TAR (Tomorrow-AudiTARium-Registration)

To AudiTARium : Register 

 detail

 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA

     

Another giant tree falls in the forest : Vale Alvin Lucier (1931 - 2021)

"I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have."

- Alvin Lucier 1969

Theatre Audio Regard 

 detail

 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA

  

   

     

In Other Words podcast #57 : Then and Now : Paula Cooper Gallery

PODCAST EPISODE #57

Then and Now: Paula Cooper Gallery

In Other Words

Apr 2019 (40 minutes)

Episode Description : Paula Cooper Gallery has survived and thrived in a mercurial art world for more than five decades. 

On today’s show, the legendary dealer talks about the history and future of her gallery together with Steven Henry, who has been the gallery director for more than two decades, Allan Schwartzman, co-founder of Art Agency, Partners, and host Charlotte Burns. 

Charlotte Burns: As we round out, I wanted to ask the three of you: from your combined experiences over the years, are there other words of wisdom that you would give either to collectors or artists who are listening to the show?

Paula Cooper: Look. Look more. Just look. And be patient and look.

Steven Henry: Trust your eye and —

Paula Cooper: And relax! Jesus, people get very uptight sometimes and nervous like it’s a test or something.

[Laughter]

TARist with 'Paula', oil on canvas by Rudolf Stingel  

Theatre of the Actors of Regard  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA
     

   

HONK !

enlarge  

Theatre of the Actors of Regard  

  detail

  A Person Looks At A Work Of Art/

  someone looks at something...

  

  LOGOS/HA HA
     

     
   

MADA Artforum : In Memory of John Nixon Wednesday 16th September 1-2pm - online.

 

A special Artforum dedicated to John Nixon’s work and contribution to artist run initiatives, curating and collaborative practices. Speakers include Kathy Temin, artist and Head of Monash Fine Art, Anna Schwartz, Director of Anna Schwartz Gallery, Amalia Lindo and Jacqueline Stojanovic, artists who assisted John Nixon in his studio, Max Delany, Director of ACCA, Australian Centre for Contemporary Art and artist Rose Nolan.

REGISTER HERE

John Nixon at Teksas, Denmark  

photo courtesy Karin Lind and Peter Holm  

   Theatre of the Actors of Regard  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA
     

     

Musicians of the Matrix

Not so much music of the spheres as resonant matrix, and thereof an orchesTAR of local inflections. A village pick-up band, after Ives and Cage and the Sengai Slave Guitars.

  Score of 'The Universe' as performed by Sengai Slave Guitars


  Musicians of the Matrix                  click HERE to enlarge above

Theatre of the Artists in Resonance  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA

   

   

   

socio-isoLOGOS/HA HA

Chris Mann was the first person I heard talk of language as a virus. That was probably in the early 1980s. I don't know if it was Chris's own thought or if he had encountered it via William Burroughs :

What Burroughs terms the viral function of language is its ongoing ordering of reality toward the limit of total control, the opposite of anarchy. He employs the figure of the virus, a force hovering between evolving being and mere replicator, to problematize conventional definitions of living and non-living.⁹ In Burroughs' cosmos, one must always remember that the words one transmits can never be neutral moves in the universal language-game; even if misfiring, some sort of force is necessarily being transmitted. This is the very problem addressed by Csicsery-Ronay when he cites Jameson's skepticism over sf's linguistic aporia. It is exceptionally difficult for any resistant message to avoid complicity with the dominant communication systems in whose language it is composed. If “a butterfly flapping its wings in Tokyo can cause a tornado in Toledo” (Porush 381), who knows what havoc a few well-chosen words could wreak in the infosphere? As responsible cyborg-writers, we'd best have a good idea how the “techsts” we use are going to function out there before we turn them loose. The trick, argues Burroughs, is to transmit a kind of force that doesn't immediately contribute to the virus-effect but can actually help work against it. The fold-in is the principle textual method of guerilla resistance against the virus (or, as Burroughs puts it in his science-fictional work, against the Nova Conspiracy); one takes a strongly linear form like the typewritten word, cuts it, and reassembles it such that its ordinative powers are deactivated.¹⁰ As apomorphine was Burroughs' antidote to morphine addiction, so silence is the antidote to word-addiction and the fold-in to order-addiction.¹¹ This resistance, in Burroughs' work, is the only option under the circumstances of total occupation by Control.

- from William S. Burroughs and the Language of Cyberpunk

by Brent Wood
Science Fiction Studies : #68, Volume 23, Part 1, March 1996

     

click image to enlarge  

Theatre of Audio Refusal  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something...

  

 LOGOS/HA HA

    

eat sleep TARbeat

Theatre of the Actors of Regard  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA

 

fun TAR mental | The Holy Trinity and the Three Graces go nightclubbing...

Theatre of the Actors of Regard  

  detail

  A Person Looks At A Work Of Art/

  someone looks at something... 

         

  LOGOS/HA HA

   

The Field : Theatre of Auditory Regard

Last night we listened to the ABC.TV documentary 
Finding The Field.

To a hurlyburly of 1968 imagery, it starts with

not Jimi Hendrix' Crosstown Traffic (1968)   

Gioachino Rossini's William Tell Overture.
Then Jerry Lewis mimes over-typing-self with Title
to LeRoy Anderson's The Typewriter, as we in '68

arrive through the arch of the modernew NGV to Tchaikovsky's Dance of The Sugar Plum Fairy

and reflect there on Mel Ramsden and Ian Burn

to a J S Bach organ composition.
Fifty years pass and staff install The Field Revisited
to Vivaldi's Four Seasons.

