ARTBASE (1)
BIO
Michael Szpakowski is an artist, composer, writer and educator.
CV:
http://www.somedancersandmusicians.com/szpakowski_cv.pdf
Video work:
http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi
Stills:
http://www.flickr.com/photos/szpako
12 Remixes:
http://www.michaelszpakowski.org/mickiewicz/
CV:
http://www.somedancersandmusicians.com/szpakowski_cv.pdf
Video work:
http://www.somedancersandmusicians.com/vlog/ScenesOfProvincialLife.cgi
Stills:
http://www.flickr.com/photos/szpako
12 Remixes:
http://www.michaelszpakowski.org/mickiewicz/
john clare & alan sondheim in dub
A generative remix of the music & visuals from a movie
of a setting of Alan Sondheim's completion of a poem
by John Clare:
http://www.somedancersandmusicians.com/fragment/john\_clare\_and\_alan\_sondheim\_in\_dub.htm
about 1.5Mb I'm afraid
of a setting of Alan Sondheim's completion of a poem
by John Clare:
http://www.somedancersandmusicians.com/fragment/john\_clare\_and\_alan\_sondheim\_in\_dub.htm
about 1.5Mb I'm afraid
fragment.mov
A movie of my setting of the completion by Alan
Sondheim of a poem by John Clare:
http://www.somedancersandmusicians.com/Some_QuickTime_Movies/fragment.mov
(uh ..make sure your sound is on...and it's quite a
big file, about 2.5mb)
best
michael
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Sondheim of a poem by John Clare:
http://www.somedancersandmusicians.com/Some_QuickTime_Movies/fragment.mov
(uh ..make sure your sound is on...and it's quite a
big file, about 2.5mb)
best
michael
__________________________________
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Yahoo! Mail
Re: miles davis and new media
Beautifully put, Eduardo.
The original comparison strikes me as about as useful
as comparing a tomato and a hairbrush.
I too am a Miles fan & a more pertinent question, it
seems to me, is why his work is not universally hailed
as great in the same way as the "art" music greats
are.
It is every bit as complex, multilayered and subtle.
Here I don't think it is amiss to find a certain
institutionalised racism at play ( and I write this
fully aware that many of Miles' sidepeople were white,
as are many cutting edge jazz performers today, for
example Brad Mehldau, who is simply the most
interesting piano player in *any* genre as far as I'm
concerned)
The point I'm *not* making is that all musics are
equal -I hold to a rather unfashionable distinction
between high and low art. My point rather is that
Miles, Coltrane, Coleman et al by any possible
criteria clearly belong in the "high" category.
regards
michael
--- eduardo@navasse.net wrote:
---------------------------------
Hello Eric,
I normally read through most material that goes
through the list anddon't reply, mainly due to time
constraints, or because othersoften say it before I
get to the keyboard. But you have made aremark that I
find the need to comment on, partly because it is a
bitproblematic.
You write:
"Perhaps because he's black, from a culture we just
don't get, wewill then escape the stupidity of our
fathers history.
No. That doesnot work. We have to face the reality of
Miles Davis, and cringe in ourfailures.
New media is nothing, and there are cultures far
advancedof us."
-------------
You are here assuming that everyone else on the list
is not black, itappears. Who is "we" exactly? This
is the main reason why Iam writing. Please reflect on
what your statement reallyimplies. There is no need
to defend yourself, but the statementis problematic.
And since I already writing, I will also say that I
amheavily involved with music and Miles is one of my
main Jazzinfluences. I am familiar with both discs
that you mention and Ithink that they are truly
incredible pieces of art. But I amnot sure why you
place him in opposition to new media. Miles
wasactually very interested in what was going on in
contemporaryculture. His last album from 1991, which
you may alreadyknow, explored the relationship of Hip
Hop with Be-Bop. He named the Album Doo-Bop. Check
the word:
http://www.sweeting.org/mark/mp3/Miles_Davis/Doo-Bop.html
It was produced with Kool-Mo-Be. It is a remarkable
synthesisbetween loops, samples and improvizational
jazz, including twotracks produced posthumously around
his sampled trumpet solos, andwhich are
indistinguishable from his other compositions,which
where improvised in the studio. Miles embraced
whathis culture offered him at the same time that he
contributed to enhanceit by making material for the
future with what was new inhis own time. He embraced
the new, just like any othercreative cat would and
should do. So let's not put himon a pedestal in
opposition to theoriticians or emergingtechnologies.
Best,
Eduardo
-------- Original Message --------
Subject:[SPAM] RHIZOME_RAW: miles davis and new media
From: "Eric Dymond"<e.dymond@sympatico.ca>
Date: Thu, August 05, 2004 9:40pm
To: list@rhizome.org
Miles and the Virtual
Tonight,not unlike any other night I have been
listening to MilesDavis.
