Podcasts about UbuWeb

Episode 99 Crosscurrents in Electronic Tape Music in the United States Playlist Louis and Bebe Barron, “Bells of Atlantis” (1952), soundtrack for a film by Ian Hugo based on the writings of his wife Anaïs Nin, who also appeared in the film. The Barrons were credited with “Electronic Music.” The Barrons scored three of Ian Hugo's short experimental films and this is the earliest, marking an early start for tape music in the United States. Bebe told me some years ago about a work called “Heavenly Menagerie” that they produced in 1950. I have written before that I think this work was most likely the first electronic music made for magnetic tape in the United States, although I have never been able to find a recording of the work. Bells of Atlantis will stand as an example of what they could produce in their Greenwich Village studio at the time. They were also engaged helping John Cage produce “Williams Mix” at the time, being recordists of outdoor sounds around New York that Cage would use during the process of editing the composition, which is described below. The Forbidden Planet soundtrack, their most famous work, was created in 1956. 8:59 John Cage, “Williams Mix” (1952) from The 25-Year Retrospective Concert Of The Music Of John Cage (1959 Avakian). Composed in 1952, the tape was played at this Town Hall concert a few years later. Premiered in Urbana, Ill., March 22, 1953. From the Cage database of compositions: “This is a work for eight tracks of 1/4” magnetic tape. The score is a pattern for the cutting and splicing of sounds recorded on tape. Its rhythmic structure is 5-6-16-3-11-5. Sounds fall into 6 categories: A (city sounds), B (country sounds), C (electronic sounds), D (manually produced sounds), E (wind produced sounds), and F ("small" sounds, requiring amplification). Pitch, timbre, and loudness are notated as well. Approximately 600 recordings are necessary to make a version of this piece. The compositional means were I Ching chance operations. Cage made a realization of the work in 1952/53 (starting in May 1952) with the assistance of Earle Brown, Louis and Bebe Barron, David Tudor, Ben Johnston, and others, but it also possible to create other versions.” This was a kind of landmark work for John as he explored the possibilities of working with the tape medium. It is the only work from this period, created in the United States, for which there is an original recording of a Cage realization. He also composed “Imaginary Landscape No. 5” in 1952 for 42-disc recordings as a collage of fragments from long-playing records recorded on tape (he preferred to use jazz records as the source), put together with the assistance of David Tudor. Though some modern interpretations exist, there is no recording from the 1950s of a Cage/Tudor realization so I am unable to represent what it would have been like at that time. 5:42 Otto Luening and Vladimir Ussachevsky, “Moonflight” (1952) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:54 Otto Luening, “Fantasy in Space” (1952) from Tape Music An Historic Concert (1968 Desto). Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:51 Otto Luening and Vladimir Ussachevsky, “Incantation” (1953) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:34 Henry Jacobs, “Sonata for Loudspeakers” (1953-54) from Sounds of New Music (1958 Folkways). “Experiments with synthetic rhythm” produced by Henry Jacobs who worked at radio station KPFA-FM in Berkeley. Jacobs narrates the track to explain his use of tape loops and recorded sound. 9:29 Jim Fassett, track “B2” (Untitled) from Strange To Your Ears - The Fabulous World of Sound With Jim Fassett (1955 Columbia Masterworks). “The fabulous world of sound,” narrated with tape effects, by Jim Fassett. Fassett, a CBS Radio musical director, was fascinated with the possibilities of tape composition. With this recording, done during the formative years of tape music in the middle 1950s, he took a somewhat less daring approach than his experimental counterparts, but a bold step nonetheless for a national radio audience. He hosted a weekend program called Strange to Your Ears to showcase these experiments and this album collected some of his best bits. 8:15 Harry F. Olsen, “The Well-Tempered Clavier: Fugue No. 2” (Bach) and “Nola” (Arndt) and “Home, Sweet Home” from The Sounds and Music of the RCA Electronic Music Synthesizer (1955 RCA). These “experimental” tracks were intended to demonstrate the range of sound that could be created with RCA Music Synthesizer. This was the Mark I model, equipped with a disc lathe instead of a tape recorder. When it was upgraded and called the Mark II in the late 1950s, it became the showpiece of the Columbia-Princeton Electronic Music Center. Here we listen to three tunes created by Harry F. Olsen, one of the inventors, in the style of a harpsichord, a piano, and “an engineer's conception of the music.” 5:26 Milton Babbitt, “Composition For Synthesizer” (1960-61) (1968 Columbia). Babbitt was one of the only composers at the Columbia-Princeton Electronic Music Center who composed and produced works based solely on using the RCA Music Synthesizer. Most others took advantage of other tape processing techniques found in the studio and not controlled by the RCA Mark II. It took him quite a long time to work out all of the details using the synthesizer and his meticulous rules for composing serially. On the other hand, the programmability of the instrument made it much more possible to control all the parameters of the sound being created electronically rather than by human musicians. This work is a prime example of this kind of work. 10:41 Tod Dockstader, “Drone” (1962) from Drone; Two Fragments From Apocalypse; Water Music (1966 Owl Records). Self-produced album by independent American composer Dockstader. This came along at an interesting period for American elecgtronic music, sandwiched between the institutional studio work being done at various universities and the era of the independent musician working with a synthesizer. Dockstader used his own studio and his own devices to make this imaginative music. This was one of a series of four albums featuring Dockstader's music that were released on Owl in the 1966-67 timeframe. They have all been reissued in one form or another. Here is what Dockstader himself wrote about this piece: “Drone, like many of my other works, began life as a single sound; in this case, the sound of racing cars. But, unlike the others, the germinal sound is no longer in the piece. It's been replaced by another a guitar. I found in composing the work that the cars didn't go anywhere, except, seemingly, in circles. The sound of them that had interested me originally was a high to low glissando the Doppler effect. In making equivalents of this sound, I found guitar glissandos could be bent into figures the cars couldn't. . . . After the guitar had established itself as the base line of the piece, I began matching its sound with a muted sawtooth oscillator (again, concrete and electronic music: the guitar being a mechanical source of sound, the oscillator an electronic source). This instrument had a timbre similar to the guitar, with the addition of soft attack, sustained tones, and frequencies beyond the range of the guitar. . . . The effect of the guitar and the oscillator, working together, was to produce a kind of drone, with variations something like the procedure of classical Japanese music, but with more violence. Alternating violence with loneliness, hectic motion with static stillness, was the aim of the original piece; and this is still in Drone, but in the process, the means changed so much that, of all my pieces, it is the only one I can't remember all the sounds of, so it continues to surprise me when I play it.” (From the original liner notes by Dockstader). 13:24 Wendy Carlos, “Dialogs for Piano and Two Loudspeakers” (1963) from Electronic Music (1965 Turnabout). This is an early recording of Wendy, pre-Switched-on Bach, from her days as a composer and technician. In this work, Carlos tackles the task of combining synthesized sounds with those of acoustic instruments, in this case the piano. It's funny that after you listen to this you could swear that there were instruments other than the piano used, so deft was her blending of electronic sounds with even just a single instrument. 4:00 Gordon Mumma, “Music from the Venezia Space Theater” (1963-64) (1966 Advance). Mono recording from the original release on Advance. Composed at the Cooperative Studio for Electronic Music in Ann Arbor, Michigan. This was the studio created by Mumma and fellow composer Robert Ashley to produce their electronic tape works for Milton Cohen's Space Theater on Ann Arbor, which this piece tries to reproduce. The original was a quad magnetic tape. It was premiered at the 27th Venezia Bianale, Venice, Italy on September 11, 1964 and comprised the ONCE group with dancers. 