejoindre ce qu'on disait à propos de 12k et de son image de contre-culture musicale. Pourtant, son unité ne se trouve pas tant dans sa patte sonore que dans son intégrité : la room 40 était le service de décryptage britannique des codes ennemis durant la Ière Guerre Mondiale, rencontre de cerveaux aux compétences diverses mais au but commun. Room40 se nourrit aussi de son éclectisme de forme pour alimenter une vision artistique globale de fond ; pas facile d'en faire un tour vraiment fidèle donc, mais Amplitudes va tenter de lui rendre hommage de son mieux. Bonne écoute. Tracklist : Chihei Hatakeyama - Journey to the Imaginary Country (Moon Light Reflecting Over Mountains, 2015) Pinkcourtesyphone - Lure / Beyond Exactly (Indelicate Slices, 2017) Geneva Skeen - Leveled Ground, Bottomless Pit (Double Bind, 2020) Ben Frost - You, Me and the End of Everything (Steel Wound, 2003) M. Geddes Gengras - Vulture (Light Pipe, 2018) I/O - Flightpath (Calm, 2001) Kevin Richard Martin - Too Much (Sirens, 2019) Beatriz Ferreyra - Echos (Echos +, 1978/2020) Marina Rosenfeld - roygbiv&b II (Teenage Lontano, 2021) Rafael Anton Irisarri - Reprisal (A Fragile Geography, 2015) Lawrence English - March 16 - Heavy Breath of Silence / April 4 - And He Sleeps (The Peregrine, 2011/2015)

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Orchid House by Marja Ahti on Still Lives (Students Of Decay) 2′30″ Maratea by Andrew Pekler & Giuseppe Ielasi on Palimpsests (Shelter Press) 4′40″ From the Opened Red Lips by Contrastate on False Fangs for Old Werewolves (Tesco Distribution Germany) 7′40″ The Thinning by AJA on Slug (Opal Tapes) 9′30″ The Lord Is My Sheperd by Diamanda Galás on You Must Be Certain of the Devil (Diamanda Galás) 11′40″ Phlebotomy by Dear Laika on Pluperfect Mind (NNA Tapes) 14′32″ Ourselves by Innere Tueren on Welten (Kann) 16′52″ Mr. Speaker by Grand River on Blink a Few Times to Clear Your Eyes (Editions Mego) 20′52″ Tonglen In Vain by Circuit des Yeux on -io (Matador) 21′21″ 2 Versions by hunterc44t & Finlay Clark on Dana Rosa - EP (Primordial Void) 26′00″ Metempsychosis by X Harlow on Cathars (Sweat Equity) 28′00″ Kantubek (Moor Mother Remix) by Galya Bisengalieva on Aralkum Aralas - EP (One Little Independent) 31′00″ Awake by Kölsch on Isopolis (Ipso) 32′50″ Chardonnay and Jello Salad by Ava on Angels In the Sand - EP (Slagwerk) 38′20″ Graveyard by Sonja Tofik on Anomi (Moloton) 40′20″ Agalma II (feat. Caterini Barbieri) by Drew McDowall on Agalma (Dais Records) 45′10″ Die Motte des Theta-Schlafs by Thorsten Soltau & Emerge on Acker Und Seche (aufabwegen) 47′55″ Wood For the Trees by Flora Yin-Wong on Holy Palm (Modern Love) 50′00″ Cloaked by Ravens Wings by Laura Cannell, Kate Ellis & Chris Watson on October Sounds (feat. Adrian Crowley, Milene Larsson & Chris Watson) - EP (Brawl Records) 53′16″ Hold Gem Cut by Leif on 9 Airs (AD 93) 55′40″ Vertical Misunderstanding by Magda Drozd on 18 Floors (Präsens Editionen) 57′24″ A Clearing (In Empty Space) by Tristan Arp on Sculpturegardening (Wisdom Teeth) 59′40″ Sheogorath (feat. Levan Shanidze & Asio Otus) by Galen Tipton on Ungoliant (Orange Milk) 65′45″ Ouverture Pt. 1 by Berk Icli on Glimpses of an Eternal Bloom (Zel Zele Records) 67′40″ Apparitioner by X Harlow on Cathars (Sweat Equity) 70′20″ Night in Tijuana II by Kelman Duran on Night in Tijuana (Kelman Duran) 74′15″ One by Marina Rosenfeld on Joy Of Fear (Room40) 76′05″ Ephemeroptera by Cicada Shell on Dream Catalogue Singles, Summer 2020 (Dream Catalogue) 80′38″ Move the World's Clock by Mana on Asa Nisi Masa (Hyperdub) 84′20″ Phantasmagoria! 千燈幻景 by Yikii on Crimson Poem 深紅之詩 (Danse Noire) 88′25″ Outro (feat. The Mensah Imaginary Band) by Aho Ssan on Simulacrum (Subtext Recordings) 92′25″ Something I Can't Show by Ulla on Tumbling Towards a Wall (Experiences Ltd) 96′04″ Vapor Of Prayer by Natalie Beridze on Mapping Debris (Monika Enterprise) 99′55″ Time to the Sun (feat. Yehaiyahan) [Silvia Kastel Remix] by Howie Lee & Silvia Kastel on Birdy Island (Remixes) - EP (Mais Um Discos) 104′40″ Transience by David Granström on Empty Room (Hallow Ground) 108′35″ Amu (Disk•Mod) by Iglooghost on Lei Line Eon (Gloo) 112′04″ 51 Endless Pulses by Lapalux on Esrevoinma - EP (Brainfeeder) 114′55″ Jump In the Line by Harry Belafonte on Very Best of Harry Belafonte (BMG Entertainment) Check out the full archives on the website.