Tonight I played Miles Davis Live from Montreaux and
KindaBlue.
Why do these sounds escape the rules of
virtualencoding?
How is it that a mere human being can so deftly craft
artthat easily escapes the rules of new media.
He destroys Benjamin,Gutarri, Deleuze and the rest.And
he does it so easily. Why?How?
Does he see the world in a panoplay so different than
therest?
Does he escape human boundaries?
Apparently he does. Sowhat are we left with?
Maybe we should force ourselves to ignorehim. Banish
him because he does not follow the new order.
How do wefit Miles Davis into the new media history.
Perhaps because he'sblack, from a culture we just
don't get, we will then escape thestupidity of our
fathers history.
No. That does not work. We have toface the reality of
Miles Davis, and cringe in our failures.
Newmedia is nothing, and there are cultures far
advanced ofus.
Eric
+
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-> questions:info@rhizome.org
->
subscribe/unsubscribe:http://rhizome.org/preferences/subscribe.rhiz
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-> visit: on Fridays the Rhizome.orgweb site is open
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Subscribers to Rhizome aresubject to the terms set out
in the
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Rhizome.org web site is open to
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terms set out in theMembership Agreement available
online at http://rhizome.org/info/29.php
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The original comparison strikes me as about as useful
as comparing a tomato and a hairbrush.
I too am a Miles fan & a more pertinent question, it
seems to me, is why his work is not universally hailed
as great in the same way as the "art" music greats
are.
It is every bit as complex, multilayered and subtle.
Here I don't think it is amiss to find a certain
institutionalised racism at play ( and I write this
fully aware that many of Miles' sidepeople were white,
as are many cutting edge jazz performers today, for
example Brad Mehldau, who is simply the most
interesting piano player in *any* genre as far as I'm
concerned)
The point I'm *not* making is that all musics are
equal -I hold to a rather unfashionable distinction
between high and low art. My point rather is that
Miles, Coltrane, Coleman et al by any possible
criteria clearly belong in the "high" category.
regards
michael
--- eduardo@navasse.net wrote:
---------------------------------
Hello Eric,
I normally read through most material that goes
through the list anddon't reply, mainly due to time
constraints, or because othersoften say it before I
get to the keyboard. But you have made aremark that I
find the need to comment on, partly because it is a
bitproblematic.
You write:
"Perhaps because he's black, from a culture we just
don't get, wewill then escape the stupidity of our
fathers history.
No. That doesnot work. We have to face the reality of
Miles Davis, and cringe in ourfailures.
New media is nothing, and there are cultures far
advancedof us."
-------------
You are here assuming that everyone else on the list
is not black, itappears. Who is "we" exactly? This
is the main reason why Iam writing. Please reflect on
what your statement reallyimplies. There is no need
to defend yourself, but the statementis problematic.
And since I already writing, I will also say that I
amheavily involved with music and Miles is one of my
main Jazzinfluences. I am familiar with both discs
that you mention and Ithink that they are truly
incredible pieces of art. But I amnot sure why you
place him in opposition to new media. Miles
wasactually very interested in what was going on in
contemporaryculture. His last album from 1991, which
you may alreadyknow, explored the relationship of Hip
Hop with Be-Bop. He named the Album Doo-Bop. Check
the word:
http://www.sweeting.org/mark/mp3/Miles_Davis/Doo-Bop.html
It was produced with Kool-Mo-Be. It is a remarkable
synthesisbetween loops, samples and improvizational
jazz, including twotracks produced posthumously around
his sampled trumpet solos, andwhich are
indistinguishable from his other compositions,which
where improvised in the studio. Miles embraced
whathis culture offered him at the same time that he
contributed to enhanceit by making material for the
future with what was new inhis own time. He embraced
the new, just like any othercreative cat would and
should do. So let's not put himon a pedestal in
opposition to theoriticians or emergingtechnologies.
Best,
Eduardo
-------- Original Message --------
Subject:[SPAM] RHIZOME_RAW: miles davis and new media
From: "Eric Dymond"<e.dymond@sympatico.ca>
Date: Thu, August 05, 2004 9:40pm
To: list@rhizome.org
Miles and the Virtual
Tonight,not unlike any other night I have been
listening to MilesDavis.
Tonight I played Miles Davis Live from Montreaux and
KindaBlue.
Why do these sounds escape the rules of
virtualencoding?
How is it that a mere human being can so deftly craft
artthat easily escapes the rules of new media.
He destroys Benjamin,Gutarri, Deleuze and the rest.And
he does it so easily. Why?How?
Does he see the world in a panoplay so different than
therest?
Does he escape human boundaries?
Apparently he does. Sowhat are we left with?
Maybe we should force ourselves to ignorehim. Banish
him because he does not follow the new order.
How do wefit Miles Davis into the new media history.