11:58 Jean Eichelberger Ivey, “Pinball” (1965) from Electronic Music (1967 Folkways). Realized at the Electronic Music Studio of Brandeis University. This work was produced in the Brandeis University Electronic Music Studio and was her first work of electroacoustic music. In 1964 she began a Doctor of Musical Arts program in composition, including studies in electronic music, at the University of Toronto and completed the degree in 1972. Ivey founded the Peabody Electronic Music Studio in 1967 and taught composition and electronic music at the Peabody Conservatory of Music until her retirement in 1997. Ivey was a respected composer who also sought more recognition for women in the field. In 1968, she was the only woman composer represented at the Eastman-Rochester American Music Festival. Her work in electronic music and other music was characteristic of her general attitude about modern composing, “I consider all the musical resources of the past and present as being at the composer's disposal, but always in the service of the effective communication of humanistic ideas and intuitive emotion.” 6:12 Pauline Oliveros, “Bye Bye Butterfly” (1965) from New Music for Electronic and Recorded Media (1977 1750 Arch Records). This was composed at the San Francisco Tape Music Center where so many west coast composers first found their footing: Terry Riley, Steve Reich, Jon Gibson, Pauline Oliveros, Stuart Dempster, Morton Subotnick, Ramon Sender all did work there around this time. Oliveros was experimenting with the use of tape delay in a number of works, of which “Bye Bye Butterfly” is a great example. 8:05 Gordon Mumma, “The Dresden Interleaf 13 February 1945” (1965) from Dresden / Venezia / Megaton (1979 Lovely Music). Composed at the Cooperative Studio for Electronic Music (Ann Arbor, Michigan). Remixed at The Center for Contemporary Music, Mills College (Oakland, California). This tape piece was premiered at the sixth annual ONCE Festival in Ann Arbor where Mumma configured an array of sixteen “mini speakers” to surround the audience and project the 4-channel mix. The middle section of the piece contains the “harrowing roar of live, alcohol-burning model airplane engines.” (Mumma) This anti-war piece was presented in the 20th anniversary of the Allied fire-bombing of Dresden near the end of World War II. 12:14 Kenneth Gaburo, “Lemon Drops (Tape Alone)” (1965) from Electronic Music from the University of Illinois (1967 Heliodor). From Gaburo: “Lemon Drops” is one of a group of five tape compositions made during 1964-5 referencing the work of Harry Partch. All are concerned with aspects of timbre (e.g., mixing concrete and electronically generated sound); with nuance (e.g., extending the expressive range of concrete sound through machine manipulation, and reducing machine rigidity through flexible compositional techniques); and with counterpoint (e.g., stereo as a contrapuntal system).”(see). 2:52 Steve Reich, “Melodica” (1966) from Music From Mills (1986 Mills College). This is one of Reich's lesser-known phased loop compositions from the 1960s. It is “composed of one tape loop gradually going out of phase with itself, first in two voices and then in four.” This was Reich's last work for tape before he transitioned to writing instrumental music. 10:43 Pril Smiley, “Eclipse” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Pril Smiley was 1st finalist and realized “Eclipse” at the Columbia-Princeton Electronic Music Center. Smiley had this to say about the work: “Eclipse” was originally composed for four separate tracks, the composer having worked with a specifically-structured antiphonal distribution of compositional material to be heard from four corners of a room or other appropriate space. Some sections of “Eclipse” are semi-improvisatory; by and large, the piece was worked out via many sketches and preliminary experiments on tape: all elements such as rhythm, timbre, loudness, and duration of each note were very precisely determined and controlled. In many ways, the structure of “Eclipse” is related to the composer's use of timbre. There are basically two kinds of sounds in the piece: the low, sustained gong-like sounds (always either increasing or decreasing in loudness) and the short more percussive sounds, which can be thought of as metallic, glassy, or wooden in character. These different kinds of timbres are usually used in contrast to one another, sometimes being set end to end so that one kind of sound interrupts another, and sometimes being dovetailed so that one timbre appears to emerge out of or from beneath another. Eighty-five percent of the sounds are electronic in origin; the non-electronic sounds are mainly pre-recorded percussion sounds–but subsequently electronically modified so that they are not always recognizable.” (From the original liner notes by Smiley.) 7:56 Olly W. Wilson, “Cetus” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Olly W. Wilson was the competition Winner with “Cetus.” It was realized in the studio for Experimental Music of the University of Illinois. Olly Wilson wrote about the work: “the compositional process characteristic of the “classical tape studio” (the mutation of a few basic electronic signals by means of filters, signal modifiers, and recording processes) was employed in the realization of this work and was enhanced by means of certain instruments which permit improvisation by synthesized sound. Cetus contains passages which were improvised by the composer as well as sections realized by classical tape studio procedures. The master of this work was prepared on a two channel tape. Under the ideal circumstances it should be performed with multiple speakers surrounding the auditor.” (Olly Wilson. The Avant Garde Project at UBUWEB, AGP129 – US Electronic Music VIII | Dartmouth College Competition (1968-70). 9:18 Alice Shields, “The Transformation of Ani” (1970) from Columbia-Princeton Electronic Music Center Tenth Anniversary Celebration (1971 CRI). Composed at the Columbia-Princeton Electronic Music Center. Alice Shields explained, “The text of “The Transformation of Ani” is taken from the Egyptian Book of the Dead, as translated into English by E. A. Budge. Most sounds in the piece were made from my own voice, speaking and singing the words of the text. Each letter of the English translation was assigned a pitch, and each hieroglyph of the Egyptian was given a particular sound or short phrase, of mostly indefinite pitch. Each series, the one derived from the English translation, and the one derived from the original hieroglyphs, was then improvised upon to create material I thought appropriate to the way in which I wanted to develop the meaning of the text, which I divided into three sections.” (see). 8:59 Opening background music: John Cage, Fontana Mix (1958) (1966 Turnabout). This tape work was composed in 1958 and I believe this is the only recorded version by Cage himself as well as the only Cage version presented as a work not in accompaniment of another work. An earlier recording, from the Time label in 1962, feature the tape piece combined with another Cage work, “Aria.” This version for 2 tapes was prepared b Cage in February 1959 at the Studio di Fonologia in Milan, with technical assistance from Mario Zuccheri. From the Cage Database website. “This is a composition indeterminate of its performance, and was derived from notation CC from Cage's Concert for Piano and Orchestra. The score consists of 10 sheets of paper and 12 transparencies. The sheets of paper contain drawings of 6 differentiated (as to thickness and texture) curved lines. 10 of these transparencies have randomly distributed points (the number of points on the transparencies being 7, 12, 13, 17, 18, 19, 22, 26, 29, and 30). Another transparency has a grid, measuring 2 x 10 inches, and the last one contains a straight line (10 3/4 inch). By superimposing these transparencies, the player creates a structure from which a performance score can be made: one of the transparencies with dots is placed over one of the sheets with curved lines. Over this one places the grid. A point enclosed in the grid is connected with a point outside, using the straight line transparency. Horizontal and vertical measurements of intersections of the straight line with the grid and the curved line create a time-bracket along with actions to be made.” 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.