Episode 534: September 5, 2021 playlist: Noveller, "Red Room remix" (Red Room) 2021 self-released Directions, "Echoes (Radio Edit 4)" (Echoes - Anniversary Edition) 2021 Temporary Residence Astrid Sonne, "Fields of grass" (outside of your lifetime) 2021 Escho Elsa Hewitt, "Inhaler" (Lupa) 2021 Tompkins Square Marina Rosenfeld, "Mezzo Piano" (Index) 2021 Room40 irr. app. (ext.) [+ Sigtryggur Berg Sigmarsson], "LOF 24 - Dizzy" (2021 Monthly Digital Single: Legends Of Frogtown [August]) 2021 self-released Charles Lembe et Son Orchestra, "Quiero Wapatcha" (Cameroon Garage Funk) 1964 Analog Africa The Myrrors, "Eyes of Copper" (Invocaciones: Singles and Strays 2014-2017) 2016 Feeding Tube Galan / Vogt, "The Dark Opens The Way" (The Sweet Wait) 2021 Editions Furioso The Aggrovators/Paolo Baldini Dubfiles, "Natty Roots version 1" (Natty Roots Controller) 1975 Pressure Sounds picnic, "dewey (Dntel version)" (picnic) 2021 Daisart Patrick Q.Wright and Edward Ka-Spel, "Waiting For The Cloud 2021" (plus ca change) 2021 self-released Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

Im Kunsthaus Baselland stellen drei Künstlerinnen – Marina Rosenfeld, Andrea Blum und Anna Maria Maiolina, gleichzeitig aus, – Glam spricht mit Direktorin Ines Goldbach über deren Werke (Teil 2)/ Glam-Tipp: Mit diesen Tricks bleiben die Insekten im Sommer fern

Marina Rosenfeld, Andrea Blum im Kunsthaus Baselland (Teil 1) / Glam-Tipp für heisse Tage: So kühlt Ihr Euch ab

