ARTBASE (2)
BIO
Jim Andrews does http://vispo.com . He is a poet-programmer and audio guy. His work explores the new media possibilities of poetry, and seeks to synthesize the poetical with other arts and media.
Michiel Knaven: Survival Kit (interactive audio)
http://www.michaelmedia.org/desert/survivalkit.htm
is an interactive audio piece by Michiel Knaven".
"The desert survivalkit is a homage on Bach's "kunst der fuge"."
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ja
http://vispo.com
is an interactive audio piece by Michiel Knaven".
"The desert survivalkit is a homage on Bach's "kunst der fuge"."
4 9 2
3 5 7
8 1 6
ja
http://vispo.com
Re: Re: Re: music
> and more:
> http://www.bbc.co.uk/dna/collective/A3212740
Compare the above with:
"Scratch Peace" (#30) by Gregory Whitehead at
http://vispo.com/temp/whitehead.m3u or
http://www.ubu.com/sound/whitehead.html
(needs some volume)
ja
http://vispo.com
> http://www.bbc.co.uk/dna/collective/A3212740
Compare the above with:
"Scratch Peace" (#30) by Gregory Whitehead at
http://vispo.com/temp/whitehead.m3u or
http://www.ubu.com/sound/whitehead.html
(needs some volume)
ja
http://vispo.com
Gregory Whitehead: selected works, 1984-2004, on UBU.com
I see that ubu.com has published an MP3 anthology of some of Gregory
Whitehead's work from 1984-2004 at http://ubu.com/sound/whitehead.html to
mark twenty years of audio art from this New York artist who continues to
chart audio writing through the cavernous recesses/abcesses of the inner
ear. To mark the occassion, I have put a little m3u together at
http://vispo.com/temp/whitehead.m3u which allows Mr. Whitehead to stream
more easily into your bloodstream.
ja
Whitehead's work from 1984-2004 at http://ubu.com/sound/whitehead.html to
mark twenty years of audio art from this New York artist who continues to
chart audio writing through the cavernous recesses/abcesses of the inner
ear. To mark the occassion, I have put a little m3u together at
http://vispo.com/temp/whitehead.m3u which allows Mr. Whitehead to stream
more easily into your bloodstream.
ja
McLuhan audio
Here is a curious recording: http://vispo.com/temp/mcluhan.m3u (if m3u
(streaming) audio work for you, or http://vispo.com/temp/mcluhan.mp3 if it
doesn't (though the latter URL requires a 25 mb download before you can hear
anything)).
This is a recording of Marshall McLuhan (warts and all) visiting a High
school classroom in Toronto, in conversation with the students. I'm not sure
of the date of this recording. Probably late sixties (his book
'Understanding Media' was published in 1964). A friend of mine taped this
recording when it appeared on the CBC radio program Ideas back when it was
aired, which was probably late sixties or early seventies. It was recorded
and edited by Alan Anderson.
ja
http://vispo.com
(streaming) audio work for you, or http://vispo.com/temp/mcluhan.mp3 if it
doesn't (though the latter URL requires a 25 mb download before you can hear
anything)).
This is a recording of Marshall McLuhan (warts and all) visiting a High
school classroom in Toronto, in conversation with the students. I'm not sure
of the date of this recording. Probably late sixties (his book
'Understanding Media' was published in 1964). A friend of mine taped this
recording when it appeared on the CBC radio program Ideas back when it was
aired, which was probably late sixties or early seventies. It was recorded
and edited by Alan Anderson.
ja
http://vispo.com
Re: music
Thanks, Michael. Of the people you mention, I've heard only Berio; I'll
check out the rest, if possible, via file-sharing programs.
Maybe there'll come a time when regular composition in the arts is once
again fruitful via feedback through other levels of composition, perhaps.
But, at the moment, it seems that whereever we turn, whether in writing or
music or visual art, the note is a phrase (larger scale). Or the word is a
letter or symbol (smaller scale). To be a bit flip about it, as though we
were moving from assembly language to a 'higher' level language.
ja
check out the rest, if possible, via file-sharing programs.
Maybe there'll come a time when regular composition in the arts is once
again fruitful via feedback through other levels of composition, perhaps.
But, at the moment, it seems that whereever we turn, whether in writing or
music or visual art, the note is a phrase (larger scale). Or the word is a
letter or symbol (smaller scale). To be a bit flip about it, as though we
were moving from assembly language to a 'higher' level language.
ja