Episode 13: Primitivism & Its Legacies This episode looks at the emergence of the concept of Primitivism in the 19th century and examines how it was used in the 20th century. We cover different kinds of historical Primitivism, and problematize this Euro-centric term. After considering historical artists, we turn towards contemporary artists who interact with this legacy. Artists covered include Paul Gauguin, Pablo Picasso, Wifredo Lam, Fatu Feu'u, Zak Ové, and Romuald Hazoumé. Sources + further reading: Aesthetica Magazine. “Romuald Hazoumé.” https://aestheticamagazine.com/romuald-hazoume/ Brick Bay Sculpture Trail. “Fatu Feu'u - Orongo on Exhibition at Brick Bay.” https://www.brickbaysculpture.co.nz/fatu-feuu-orongo “Henri Rousseau.” National Gallery of Art. https://www.nga.gov/features/slideshows/henri-rousseau.html. Higgins, Katherine. “About the Artist: Fatu Feu'u.” The Contemporary Pacific 27, no. 1 (2015): VII. Kramer, Charles, and Grant, Kim. “Primitivism and Modern Art.” Smarthistory. https://smarthistory.org/primitivism-and-modern-art/. LACMA. “The Invisible Man and the Masque of Blackness.” http://www.lacma.org/art/exhibition/invisible-man-and-masque-blackness. The Metropolitan Museum of Art. “Surrealism Beyond Borders.” https://www.metmuseum.org/exhibitions/listings/2021/surrealism-beyond-borders. The Metropolitan Museum of Art. “Reconfiguring an African Icon.” https://www.metmuseum.org/exhibitions/listings/2011/reconfiguring-an-african-icon. Mitter, Partha. “Extract - Surrealism's Tricky Global Transformation.” The Art Newspaper, February 8, 2022. https://www.theartnewspaper.com/2022/02/08/extract-or-surrealisms-tricky-global-transformation. Obuobi, Sharon. “British Museum's First Commissioned Caribbean Sculptures Tower Over Its Great Court.” Hyperallergic, September 8, 2015. http://hyperallergic.com/235163/british-museums-first-commissioned-caribbean-sculptures-tower-over-its-great-court/. Tate Modern. “Modernism.” https://www.tate.org.uk/art/art-terms/m/modernism. Tate Modern. “Who Is Wifredo Lam?” https://www.tate.org.uk/whats-on/tate-modern/wifredo-lam/who-is. Tuuhia, Tiare. “The Tahitian Woman behind Paul Gauguin's Paintings.” Art UK, September 2021. https://artuk.org/discover/stories/the-tahitian-woman-behind-paul-gauguins-paintings.   Music Credits: Igor Stravinsky. “L'Adoration de la Terre” from The Rite of Spring, 1927. National Orchestra of France. Entretiens d'André Breton avec André Parinaud. 1952. Ubuweb. https://ubu.com/sound/breton.html “A New Day in Samoa” -- Audio from a Documentary, n.d. https://commons.wikimedia.org/wiki/File:A_New_Day_in_Samoa.webm soundskeep. Recording of Motorcycles, 2014. https://freesound.org/people/soundskeep/sounds/236986/   Credits: Season 2 of Unboxing the Canon is produced by Professor Linda Steer for her course “Introduction to the History of Western Art” in the Department of Visual Arts at Brock University. Our sound designer, co-host and contributing researcher is Madeline Collins.  Brock University is located on the traditional lands of the Haudenosaunee and Anishinaabe peoples, many of whom continue to live and work here today. This territory is covered by the Upper Canada Treaties and is within the land protected by the Dish with One Spoon Wampum Agreement. Today this gathering place is home to many First Nations, Métis and Inuit peoples and acknowledging reminds us that our great standard of living is directly related to the resources and friendship of Indigenous people. Our logo was created by Cherie Michels. The theme song has been adapted from “Night in Venice” Kevin MacLeod and is licensed under Creative Commons Attribution International 4.0. Grants from the Humanities Research Institute and from Match of Minds at Brock University support the production of this podcast, which is produced as an open educational resource. Unboxing the Canon is archived in the Brock Digital Repository. Find it at https://dr.library.brocku.ca/handle/10464/14929   You can also find Unboxing the Canon on any of the main podcast apps. Please subscribe and rate our podcast. You can also find us on Twitter @CanonUnboxing and Instagram @unboxingthecanon or you can write to unboxingthecanon@gmail.com   