Episode 41 Sounds for Museums Sound Art to Accompany Exhibits Playlist François Baschet, Bernard Baschet, and Jacques Lasry, “Sonatine (3 Mouvements)” from Structures for Sound (1965 BAM). The exhibition 'Structures For Sound-Musical Instruments' by François and Bernard Baschet was shown at The Museum of Modern Art, New York, from October 4 to December 5, 1965. Although not heard in the exhibit, this set of compositions was co-marketed by the museum and BAM and clearly intended as a takeaway souvenir. The recordings were made in France, and released there as Les Structures Sonores Lasry-Baschet, then repackaged for the US market and exhibit. The piece was written by Jacques Lasry. Various Artists, Art By Telephone (1969 Museum Of Contemporary Art Chicago). Artists were asked to phone-in instructions for a work of art to be exhibited at Art by Telephone, held at the Museum of Contemporary Art Chicago. The museum released a recording of the phone calls and sold it at the exhibit. Here are four excerpts by John Giorno, Dick Higgins, Sol Lewitt, Richard Serra, and Jack Burnham. In total, 38 artists provided instructions that were included on the album. Audio Arts: Volume 3 No 4 Side A (1977 Audio Arts). Excerpts from a radio work by John Carson broadcast by Downtown Radio, Belfast in 1977. The program was a compilation of recordings made in June 1977 at Documenta VI, an international exhibition of contemporary art in Kassel, West Germany. We hear two excerpts, the first from artist Wolf Vostell which opens with the sound of bubbling water and the second a sound work by Achim Freyer. These audio works played in the exhibit. Other portions of the complete cassette recordings alternated between statements/interviews and sound environments/installations. Audio Arts was a magazine in continuous publication for 33 years and ran to 24 volumes, each of four issues. Various artists, from Sound (1979 Los Angeles Institute of Contemporary Art). Four of the tracks from this collection are included: Terry Fox, “Labyrinth Scored For II Cats” (1979); Jim Gordon, “Piece For Synthesizers, Computers And Other Instruments” (1979); Doug Hollis, “Aeolian Harp” (1975-76), composed 1975-76 at the San Francisco Exploratorium; Bill Fontana, “Kirribilli Wharf” (1979). Album produced for SOUND. An exhibition of sound sculpture, instrument building and acoustically tuned spaces. Los Angeles Institute of Contemporary Art July 14-August 31, 1979. P.S.I. New York, September 30-November 18, 1979. Jeff Gordon, “Everyone's An Artist” (1984). Vocal Jeff Gordon and Mug Maruyama; Programming, Graham Hawthorne; Emulators/Keyboards, Jeff Gordon. Gordon produced Revolutions Per Minute (The Art Record), a collection of audio tracks by artists released as a double LP. This track by Gordon was not included in that release but I think was used for a traveling exhibition featuring sound, The RPM Touring Exhibitions, designed by Gordon and his wife Juanita, that toured the US and Europe for over four years, including The Tate Museum in London. Laurie Anderson, “The telephone,” “The polaroid,” “The sheet,” “The wedding dress,” “The bathrobe” from La Visite Guidée (1994). Music: Laurie Anderson; Voice: Sophie Calle. Exhibition catalogue consisting of artist's book and Audio CD published in conjunction with the show held March 27- 29, 1994. The work consisted of a total of 21 short compositions. We hear five consecutive tracks from the collection. This audio was provided on a cassette for the exhibit, which visitor's played on a Sony Walkman while taking a guided tour of the Sophie Calle's exhibition Absent. Steven Vitiello. World Trade Center Recordings: Open House Bounce (1999). A recording from the 91st floor of the World Trade Center, Tower One made with contact microphones placed on the inside of the windows. This recording was only published as part of a CDR sold at an Open House Exhibition in the fall of 1999. Various recordings were made during a 6-month residency. This one in particular picked up a number of passing planes and helicopters. Various artists, Whitney Biennial 2002 (2002 Whitney Museum Of American Art). A CD was included with the 292-page hardcover catalogue "Whitney Biennial 2002" published for the same-titled exhibition at the Whitney Museum Of American Art, March 7-May 26, 2002. Four tracks are heard: Maryanne Amacher, “A Step Into It, Imagining 1001 Years Entering Ancient Rooms” (excerpt); Meredith Monk, “Eclipse,” with performers Ching Gonzalez, Katie Geissinger, Meredith Monk, Theo Bleckmann; Marina Rosenfeld, “Delusional Dub;” Tracie Morris, “Slave Sho' To Video A.k.a. Black But Beautiful.” 33 RPM: Ten Hours of Sound From France (2003 235). Exhibition companion compilation to San Francisco Museum of Modern Art, Sept. 6-14, 2003, listening room program. 33 RPM consisted of ten one-hour segments that were played on a rotating schedule at the museum during the exhibition. This was the fourth installment of an ongoing series at the museum that presented sound art scene in a variety of countries. We include the following tracks from this compilation: Kasper T. Toeplitz, “PURR#2” (2003); Jean-Claude Risset, “Resonant Sound Spaces/Filters” (2002); Mimetic, “evolution” (2003); and Lionel Marchetti, “À rebours” (1989). Jane Philbrick, "Voix/e" (2003-04 SW Harbor Songline). Installation two lightboxes, with color Duratrans (large-format backlit color transparency film), 48 x 24 x 6; two inset Alpine speakers, synthesized voice track, 9 1/2 mins. looped.; two companion LCD-screen DVDs. On view at Real Art Ways, Hartford, CT, and Consolidated Works, Seattle (2004). Audio work created by Jan Philbrick at the Center for Spoken Language Understanding, Oregon Graduate Institute. The piece consists of Philbrick's reading of the "Song of Solomon," modified and edited using voice-gendered speech synthesis to speak bride, groom, and companion parts. Marko Timlin, “Audible Light” (2017), Created by Marko Timlin, a Finnish sound artist whose work has frequently been integrated into museum installations. This installation, Audible Light, created sound directly out of light, “work inspired by Evgeny Sholpo's Variophone instrument developed in 1930.” Solo exhibition, Oksasenkatu 11 in Helsinki. Not to be confused with the 2000 museum exhibition called Audible Light at the Museum Of Modern Art, Oxford, to be featured in a future podcast. Opening montage: sounds from the recordings of Art By Telephone (1969 Museum Of Contemporary Art Chicago) and Audio Arts: Volume 3 No 4 Side A, cassette (1977 Audio Arts). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.

