Bjork Brings It

Björk ‘Notget’ VR Teaser from Analog on Vimeo.

On 3 June 2016 Björk debuted Björk Digital, a virtual reality exhibit showcasing all the VR videos completed for Vulnicura thus far, including the world premiere of “Notget”, directed by Warren du Preez and Nick Thornton Jones, at Carriageworks for Vivid Sydney 2016 in Sydney, Australia. She DJ’d the opening night party [98] and did the same when the show traveled to Tokyo, Japan on 29 June,[99] showing at Miraikan. During the Miraikan residency, Björk made history by featuring in the world’s first ever virtual reality live stream broadcast on YouTube. She gave a live performance of Vulnicura’s final song “Quicksand”, and the footage will be incorporated into the “Quicksand” VR experience to be released at a later date. Björk Digital is expected to tour the globe for 18 months with its next stop in Montreal. source: Wikipedia

via VOX:
You know you’re in for a good rant when the person delivering said rant opens with “dear little miss media.”

And when the ranter is Björk, well, buckle up.

On December 16, during a highly anticipated appearance at Houston’s second annual Day for Night music festival, the Nordic singer revealed Björk Digital, a five-room installation where attendees could walk through an art exhibit, immerse themselves in a virtual reality version of “intense footage captured from inside [Bjork’s] mouth,” and listen to a music set programmed and deejayed by the artist herself.

The scene, which saw Björk wearing a mask and deejaying from behind a screen of foliage, drew a mix of responses, ranging from positive to negative to “WTF?” from both audiences and music critics (“The crowd remained rapt and respectful but didn’t always seem to know what to do,” hedged Joey Guerra at the Houston Chronicle). And many of the negative responses also seemed baffled: Why was Bjork obscured behind so many ferns? Why didn’t she perform her own music? Was that even her behind the mask?

Björk had a few things to say in response. In a Facebook post on December 21 (as well as a shorter post on Instagram), the singer used her most recent reviews as a jumping-off point to speak out against gender biases in the music industry (as she’s occasionally done in the past). Björk dismissed critics’ flummoxed response to her DJ set, arguing that they’d held her to a different standard than male artists performing similarly experimental work

Classic from 2011:

björk – crystalline from Björk on Vimeo.

Bjork web | Bjork’s superb youtube channel

Guardian interview provides good context

Roach Burn

Steve Roach is a central figure on my own music. Between the support of Projekt, his own web site, and Bandcamp, the innovative ambient composer, player, producer, is–somehow–able to create lots of new music every year. His Bandcamp releases may be previewed in full at Bandcamp.

Pauline Oliveros 1932-2016

With respect to my own musical background, and so with regard for my own influences, Pauline Oliveros stood with Thelonious Monk as the second-to-none inspirations for my music. Although it is crucial to fold in the handful of other critical influences, the odd couple of Monk and Oliveros key the two driving principles, Oliveros’s deep listening, and, Monk’s absolute improv.

The first Deep listening Band record changed my musical life.


About Pauline Oliveros | NYT Obituary

Deep listening Institute

Deep Listening Institute (DLI) promotes the music and Deep Listening practice of pioneer composer Pauline Oliveros, providing a unique approach to music, literature, art, meditation, technology and healing. DLI fosters creative innovation across boundaries and across abilities, among artists and audience, musicians and non-musicians, healers and the physically or cognitively challenged, and children of all ages. This ever-growing community of musicians, artists, scientists and certified Deep Listening practitioners strives for a heightened consciousness of the world of sound and the sound of the world.

Tom Service’s Guide to the Music of Pauline Oliveros (2012) Guardian UK

Urban Wood

Harvesting Guitars from the Bones of New York City from Great Big Story on Vimeo.

I was registering voters and heard a sad story. A street busker told me somebody broke into his apartment and ripped him off of everything, including his main acoustic guitar. I had already noticed he was strumming the worst looking acoustic guitar I had ever gazed upon. It had five strings because one of the pegs was mixing, the bridge was floating in the worst way, and the nut was a notched piece of scrap. It sounded horrible too.