I talk about the show and what my thoughts are for this coming week. I also talk about this week of work and how I feel about it. Ubuweb - https://www.ubu.com/. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/last-donut-of-the-night/support

Kenneth Goldsmith is an American poet. His writing has been called some of the most exhaustive and beautiful collage work yet produced in poetry by Publishers Weekly. He is the founding editor of UbuWeb, and is a senior editor of PennSound at the University of Pennsylvania, where he teaches. He hosted a weekly radio show at WFMU from 1995 until june 2010. He has published many books of poetry, notably Fidget, Soliloquy, Day, and his American trilogy. He is the editor of I'll Be Your Mirror, the selected Andy Warhol interviews, which is the basis for an opera, Trans-Warhol, that premiered in Geneva in 2007. He has published three books of essays, including Against Expression, Uncreative Writing, Wasting Time on the Internet, and most recently, Duchamp is my Lawyer. In 2013, he was appointed the first Poet Laureat of the Museum of Modern Art.LINKSUbuWebKenneth Goldsmith faculty page at the University of PennsylvaniaSUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPost production: Marek IwaszkiewiczPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

(00:00:00) Es ist eine Art Youtube für Kunstbegeisterte: das Ubuweb. Videos, Audios und Texte von 7500 Künstlern finden sich auf dieser Webseite, kuratiert und kostenfrei. 1996 wurde es vom Konzeptkünstler Kenneth Goldsmith gegründet und dieses Jahr feiert es sein 25-jähriges Jubiläum. Weitere Themen: (00:05:30) Birgit Vanderbeke: Die deutsche Autorin und Ingeborg Bachmann-Preisträgerin ist im Alter von 65 Jahren gestorben. (00:10:13) Schreiben als Gespräch: Levin Westermann philosophiert im Langgedicht «farbe komma dunkel» über Klimawandel, Artensterben und die Rolle des Einzelnen. (00:14:50) Musicalfilm «Annette» von Leos Carax: düstere Liebeskomödie mit Musik der Art-Popband «Sparks».