Hilary talks with Sara Landeau (The Julie Ruin) about pedalboards as art, the gendering of technology, breaking things to learn, and etudes for dive-bombing. Plus, gear and class privilege. Huge thanks to this episode's sponsors!  https://www.earthquakerdevices.com/ (EarthQuaker Devices)- extra special effects pedals made by hand in Akron, OH! https://skylarbatz.wordpress.com/ (Studio 121)- recording, production, beats and more in Providence, RI! SARA'S BIO Sara Landeau is a guitarist, multi-instrumentalist, educator, producer, composer, and artist based in NYC. In 2004, she started Brooklyn Music School for Women and Girls which offers music lessons in electric guitar, bass, rock drums, and electronics. She is a proponent of equality for women and believes in the ideology of self-improvement and empowerment through education. She is a founding member, co-songwriter, and lead guitarist of The Julie Ruin with Kathleen Hanna (Bikini Kill/Le Tigre) and has released acclaimed albums on Hardly Art Records (SubPop), achieved top 10 chart hits, radio and television appearances, a number 1 on CMJ charts, and music in films and commercials.  She has performed on Late Night with Jimmy Fallon, The Seth Meyers Show, and Carson Daly Show and reviews and interviews include New York Times, NPR, Rolling Stone, Spin, New York Magazine, Paper Magazine, Billboard, Los Angeles Times, Timeout, Esquire, Big Takeover, NME, Pitchfork, Fader, Consequence of Sound, Flaunt, Bust, and more. College Music Journal (CMJ)  listed song “I Decide” #1 in 2017. Rolling Stone listed album ‘Run Fast” 2015 as #3 in their top ten albums of the year. The recipient of 2019 Max Matthews Sound Artist Artist award from Brooklyn College, the 2019 Cycling 74 Max Expo Grant, Women in Computer Music Scholarship Stanford, 2019, and an award-winning educator with the Girls Rock Camp Alliance, she has also performed as a solo electro-acoustic composer and guitarist. Her performances often include custom instruments and sonic sculptures utilizing electro-conductive materials such as paint and threads with sounds and compositions created in Max MSP. She has studied with Morton Subotnick, Marina Rosenfeld, and David Grubbs while receiving an MFA in Sonic Arts at Brooklyn College. MENTIONS John Cage / Lee Ranaldo / The Trash Women / The 5. 6. 7. 8's / Jack White / Nick Cave / The Birthday Party / Rowland Howard / Kenny Mellman / Kathleen Hanna / Clara Shuman / Tara Rodgers / Delia Derbyshire / Suzanne Ciani / Mary Ford / Pink Noises / Max MSP / Fender / Gretsch / Ludwig / Silvertone / Gibson / Reuss / Digitech / She Shreds / Tom Tom / Fanny's / Guitar Center / Sam Ash / Moog / Buchla / Sisters with Transistors SARA'S LINKS https://www.instagram.com/saralandeau (Sara's Instagram) https://saralandeau.com/ (Sara's Website) http://www.thejulieruin.com/ (The Julie Ruin Website) https://www.instagram.com/thejulieruin (The Julie Ruin Instagram) MID-RIFF LINKS http://hilarybjones.com/midriffpodcast (Website) http://instagram.com/midriffpodcast (Instagram) http://facebook.com/midriffpodcast (Facebook) https://hilarybjones.us20.list-manage.com/subscribe?u=43bb95b305fb0c7d53fbc8d3a&id=146b44f072 (Newsletter) https://www.hilarybjones.com/blog (Blog) Thanks for rating/reviewing on https://podcasts.apple.com/us/podcast/mid-riff/id1494997227 (Apple Podcasts)! CREDITS Sara's Bumper Track: “https://thejulieruin.bandcamp.com/track/i-decide (I Decide)” by The Julie Ruin Theme Music: "Hedonism" by https://towanda.bandcamp.com/ (Towanda) Artwork by https://www.juliagualtieri.com/ (Julia Gualtieri)