I decided I would go home and fetch my Yamaha acoustic and give it to him. I did so. He was blown away at this gift from, I’d like to think, the baby boomer generation.

Lesley Flanagan – my music all comes from the same process of throwing down a palette of sounds and then intuitively organizing them

Lesley Flanagan, singer, composer, instrument builder, sound conceptualizer, deep listener

4. How could we make sound improve our lives?

I think it’s about listening. I feel that when we take time to truly listen — to actively engage in listening to another person, to music, to sounds in nature and in cities, to all the many sounds in world around us — we give ourselves time to be present in our lives. That’s very meaningful to me.

Five Sound Questions to Lesley Flanagan – via everydaylistening.com

Interview at Disquiet

The Speaker Is Present – A Conversation With Lesley Flanagan (2016)

Lesley Flanagan Recordings at Bandcamp

The Eternal Sonic Mind of Dave Stafford

SCAPE

VOSIS

DRONEFX

TC-11

MIXTIKL

IVCS3

Dave Stafford, a fellow traveller on the ambient path, is, apparently, a kindred spirit. Although, I’m fairly confident his music-making spirit has been burnished by many more suns than have cooked my own spirit. I say this because his body of work and writing about his work is enormous, and this all is fit to a huge sonic range of experimentation.

We both use the electric guitar as a sound source; we both love the iPad touch paradigm; we both tend to get all over the experimental sound-producing apps for the IOS music-making system; and, finally, we share devotion to Mixtikl, DroneFX, Vosis, TC-11, and Scape. Oh, and Dave digs Guitar Rig, as do I.

Dave also shares his philosophizing and what are to me, his “meta thoughts” about being an experimental musician in the fast moving environment of the DIY producer/composer/musician. Even more valuable are his ongoing studio notes. He is incredibly generous in sharing his sausage making tips. thanks man!

It is just a guess, but Dave and I share something key: we both are searching for the sonic epiphany.

Dave Stafford:

Pure Ambient

Pure Ambient Blog

DaveStafford.Bandcamp

Brian Eno Has a Year

highlife

Brian Eno & Karl Hyde – High Life at Warp Records

Brian Eno wins Giga-Hertz Award for contribution to electronic music
Producer and musician takes home €10,000 for his lifetime of ‘musical transgression’ at prestigious ceremony

Brian Eno Net

Brian Eno Tagged on Soundcloud

Brian Eno Music on Facebook

Eno & Hyde’s High Life is, for me, one of the highlight’s of the year in electronic and experimental music. Obviously the recording contains a bounty of wonderful sound, yet what really brightened my appreciation was learning that the duo made the record in five intense days of dedicated collaborative experimentation.

This reminds me of how I work. Although Eno is more a spiritual influence over thirty years rather than a direct sonic influence, some of the rough experiments for my next records are somewhat Eno-esque in their being unfinicky, ambient, experimental outputs.

Robert Rich Interview at Red Bull Music Academy

In which I learn that Robert and I have a lot of roots in common. This isn’t surprising, yet it is a pleasing and resonant confirmation of a sonic ethos I apparently share to a degree with Mr. Rich. He’s been an inspirational force in my musical outlook for over twenty four years.

His new record is Perpetual.

The Yaybahar

I want one. I’d settle for spending sometime in the room it’s in.

via VIMEO: Yaybahar is an electric-free, totally acoustic instrument designed by Gorkem Sen. The vibrations from the strings are transmitted via the coiled springs to the frame drums. These vibrations are turned into sound by the membranes which echo back and forth on the coiled springs. This results in an unique listening experience with an hypnotic surround sound. What you hear in this performance is captured in realtime without any additional effects and with no post audio processing.