Margaux Williamson is an artist from Toronto, born in Pittsburgh. Her first book of paintings, I Could See Everything (Coach House Books) accompanied shows at Frith Street Gallery in London, and Mulherin+Pollard in New York. Her full-length movie, Teenager Hamlet, premiered at the Toronto International Film Festival, and now lives on UbuWeb. And a YouTube video she made in collaboration with the band Tomboyfriend, dancing to the end of poverty, was praised by Playground Magazine in Madrid as "Finally, a generation using YouTube the way God intended",  Her text projects, including How to Act in Real Life, have been commissioned by museums, festivals and anthologies. Her work has been covered by Frieze, the New York Times, Canadian Art, Vogue, The Believer, and  elsewhere. She has been artist-in-residence at MacDowell in New Hampshire, the Art Gallery of Ontario in Toronto and the Klondike Institute in the Yukon. Her most recent work was an on-line show with White Cube, March 2021. Branches / 63 x 90 in / 160 x 228.6 cm / 2021 / oil on canvas Table and Chair / 160x228 cm (63x90in)/ oil on canvas / 2016

Gill Partington and Thomas Jones explore Kenneth Goldsmith’s online avant-garde archive, UbuWeb, listen to some of the things you can find on it, and consider what might not be found there.Find Gill's piece and more relevant LRB pieces here: https://lrb.me/ubuwebpodSubscribe to the LRB from just £1 per issue: https://mylrb.co.uk/podcast20b See acast.com/privacy for privacy and opt-out information.

Social Yet Distanced: Random Ramblings Because the Feature No-Showed.  Today we provide a mixed bag of mixed up, with recordings of stories,  more dial a poems, and more. More like Butthol* Surfers, and Man Ray... Dial A Poems from UbuWeb and Yoko Ono include Ann Waldmaan, Heathcoate Williams, Frank O'Hara,  William S Burroughs words, and Ted Berrigan. For starters... --- Send in a voice message: https://podcasters.spotify.com/pod/show/socialyetdistanced/message Support this podcast: https://podcasters.spotify.com/pod/show/socialyetdistanced/support

Poet Kenneth Goldsmith created UbuWeb in 1996 as an online repository for obscure avant-garde art that, by virtue of having little commercial potential, was hard to find. Audio was an early component of the archive, owing to Kenneth’s interest in sound poetry, an even more obscure art form. Since then he’s served as the chief, […] The post Podcast #274 – UbuWeb is a Hand Coded Archive that Stands the Test of Time appeared first on Radio Survivor.

Poet Kenneth Goldsmith created UbuWeb in 1996 as an online repository for obscure avant-garde art that, by virtue of having little commercial potential, was hard to find. Audio was an early component of the archive, owing to Kenneth’s interest in sound poetry, an even more obscure art form. Since then he’s served as the chief, […] The post Podcast #274 – UbuWeb is a Hand Coded Archive that Stands the Test of Time appeared first on Radio Survivor.

Here's the first episode of Ragbag's new sister show, I Like The Sound. Subscribe to this great new podcast here, for all future episodes (plus this one): https://shows.acast.com/i-like-the-sound Here's the show notes: Welcome to the first ever I Like The Sound podcast, written, presented and produced by Frank Burton.In this episode, we learn about the importance of sound in food, the meaning of ‘glossolalia’ and the origins of the Crazy Frog noise.Manda Rin from Bis tells us about how much she enjoys hearing seagulls. Sheetal Singh, AKA Forest Bees, talks about how her children respond to sounds that they like.Check out Bis here: https://bisnation.com/Forest Bees on Bandcamp: https://forestbees.bandcamp.com/album/forest-beesSource material for this week’s episode:Charles Spence, Eating with our ears: Assessing the importance of the sounds of consumption to our perception and enjoyment of multisensory flavour experiences: https://www.researchgate.net/publication/278716173_Eating_with_our_ears_Assessing_the_importance_of_the_sounds_of_consumption_to_our_perception_and_enjoyment_of_multisensory_flavour_experiencesChristian Bök on Ubuweb: http://ubu-mirror.ch/sound/bok.htmlAdriano Celentano – Prisencolinensinainciusol: https://www.youtube.com/watch?v=-VsmF9m_Nt8Glosollalia: https://en.wikipedia.org/wiki/Speaking_in_tonguesCrazy Frog: https://en.wikipedia.org/wiki/Crazy_FrogMusic by Lee Rosevere: https://leerosevere.bandcamp.com/ Further details about Frank Burton:Frank’s website: https://www.frankburton.co.uk/ (Visit for more details about Frank’s books, A History of Sarcasm, One Hundred, and Everything I Am, plus the video series The Ragbag Rambler.)Frank’s email: fjb79@hotmail.comRagbag podcast: https://shows.acast.com/5b93ef1248d0840933a8f131 See acast.com/privacy for privacy and opt-out information.

Poet Kenneth Goldsmith created UbuWeb in 1996 as an online repository for obscure avant-garde art that, by virtue of having little commercial potential, was hard to find. Audio was an early component of the archive, owing to Kenneth’s interest in sound poetry, an even more obscure art form. Since then he’s served as the chief, […] The post Podcast #256 – The Robin Hood of the Avant-Garde appeared first on Radio Survivor.