In the eleventh episode of "Barbara London Calling," Barbara speaks with Brooklyn-based artist Marina Rosenfeld. As a composer, Marina orchestrated a performance art piece called "Shear Frost Orchestra," which featured 17 women each playing an electric guitar using nothing but bottles of nail polish. Sitting in a line, the women were directed to play their guitars in a series of choreographed actions: drop, hop, drone, scratch, and "A" for anything. Marina is currently artist in residence at Nokia Bell Labs, where she found inspiration in an experimental prototype for a multi-microphone nicknamed the Death Star.

Episode 19   Maximum Turntablism, Part 2   Modern Experimental Turntablism and CD Glitch Music   Playlist: Pierre Henry, Concerto Des Ambiguïtés parts 1,2,3,and 5(1950) from Symphonie Pour Un Homme Seul / Concerto Des Ambiguïtés (1972, Philips). Premiered on August 7, 1950. Christian Marclay, “Smoker,” (1981) from the album Records (1997). Christian Marclay, turntables and processing. Recorded on a cassette deck at home. DJ Shadow ... And The Groove Robbers, “Hindsight,” from In/Flux/ Hindsight (1993) Institut Fuer Feinmotorik, “A1” from Wenig Information: Kein Titel (1998). Recorded live between April and June 1998 in Cloister Bad Säckingen, Germany. For turntables, mixer, compressor, various processed records, paper, cardboard, scotch tape, household rubber, wire, various other odds and ends. Peter Cusack & Nicolas Collins, “Hazlitt” from ‎ A Host, Of Golden Daffodils (1999). Recorded live in concert at STEIM (Amsterdam, The Netherlands) June 1996 and at Museum für Gegenwart, Hamburger Bahnhof, (Berlin, Germany), November 1996. Electronic processes, CD, radio sources, trombone-propelled electronics, Nicolas Collins; guitar, bouzouki, whistling, electronics, sampler triggers, Peter Cusack. Gen Ken Montgomery, “Droneskipclickloop”(excerpt, 1998) from Pondfloorsample (2002). Using four CD players and curated sounds in the categories Drone, Skip, Click, and Loop. Mixed in real time at a performance at Experimental Intermedia Foundation (NY) on March 17, 1998. Crawling with Tarts, “Trecher Track” from Turntable Solos (1999). By Michael Gendreau and Suzanne Dycus-Gendreau. Yasunao Tone, “Part 1”(excerpt 1999) from Solo for Wounded CD (1999). All sounds used were from scratched CD's. Philip Jeck, “Untitled 2,” from Soaked (2002). Turntables, Philip Jeck, electronics, Jacob Kirkegaard. Recorded live at the Electronic Lounge, Moers Festival, Germany. Maria Chavez, “Jebus” from Tour Sampler (2004), recorded in Houston, Texas. Turntables and electronics by Maria Chavez. Marina Rosenfeld, “Three” from Joy of Fear (2005). Piano, turntables, dubplates, electronics, sound processing], vocals, Marina Rosenfeld. She said, “This record couldn't exist without the small collection of one-off ‘acetate records' (dub plates) that I've been making since 1997, when I first encountered Richard Simpson and his disc-cutting lathe in Los Angeles.” Luc Ferrari and Otomo Yoshihide, Slow Landing” from ‎Les Archives Sauvées Des Eaux (2008). Composed by Luc Ferrari and Turntables, Electronics, prepared phono cartridges by Otomo Yoshihide. Christian Marclay, from Record Without a Cover (excerpt, 1999). Marked with instructions, "Do not store in a protective package," my copy is a reissue of the disc first released in 1985, done by Japanese label Locus Solus. The naked record will naturally become increasingly damaged from shipping, storing, and playing the record, all becoming part of the work. In essence, the owner is implored to progressively destroy the release, allowing it to become scratched and bruised from accumulating damage that make each copy unique. My copy actually skips a lot. In the passage I am playing I often had to press the needle down a little bit to get through a skip. There is faintly recorded jazz music found on some of the disc, while other parts are pretty much composed only of surface noise. The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of modern experimental turntablism: Tsunoda Tsuguto, “Air Pocket” (1997) from Turntable Solos (1999). Merzbow, “Batztoutai—The Nightengale's Song” (1985) from Turntable Solos (1999). The incidental music heard while I'm speaking is from a damaged and skipping CD that I have of Sun Ra. The track is “Sound Spectra/ Spec Sket” from the album Other Planes of There (1964). For more information about the history of turntablism, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020). Notes for this episode can be found on my blog: Noise and Notations.