Credits
————-
Instrument: Yaybahar
Performence: Görkem Sen
Video: Levent Bozkurt
Video Editing: Olgu Demir
Sound Mix: Mert Aksuna
Place: Ali?ler Yurdu
2014

Soundcloud: soundcloud.com/gorkemsen

The Result of Planning

Technical Details:

KORG VOLCA SET UP:

Volca Bass & Volca Beats into the sub mixer Behringer Xenyx 802
SYNTH RACK SETUP (*used on this track)

Roland Juno 60 (with Kenton MIDI PCB MK II)*
Nord Modular Rack*
Jomox Xbase 09 (special edition with Jazbase upgrade)*

all Synths run into Soundcraft Spirit M12 into Main Mixer (TL Audio Fat Track)

Send FX Spirit M12:

Line 6 Echo Pro (Tape dub Delay)
Lexicon MPX 100 (Hall/Chamber)

SEQUENCER / MIDI KEYS: (*used on this track)

Yamaha RM1x* (Master Clock, no internal sounds used)
Miditech Midistart Midi 25*

GUITAR SET-UP:

Godin LGX-SA with Pedals in the following order (*used for this track)
Barber Tone Press*
Barber Small Fry*
EHX Micro Pog*
EHX Superego*
EHX Neo Clone (in Superego FX-Loop)*
EHX Small Stone (in Superego FX-Loop*)
Colorsound Tremolo Clone (in Superego FX-Loop)*
Neutron Filter (Mutron III Clone)*
Tech 21 Blonde V2*
Dunlop Volume Pedal GCB-80*
TC Electronic SCF Chorus Stereo Out*
EHX Memory Man Deluxe Tap Delay 1100 (R)*
Ibanez ES2 Echo Shifter (L)*
Neunaber Wet Stereo Reverb (with Shimmer Update 1.0)*
Boomerang III Phrase Sampler/Looper Stereo* for live guitar loop &drone/soundscapes

into Main Mixer TL Audio Fat Track
all FX are on the Pedaltrain SC Pro

h/t Synthtopia

Volcarock youtube

A ton of complexity going in and yet what sounds like a clean stereo out. With all the reverb and echo, it takes a lot of planning to be able to get a tight live mix; and then add into the project a very helpful and artful video production. Five stars.

Four Basic Concerns In, Apparently, A World of Possibilities

Context is always shifting. When you develop a sense of context, when you develop your own unique sense of contextualizing, when your awareness and understanding of context starts to obtain for itself something like individuation, then there are experiments you then can do.

For me, the informed foundation of being creative–and this is the same foundation whether my engagement concerns sound, or images, or philosophizing, or theorizing, or practicing, etc.. As a creative person this foundation refers to experience and learning and the entanglement of both into experiencelearning.

For example, experiencelearning comes about because of: Thelonious Monk, Gregory Bateson, Susan, Middlebury Vermont, Pauline Oliveros, Marian Woodman, the Chelsea Hotel, KW, Bandura, Atlanta the dog, Freire, Mahler’s 8th symphony, Bucky, Rumi, Linda, William James, Netdynam, my mom, Free Play Softball. . . Nor can its totality be bounded by mere content.

At the same time, experiencelearning is the soil for conceptualization, articulation, and enactment. There are fruitful and strange juxtaposes, so I do, and to myself and for myself, provide a picture of juxtaposes, such as Rogerian deep listening wave anomalies. These namings express cybernetic captures of personal enacted consciousness; and these namings are short hand too.

Years ago, sharing a reverie, an observer just out and out told me ‘your instrument is listening.’ The concise description for my sound design’s META is: context disocovered to generate fortuitous clues about the ongoing development of this instrument. A similar description could be offered on behalf of crystalizing a motive for my visual experiments.

The Green Man (Stephen Calhoun)
The Green Man (Stephen Calhoun)

As a practitioner of adult development my aim is captured by a really short name: multi-modal experiments in listening.

My most recent principal concern, unfolded for almost ten years, has been the feature and factor of fortuity, or serendipity, in human agency and enactment. This forges a side of a square, and completes the square too: fortuity/listening/experience/learning.

Designs and creations are elementally matters of these four most basic concerns.