Poet Kenneth Goldsmith created UbuWeb in 1996 as an online repository for obscure avant-garde art that, by virtue of having little commercial potential, was hard to find. Audio was an early component of the archive, owing to Kenneth’s interest in sound poetry, an even more obscure art form. Since then he’s served as the chief, […] The post Podcast #256 – The Robin Hood of the Avant-Garde appeared first on Radio Survivor.

The third episode of quarantine recommendations, this time brought to you via UbuWeb, a large web-based educational resource for avant-garde material available on the internet. Films by Gillian Wearing, Kerry Tribe, Jon Rafman and Ceal Floyer. Gillian Wearing - 2 into 1 http://www.ubu.com/film/wearing_confess.html Kerry Tribe - Critical Mass http://www.ubu.com/film/tribe_critical.html Jon Rafman - A Man Digging http://www.ubu.com/film/rafman_digging.html Ceal Floyer - Plughole http://www.ubu.com/film/floyer_plughole.html Ceal Floyer - Drop http://www.ubu.com/film/floyer_drop.html

Inside Miami's sound chamber, sound artist, designer and composer Gustavo Matamoros introduces to his latest creation: four audible experiences of sound moving through space. Legendary artists inspired Small Sounds Up the Wall (for Alison Knowles), Everglades (for Charles Recher), String Solo (for Vito Acconci) and Eighty-Five Audible Moments (for Pauline Oliveros). Venezuela born Matamoros made this sonic dive possible when he transformed Studio 201 at ArtCenter/South Florida into a 30-channel sound environment. Sound Editor: Anamnesis Audio | Special Audio: John Cage interview; Alison Knowles, Paper Weather; Vito Acconci, American Gift, via UbuWeb; Pauline Oliveros, via UbuWeb; Russell Frehling, Mapping; Gustavo Matamoros, Small Sounds Up a Wall, Everglades, String Solo, Eighty-Five Audible Moments; Julio Roloff, Naturaleza Viva; Wolfgang Gil, Aural Fields Test; Rene Barge, Prism Break | Photographs courtesy Gustavo Matamoros, Subtropics Related Episodes: Stephen Vitiello, Alba Triana, Magdi Mostafa, Dak'Art 2018, Staging Complex Art, Sounds of Summer in Miami Related Links: Subtropics, Frozen Music, Canal, 2009

EMyth https://emyth.com/ Alexander Calder’s website http://www.calder.org/ Fear of Missing Out https://en.wikipedia.org/wiki/Fear_of_missing_out Amalia Aulman’s Instragram https://www.instagram.com/amaliaulman/?hl=en Live Journal http://www.livejournal.com/ Jeremy’s 90s skin design website http://sblcommunications.com/jbd/ Tripod history https://en.wikipedia.org/wiki/Tripod.com Popex https://en.wikipedia.org/wiki/Popex Jeremy’s 90s friend trading website http://sblcommunications.com/groupex/ UbuWeb http://www.ubuweb.com/ Hito Steyerl (she has no website) https://en.wikipedia.org/wiki/Hito_Steyerl The You Museum http://theyoumuseum.org/ Amalia Ulman, Excellences & Perfections http://rhizome.org/editorial/2014/oct/20/first-look-amalia-ulmanexcellences-perfections/ M. Night Shyamalan http://www.imdb.com/name/nm0796117/ Andy Kaufman https://www.youtube.com/watch?v=6p0sr2BejUk&list=RD6p0sr2BejUk#t=86 Andy Warhol, 15 minutes of fame https://en.wikipedia.org/wiki/15_minutes_of_fame Best hair cutting scissors are Japanese http://www.hairstylermag.com/best-hair-cutting-shears-reviews/ FlowBee https://www.flowbee.com/ ** Our First Sponsored Ad, Ben Fino-Radin’s Small Data Industries http://smalldata.industries/ Samurai Philosophy http://www.artofmanliness.com/2008/09/14/the-bushido-code-the-eight-virtues-of-the-samurai/ Seth Godin’s Blog http://sethgodin.typepad.com/ Marketing Channel https://en.wikipedia.org/wiki/Marketing_channel JR’s instagram https://www.instagram.com/jr/?hl=en PewDiePie https://www.youtube.com/user/PewDiePie Our new Good Point Podcast website http://goodpointpodcast.com/ Times New Ramen http://timesnewramen.com/ Ryder Ripps http://observer.com/2015/01/the-trial-of-ryder-ripps-an-embattled-artist-on-haters-angry-muses-and-threats/ Past Futures at Eyebeam (where jeremy first met Ryder) http://eyebeam.org/archive/events/mixer-past-futures Ghost in the Shell whitewashing http://collider.com/ghost-in-the-shell-racism-explained/ Threadless https://www.threadless.com/ Google Adwords https://adwords.google.com/home/#?modal_active=none Rafael’s Flaming Cursor website http://www.flamingcursor.com/ Petra Collins censored by Instagram http://www.huffingtonpost.com/petra-collins/why-instagram-censored-my-body_b_4118416.html Google Ad guidelines https://support.google.com/adwordspolicy/answer/6008942?hl=en Banner Blindness https://en.wikipedia.org/wiki/Banner_blindness Content Marketing https://en.wikipedia.org/wiki/Content_marketing The MET’s Instagram https://www.instagram.com/metmuseum/?hl=en David Bowie is, exhibition http://www.vam.ac.uk/content/articles/t/touring-exhibition-david-bowie-is/ La Gaîté lyrique https://gaite-lyrique.net/en Bryan Unger https://twitter.com/thx4bnu

Paul Dutton is a sound poet, visual poet, essayist, and novelist from Toronto, Ontario. Paul was a member of the seminal sound poetry group The Four Horsemen from 1970 to 1988, and since 1989 he's performed in the improvisational trio CMCC with John Oswald and Michael Snow. Paul has also worked with the vocal art supergroup Five Men Singing, among numerous other collaborations. Paul's 2000 album Mouth Pieces: Solo Soundsinging is available on PennSound, and his visual work The Plastic Typewriter (1993) is on UbuWeb. You can find an online version of his 1991 poetry collection Aurealities at Coach House Books. Dutton's novel Several Women Dancing was published by The Mercury Press in 2002.