Perhaps because he'sblack, from a culture we just
don't get, we will then escape thestupidity of our
fathers history.
No. That does not work. We have toface the reality of
Miles Davis, and cringe in our failures.
Newmedia is nothing, and there are cultures far
advanced ofus.
Eric
+
-> post: list@rhizome.org
-> questions:info@rhizome.org
->
subscribe/unsubscribe:http://rhizome.org/preferences/subscribe.rhiz
-> give:http://rhizome.org/support
-> visit: on Fridays the Rhizome.orgweb site is open
to non-members
+
Subscribers to Rhizome aresubject to the terms set out
in the
Membership Agreement availableonline at
http://rhizome.org/info/29.php +-> post:
list@rhizome.org-> questions: info@rhizome.org->
subscribe/unsubscribe:
http://rhizome.org/preferences/subscribe.rhiz-> give:
http://rhizome.org/support-> visit: on Fridays the
Rhizome.org web site is open to
non-members+Subscribers to Rhizome are subject to the
terms set out in theMembership Agreement available
online at http://rhizome.org/info/29.php
__________________________________
Do you Yahoo!?
New and Improved Yahoo! Mail - Send 10MB messages!
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shameless self promotion
If you've liked my short movies and are in the LA area
this month ( or if you know anyone you think would
like them who will be) please check out this
exhibition at the los angeles center for digital art:
http://www.lacda.com/exhibits/august.html
I've six pieces in it, three completely new, all made
with cellphone images - one, an epic by my standards,
a minute and a half long.
cheers
michael
=====
*** You are asked for a jusqu'a car-portrait 'imagining ourselves' contribution.
http://www.somedancersandmusicians.com/self_portraits/contribute.html
It black and an empty image must be qu'avec null, he n'est become the methods and material digitali/fotografici, (acceptable = ink, matita, coal, varnish; acceptable not = computer the photography &c)
http://www.somedancersandmusicians.com/self_portraits/index.html ***
__________________________________
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Yahoo! Mail
this month ( or if you know anyone you think would
like them who will be) please check out this
exhibition at the los angeles center for digital art:
http://www.lacda.com/exhibits/august.html
I've six pieces in it, three completely new, all made
with cellphone images - one, an epic by my standards,
a minute and a half long.
cheers
michael
=====
*** You are asked for a jusqu'a car-portrait 'imagining ourselves' contribution.
http://www.somedancersandmusicians.com/self_portraits/contribute.html
It black and an empty image must be qu'avec null, he n'est become the methods and material digitali/fotografici, (acceptable = ink, matita, coal, varnish; acceptable not = computer the photography &c)
http://www.somedancersandmusicians.com/self_portraits/index.html ***
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Yahoo! Mail
Re: Re: the brakhage pack
Yes -these are great Curt! -I've only had the most
cursory of looks but what I've seen is great -I'm
going to sit down and spend some serious time looking
at them/listening properly later this week.
Fantastic material to start with of course.
And absolutely right atomic, more Brakhage & more of
the spirit of Brakhage needed
best
michael
--- atomic elroy <atomicelroy@mac.com> wrote:
> atomic elroy wrote:
>
> > very nice!
> >
> > not enough Backhage out there!
> > I just was involved with an installation with a
> film artist who was
> > showing some 16mm "found footage" one of the works
> was a real early
> > Brackhage, which was a narrative, quite good also,
> circa 1950... like
> > Picasso and Pollack, Brackhage learned the art
> form before he
> > experimented.
>
>
> AND DIDN"T SPELL BRAKHAGE right!
> sorry
> AE04
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is
> open to non-members
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
> http://rhizome.org/info/29.php
>
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cursory of looks but what I've seen is great -I'm
going to sit down and spend some serious time looking
at them/listening properly later this week.
Fantastic material to start with of course.
And absolutely right atomic, more Brakhage & more of
the spirit of Brakhage needed
best
michael
--- atomic elroy <atomicelroy@mac.com> wrote:
> atomic elroy wrote:
>
> > very nice!
> >
> > not enough Backhage out there!
> > I just was involved with an installation with a
> film artist who was
> > showing some 16mm "found footage" one of the works
> was a real early
> > Brackhage, which was a narrative, quite good also,
> circa 1950... like
> > Picasso and Pollack, Brackhage learned the art
> form before he
> > experimented.
>
>
> AND DIDN"T SPELL BRAKHAGE right!
> sorry
> AE04
> +
> -> post: list@rhizome.org
> -> questions: info@rhizome.org
> -> subscribe/unsubscribe:
> http://rhizome.org/preferences/subscribe.rhiz
> -> give: http://rhizome.org/support
> -> visit: on Fridays the Rhizome.org web site is
> open to non-members
> +
> Subscribers to Rhizome are subject to the terms set
> out in the
> Membership Agreement available online at
> http://rhizome.org/info/29.php
>
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