Die Brainwashed - Radio Edition ist eine einstündige Show mit Musik von den Künstlern und Labels auf Brainwashed.com. 1. Gnod and Joao Pais Filipe, "Faca de Terra" (Faca de Fogo) 2020 Rocket 2. Current 93, "The Death Of The Corn (Original Tape Master)" (Horsey (remaster)) 2020 House of Mythology 3. Magik Markers, "Machine" (Isolated from Exterior Time: 2020) 2020 Drag City 4. MJ Guider, "FM Secure" (Sour Cherry Bell) 2020 Kranky 5. Cucina Povera and ELS, "Marmori" (The Oystercatcher) 2020 Editions Mego 6. Marina Rosenfeld and Ben Vida, "(Vertice Preview)" (Vertice) 2020 Fridman Gallery 7. Lucrecia Dalt, "Disuelta" (No era solida) 2020 RVNG Intl. 8. Microwolf, "Mara" (My Cauliflower Ears) 2020 Lost Tribe Sound 9. Michael C. Sharp, "Motor Pt. 2: White Lines" (Motor Pt. 2: White Lines) 2020 Holodeck 10. Sarah Davachi, "Stations II" (Cantus, Descant) 2020 Late Music * Sendung vom 12. Juli 2020 == Brainwashed - Radio Edition Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening. * http://brainwashed.com

Episode 18   Maximum Turntablism, Part 1 Playlist: Ottorino Respighi, “The Pines of Rome” (1924) recorded by The Milan Symphony Orchestra conducted by Cav. Lorenzo Molajoli in November 1928. Paul Hindemith, Trickaufnahmen (1930). Recording made available by Mark Katz, author of Capturing Sound: How Technology has Changed Music (2004). John Cage, Imaginary Landscape No. 1 (1939) from The 25-Year Retrospective Concert Of The Music Of John Cage (private, 1959). Pierre Schaeffer, “Study For Piano” (1948) from Panorama Of Musique Concrète (1956). Pierre Schaeffer, “Study for Whirligigs” (1948) from Panorama of Musique Concrète (1956). Pierre Schaeffer and Pierre Henry, Symphonie Pour Un Homme Seul (1949-50) from Panorama of Musique Concrète No. 2 (1956). John Cage, Imaginary Landscape No. 5 (1952), from Imaginary Landscapes, by Anthony Braxton and the Maelström Percussion Ensemble Conducted by Jan Williams. Braxton selected the records. Milan Knížák, “Composition No. 1' from Broken Music (1979). Milan Knížák, “Composition No. 3” from Broken Music (1979). Grandmaster Flash & the Furious Five, Adventures on the Wheels of Steel (1981) from the 12” single The Message/ Adventures on the Wheels of Steel (1990). Marina Rosenfeld, “theseatheforestthegarden” (1999), from theforestthegardenthesea (1999, charhizma).   The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of turntablism: DJ Shorty Blitz, a mix created for the collection Hip Hop: The Golden Era 1979-1999 (2018). Otomo Yoshihide, Turntable solo from TV Show "Doremi."   For more information about the history of turntablism, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).   You might also be interested in the following article by Karin Weissenbrunner about turntablism: Experimental Turntablism--Historical overview of experiments with record players/records or scratches from second-hand technology.   Also check-out the book by Mark Katz, Capturing Sound: How Technology has Changed Music (2004).

Marina Rosenfeld created a piece entitled "a martial exercise in togetherness" for the 2 Minutes From Home" series of new music commissions, performed by the Decibel New Music Ensemble. Marina talks to artistic director Cat Hope from New York.