En cette quatrième Sélection extérieure, on reçoit l'artiste Roza Vertov, donc les compositions synthétiques et politiques, traversées de voix mutantes, serviront de matière à une discussion et une playlist prenant pour thème les femmes dans les musiques électroniques. Au programme, un détour par les pionnières de la MAO, par les figures contemporaines incontournables et par d'autres artistes plus confidentielles officiant dans des scènes allant de l'ambient à la musique industrielle.  L'idée étant de se rappeler que 90% des musiques électroniques auxquelles on a accès et que l'on diffuse sont composées par des hommes et que cela mérite qu'on se demande pourquoi. photo : Laurie Spiegel Tracklist : Colleen - Captain Of None Strië - Untitled 1956 Roza Vertov - D. T. M. S. Roza Vertov - Machine Laurie Spiegel - Clockworks Laurie Anderson - Speak My Language Maggie Payne - Ahh-Ahh (Ver 2.1) Björk - All Is Full Of Love Leila - Mollie Broadcast et The Focus Group - To Be Colony Fever Ray - Keep The Streets Empty For Me Julia Holter - Try To Make Yourself A Work Of Art Insect Ark - The Collector Pour aller plus loin : L'étude FACT de female:pressure L'interview de Björk par Jessica Hopper : "The Invisible Woman. A Conversation With Björk" L'article de Madeleine Bloom qui renvoie à la thèse de Jennifer M. Brown : " Why Not More Women Make Electronic Music and How This Could Change" Un article de Jessica Hopper sur la place des femmes dans la scène émo et dans la musique en général : "Emo : Where Girls Aren't" Et une rétrospective par UbuWeb de 40 ans de musiques électroniques composées par des femmes.

En cette quatrième Sélection extérieure, on reçoit l'artiste Roza Vertov, donc les compositions synthétiques et politiques, traversées de voix mutantes, serviront de matière à une discussion et une playlist prenant pour thème les femmes dans les musiques électroniques. Au programme, un détour par les pionnières de la MAO, par les figures contemporaines incontournables et par d'autres artistes plus confidentielles officiant dans des scènes allant de l'ambient à la musique industrielle.  L'idée étant de se rappeler que 90% des musiques électroniques auxquelles on a accès et que l'on diffuse sont composées par des hommes et que cela mérite qu'on se demande pourquoi. photo : Laurie Spiegel Tracklist : Colleen - Captain Of None Strië - Untitled 1956 Roza Vertov - D. T. M. S. Roza Vertov - Machine Laurie Spiegel - Clockworks Laurie Anderson - Speak My Language Maggie Payne - Ahh-Ahh (Ver 2.1) Björk - All Is Full Of Love Leila - Mollie Broadcast et The Focus Group - To Be Colony Fever Ray - Keep The Streets Empty For Me Julia Holter - Try To Make Yourself A Work Of Art Insect Ark - The Collector Pour aller plus loin : L'étude FACT de female:pressure L'interview de Björk par Jessica Hopper : "The Invisible Woman. A Conversation With Björk" L'article de Madeleine Bloom qui renvoie à la thèse de Jennifer M. Brown : " Why Not More Women Make Electronic Music and How This Could Change" Un article de Jessica Hopper sur la place des femmes dans la scène émo et dans la musique en général : "Emo : Where Girls Aren't" Et une rétrospective par UbuWeb de 40 ans de musiques électroniques composées par des femmes.

En cette quatrième Sélection extérieure, on reçoit l'artiste Roza Vertov, dont les compositions synthétiques et politiques, traversées de voix mutantes, serviront de matière à une discussion et une playlist prenant pour thème les femmes dans les musiques électroniques. Au programme, un détour par les pionnières de la MAO, par les figures contemporaines incontournables et par d'autres artistes plus confidentielles officiant dans des scènes allant de l'ambient à la musique industrielle.  L'idée étant de se rappeler que 90 % des musiques électroniques auxquelles on a accès et que l'on diffuse sont composées par des hommes et que cela mérite qu'on se demande pourquoi. Tracklist : Colleen - Captain of None (Captain of None, 2015) Strië - Untitled 1956 (Struktura, 2015) Roza Vertov - D.T.M.S. (D.T.M.S., 2014) Roza Vertov - Machine (2014) Laurie Spiegel - Clockworks (The Expanding Universe, 2012) Laurie Anderson - Speak My Language (Bright Red, 1994) Maggi Payne - Ahh-Ahh (Ver 2.1) (Crystal, 1991) Björk - All Is Full of Love (All Is Full of Love, 1999) Leila - Mollie (Blood Looms and Blooms, 2008) Broadcast and The Focus Group - The Be Colony (Investigate Witch Cults of the Radio, 2009) Fever Ray - Keep the Streets Empty for Me (Fever Ray, 2009) Julia Holter - Try to Make Yourself a Work of Art (Tragedy, 2011) Insect Ark - The Collector (Portal / Well, 2015) Photo : Laurie Spiegel in her apartment (1971) Pour aller plus loin : L'étude FACT de female:pressure, l'interview de Björk par Jessica Hopper : "The Invisible Woman. A Conversation With Björk", l'article de Madeleine Bloom qui renvoie à la thèse de Jennifer M. Brown : "Why Not More Women Make Electronic Music and How This Could Change", un article de Jessica Hopper sur la place des femmes dans la scène emo et dans la musique en général : "Emo : Where Girls Aren't", et une rétrospective par UbuWeb de 40 ans de musiques électroniques composées par des femmes

