Publisher: New York : Continuum International Publishing Group, 2013.Description: 1 online resource (pages cm).ISBN: 1283950677; 1441130675; 9781283950671; 9781441130679.
Note: Includes bibliographical references and index.
Semiotext(e) foreign agents series: Description: Los Angeles, Calif. : Semiotext(e), c2010; 335 pages ; 23 cm.ISBN: 9781584350934; 1584350938.
Publisher: New York ; Routledge, 1994.Description: xx,198 pages ; 24cm.ISBN: 0415910447; 0415910455
Hamburger Bahnhof – Museum für Gegenwart – Berlin
SCORES, the latest in the series Works of Music by Visual Artists, is an exhibition and concert project devoted to the musical score, a subject that gets constantly re-examined in the visual arts as well as in music. Particularly since the 1960s, the score has been appreciated, above and beyond conventional musical notation, as a multivalent medium of recording which may take the form of spontaneously free drawings, individual symbolic systems, or instructions for activities.
With projects by Saâdane Afif, Christian Marclay, Ari Benjamin Meyers and Jorinde Voigt, the score theme now becomes the focus of an exhibition accompanied by concerts. Despite their differing approaches, all the selected artists are interested in the transformation of one medium into another, a process that is accomplished in close collaboration with the participating musicians. The scores are presented as drawings, objects, lyrics, graphic-photographic-film notation, and as concepts that generate musical events and performances. Almost all of the works presented on a grand scale in the Rieckhallen of the Hamburger Bahnhof have been recently created on commission; they will be performed, piece by piece, in the spaces in which they are exhibited.
Vice de forme: Das Kabarett, a work developed by Saâdane Afif together with the composer Augustin Maurs, will be presented in both an opening event Vice de forme (First Notes) and a concert Vice de forme (In Songs) on the last day of the exhibition. A Yamaha player piano will play First Notes, recorded at the opening, during the exhibition.
Christian Marclay’s new comic book To Be Continued will be performed by ensemBle baBel. Also on view by the artist is the video Screen Play and the slideshow Zoom Zoom, which both serve as musical scores for the ensemble as well as performers Shelley Hirsch and Elliott Sharp. All of these works are being presented for the first time in Berlin.
The first four chapters of Song of the Earth, a projected eight-part cycle of drawings currently being created by Jorinde Voigt, will be on view and partly performed by Ensemble zeitkratzer. Audio recordings from the concerts devoted respectively to the works of Marclay and Voigt will afterward play in their areas of the exhibition.
Ari Benjamin Meyers has developed a series of “Meta-Scores,” inspired by Sol LeWitt’s “Instruction Pieces”; each day, they will be newly translated and performed by the composer Wojtek Blecharz and the flautist Susanne Fröhlich. On the exhibition’s last day, all the interpretations created and rehearsed during the exhibition will be performed once more, now by heart.
A project by Freunde Guter Musik Berlin e.V.
October 28, 8pm
October 30, 8pm
November 13, 6:30pm
November 13, 8pm
animism-in-the-sciences-then-and-now-cornelius-borck animism_booklet-hkw animism-notes-on-an-exhibition-anselm-franke anselm-franke-introduction-animism assemblages-felix-guattari-and-machinic-animism-e-flux biometry-and-antibodies-modernizing-animationanimating-modernity-edwin-carels much-trouble-in-the-transportation-of-souls-anselm-franke on-animism-modernitycolonialism-and-the-african-order-of-knowledge-harry-garuba reclaiming-animism-isabelle-stengers
A geology of media / Jussi Parikka.
Series: Electronic mediations: Publisher: Minneapolis, Minnesota ; University of Minnesota Press, Description: xiv, 206 pages : illustrations (black and white) ; 22 cm.ISBN: 9780816695515; 0816695512; 9780816695522; 0816695520.
“Media history is millions, even billions, of years old. That is the premise of this pioneering and provocative book, which argues that to adequately understand contemporary media culture we must set out from material realities that precede media themselves–Earth’s history, geological formations, minerals, and energy. And to do so, writes Jussi Parikka, is to confront the profound environmental and social implications of this ubiquitous, but hardly ephemeral, realm of modern life. Exploring the resource depletion and material resourcing required for us to use our devices to live networked lives, Parikka grounds his analysis in Siegfried Zielinski’s widely discussed notion of deep time–but takes it back millennia. Not only are rare earth minerals and many other materials needed to make our digital media machines work, he observes, but used and obsolete media technologies return to the earth as residue of digital culture, contributing to growing layers of toxic waste for future archaeologists to ponder. Parikka shows that these materials must be considered alongside the often dangerous and exploitative labor processes that refine them into the devices underlying our seemingly virtual or immaterial practices.”