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Tower of Meaning by Arthur Russell on First Thought Best Thought (Audika) 4′12″ One by Marina Rosenfeld on Joy of Fear (Room40) 6′05″ Whales (NTT Data 1990) by Ryuichi Sakamoto on CM/TV (Warner Music Japan) 11′53″ Left-Handed Fiction by Ghostwriters on Remote Dreaming (Mu-Psych Music) 19′18″ Sunset Village by Beverly Glenn-Copeland on Beverly Glenn-Copeland (Light In the Attic) 27′59″ Part 3: A Higher Place by Suzanne Ciani on Improvisation on Four Sequences at Festival Antigel - All Spatial Mixes (Atmospheric) 31′13″ Futo by Shida Shahabi on Shifts (Shida Shahabi) 37′49″ Life by Matthew Halsall on Oneness (Gondwana Records) 50′25″ Anthem of the Trinity by Terry Riley on Shri Camel (CBS) Check out the full archives on the website.

Enjoying the show? Please support BFF.FM with a donation. Playlist 0′00″ Tower of Meaning by Arthur Russell on First Thought Best Thought (Audika) 4′12″ One by Marina Rosenfeld on Joy of Fear (Room40) 6′05″ Whales (NTT Data 1990) by Ryuichi Sakamoto on CM/TV (Warner Music Japan) 11′53″ Left-Handed Fiction by Ghostwriters on Remote Dreaming (Mu-Psych Music) 19′18″ Sunset Village by Beverly Glenn-Copeland on Beverly Glenn-Copeland (Light In the Attic) 27′59″ Part 3: A Higher Place by Suzanne Ciani on Improvisation on Four Sequences at Festival Antigel - All Spatial Mixes (Atmospheric) 31′13″ Futo by Shida Shahabi on Shifts (Shida Shahabi) 37′49″ Life by Matthew Halsall on Oneness (Gondwana Records) 50′25″ Anthem of the Trinity by Terry Riley on Shri Camel (CBS)

Podcast bimestriel réalisé et programmé par Jean De Lacoste. Durée : 60 minutes. Le silence froissé par une musique aventureuse et transversale. À l'écoute d'une scène parallèle et riche en déviations de toutes sortes, une palette audacieuse de nouvelles sensations sonores. Au menu de cet épisode : 01. Marina Rosenfeld : new york _ empire state of 02. Eleh : Death Is Eternal Bliss 03. Christoph Heeman : The rings of saturn part 1 04. Derek Bailey : Nothing So Difficult As A Beggining 05 Heather Leigh ­ Quicksand 06. Dawson­ Davies : Wheat stands in excrement trembling (gondola no uta) 07. Loren Connors : The departing of a dream volume 5 Part Two 09. Bridget Hayden : Waste 10. Neutral : Andas Cette mixtape a été réalisée avec la collaboration de Tony Verstraete. Bonne écoute !

Podcast bimestriel réalisé et programmé par Jean De Lacoste.Durée : 60 minutes.Le silence froissé par une musique aventureuse et transversale.À l'écoute d'une scène parallèle et riche en déviations de toutes sortes, une palette audacieuse de nouvelles sensations sonores.Au menu de cet épisode :01. Marina Rosenfeld : new york _ empire state of02. Eleh : Death Is Eternal Bliss03. Christoph Heeman : The rings of saturn part 104. Derek Bailey : Nothing So Difficult As A Beggining05 Heather Leigh ­ Quicksand06. Dawson­ Davies : Wheat stands in excrement trembling (gondola no uta)07. Loren Connors : The departing of a dream volume 5 Part Two09. Bridget Hayden : Waste10. Neutral : AndasCette mixtape a été réalisée avec la collaboration de Tony Verstraete.Bonne écoute !

No More Bands with Marina Rosenfeld by Induction Burners

Happy Post-Harper Canada - Rapoon, Loscil, Lawrence English, Kyle Bobby Dunn, Loscil / BVDub, Secret Pyramid, Pete Namlook / Richie Hawtin, Marina Rosenfeld, Vermont, DJ Olive, Robin Judge / Tomas Jirku, Valiska, Tim Hecker, King Midas Sound / Fennesz, Thomas Brinkmann, Julianna Barwick, White Poppy, Tigerwing, Aidan Baker / Liz Hysen, Slime, Battles, Family Band & Yppah.

Live Performances & DJ Sets @ Red Egg, New York. Nov11th 2011. Part of Performa 11