Ellipsynth is often preoccupied with transforming language into incoherence. Thank you Ubuweb!

Online 24 hours each day 1 – 31 March, avfestival.co.uk / thepixelpalace.org - Radio Boredcast is a 744-hour continuous online radio project, curated by artist Vicki Bennett (People Like Us)

Programme de C Spencer YEH pour webSYNradio : UbuWeb Organized Sound 9-13-11. Avec des sons de New Humans, Anton Bruhin, Demetrio Stratos, Mike Kelley/Paul McCarthy/Violent Onsen Geisha, Rafael Toral, Gerogerigegege, François Dufrêne, Walter DeMaria, Mick Jagger, Marie Osmond, John Wiese, Delia Derbyshire, Laurie Anderson, Ghedelia Tazartes, Jaap Blonk, Arnold Dreyblatt, Jack Goldstein, Greg Kelley, Yoshi Wada, Phil Minton & Dylan Nyoukis, Toshimaru Nakamura, Ellen Fullman, Tod Dockstader

Playliste de John Zorn pour webSYNradio : ESSENTIAL UBU. In Jan of 2011, Dominique Balaÿ of webSYNradio asked me to make a playlist from the incredible online sound archives of UBUWEB. What I have chosen does not work as a running radio show but is a recommendation of important sound documents that should be listened to in your own time. The artists have been listed alphabetically. Many of these pieces are quite lengthy, and will require commitment. Tracks that are 3 minutes or so are listed in BOLD and can be more easily digested. J

Playliste de John Zorn pour webSYNradio : ESSENTIAL UBU. In Jan of 2011, Dominique Balaÿ of webSYNradio asked me to make a playlist from the incredible online sound archives of UBUWEB. What I have chosen does not work as a running radio show but is a recommendation of important sound documents that should be listened to in your own time. The artists have been listed alphabetically. Many of these pieces are quite lengthy, and will require commitment. Tracks that are 3 minutes or so are listed in BOLD and can be more easily digested. J

An audio tour of films featuring Vito Acconci, Erik Satie, Vicki Bennett, Karl Holmquist, and more from the UbuWeb archive.

Audio interpretations of Gertrude Stein from the UbuWeb archives.

Margaret Smith, physical Sciences librarian at New York University and consulting archivist for UbuWeb, explained the characteristics of UbuWeb, a site that is known for its work in recovering audiovisual archives of 20th century avant-garde art and making it publicly available on the Internet. UbuWeb was created by Kenneth Goldsmith in 1996 as an archive of visual, concrete and sound poetry, and later began adding films and other text and sound archives. Given the limited access to much material from the avant-garde movements, the UbuWeb team decided to make this content available to Internet users under a principle of “gift economy”, without charging for it and avoiding any kind of commercial format. Without a budget of any kind, UbuWeb operates thanks to collaborations with different centres and companies, and remains outside of the institutional and academic spheres. Most of the material published is obtained without permission (Margaret Smitt said that “Ubu behaves as though copyright did not exist”).

Margaret Smith, bibliotecaria de Ciencias Físicas de la Universidad de Nueva York y consultora sobre archivos para UbuWeb, explicó las características de este sitio que se ha destacado por recuperar archivos audiovisuales del arte de vanguardia del siglo XX y ponerlo a disposición del público a través de Internet. UbuWeb nace en 1996 de la mano de Kenneth Goldsmith como archivo de poesía visual, concreta y sonora, que posteriormente introduce también films y otros archivos de texto y sonido. Sin presupuesto de ningún tipo, UbuWeb se mantiene gracias a la colaboración entre diferentes centros y empresas, manteniéndose al margen del ámbito institucional y académico. La mayoría del material publicado se obtiene sin permiso (Margaret Smith afirma que “Ubu se comporta como si no existiese el copyright” y lo define como “una fuente comisariada de arte y sonido del siglo XX en la Red”).

Gertrude Stein at the Algonquin, William Carlos Williams trying to remember “The Red Wheelbarrow,” Salvador Dali on his phallic moustache, Marcel Duchamp, Jacques Derrida, and scads more from the archive.

A hit list of experimental, neo-crazy poets from the online archive of the avant-garde: ubuweb.com. Hosted by Brent Jenkins.

Kenneth Goldsmith shares some insane and profane sounds that lie between Avant-Garde and Outsider Art, including recordings by Jim Roche, Robin Kahn, and Sean Landers.