Exeunt to Happiness Does Not Wait.

Theatre of the Actors of Regard 

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA

   

music credits
poetsoftheinterverse

William Tell Overture
Composed by Rossini
Performed by the South German Philharmonic Orchestra
Piros Classical Records

The Typewriter
by Leroy Anderson

Dance of the Sugar Plum Fairy
Original composition by Pyotr Ilyich Tchaikovsky
Kevin MacLeod (incompetech.com)
Licensed under Creative Commons: By Attribution
3.0 http://creativecommons.org/licenses/by/3.0/

Bach, Organ Sonata No 2 BWV 526, 

1st movement, Vivace (C Minor)
Performed by Stephen Malinowski
Keyboard Concerto in A major, BWV 1055, 1. Allegro
Original composition by Johann Sebastian Bach
Synthesized by Carey R. Meltz

Fugue in G Minor, BWV 578 performed by E. Power Briggs
Courtesy of Sony BMG Music Entertainment
By arrangement with Sony Music Entertainment Australia Pty Ltd

Bach’s Sinfonia for Cantata No 29
The Grotto Electrasynth-O-Magneticpolyphonic Orchestra

Bach Brandenburg Concerto No 3, 3rd Movement
As Performed by The Raleigh Ringers, Raleigh, NC, USA
Arranged for Handbells by Hart Morris
Conducted by David M. Harris 

Brandenburg Concerto No 3, BWV 1048, 3rd mvt.
Performed by Early Music ensemble Voices of Music
Original composition by Johann Sebastian Bach

A Soalin
Batteast/Mezzetti/Stookey
Performed by Robert Johnson

Celestial Cantabile
Composed by St George E/Russe L
Courtesy of EMI Production Music

Le Carneval des Animaux by Saint Saens:
Introduction and Royal March of the Lion
Licensed courtesy of One Media iP Ltd

Ravel’s Daphnis and Chloé, Suite II - Lever du Jour
Performed by The Philharmonia Orchestra
Conducted by Geoffrey Simon
Recording: CACDS4027 Five O’Clock Foxtrot
Used by arrangement with Cala Records Limited

The Four Seasons-Summer-Presto
Composed by Antonio Vivaldi
© Flipper Srl, licensed by Fable Music Pty Ltd (Australia)

Happiness Does Not Wait
Performed by Olafur Arnalds
Published by Kobalt Music Publishing Australia Pty Ltd
Courtesy of Erased Tapes Records Ltd
ISRC:GBWZD1305009

Words In Order : Gerald Murnane

Advance release from the author of The Plains, 
present resident of Goroke.

A selection of tracks from the forthcoming album
'Words In Order' by Gerald Murnane - available June 14, 2018 (preorders shortly)

• 1

  The Ballad Of RTM
• 2

  Gerald Murnane recites 'How I Wrote Elastic Man' by The Fall
• 3

  Are You Digging on My Grave?
• 4

  Knuckles The Dog (Who Helps People)
• 5

  A Plea To Those Who Survive Me

  
  
• 6

  Gerald Murnane recites Wire's 'The Drill'

  
  
• 7

  At The Drapers

  
  
• 8

  Gerald Murnane recites 'Everybody Loves You When You're Dead' by The Stranglers
• 9

  In The Cemetery

Theatre of Auditory Response  

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA

  

][ ---- cancelling headphones )(

The RedActor of TAR 

][ ---- cancelling headphones )(

Theatre of the Actors of Regard 

 detail

 A Person Looks At A Work Of Art/
 someone looks at something... 

         

 LOGOS/HA HA

   

TAR presents : in see

"Unquestionably the founding work of minimalism in musical composition, Terry Riley's In C (1964) challenges the standards of imagination, intellect, and musical ingenuity to which "classical" music is held. Only one page of score in length, it contains neither specified instrumentation nor parts. Its fifty-three motives are compact, presented without any counterpoint or evident form. The composer gave only spare instructions and no tempo. And he assigned the work a title that's laconic in the extreme. At the same moment of its composition, Elliott Carter was working on his Concerto for Piano, a work Stravinsky was to hail as a masterpiece. Having almost completed Laborinthus II, Luciano Berio would soon start the Sinfonia. Karlheinz Stockhausen had just finished Momente. In context of these other works, and of the myriad of compositional styles and trends which preceded them, In C stands the whole idea of musical "progress" on its head. 

Forty years later, In C continues to receive regular performances every year by professionals, students, and amateurs, and has had numerous recordings since its 1968 LP premiere. Welcoming performers from a vast range of practices and traditions, from classical to rock to jazz to non-Western, these recordings range from the Chinese Film Orchestra of Shanghai -- on traditional Chinese instruments -- to the Hungarian 'European Music Project' group, joined by two electronica DJs manipulating the Pulse. In C rouses audiences while all the while projecting an inner serenity that suggests Cage's definition of music's purpose -- "to sober and quiet the mind, thus making it susceptible to divine influence." 

Setting the stage for a most intriguing journey into the world of minimalism, Robert Carl's Terry Riley's In C argues that the work holds its place in the canon because of the very challenges it presents to "classical" music. He examines In C in the context of its era, its grounding in aesthetic practices and assumptions, its process of composition, presentation, recording, and dissemination. By examining the work's significance through discussion with performers, composers, theorists, and critics, Robert Carl explores how the work's emerging performance practice has influenced our very ideas of what constitutes art music in the 21st century."

- an introduction to Terry Riley's In C (Studies in Musical Genesis, Structure, and Interpretation) by Robert Carl

.  .  .  .      

TAR presents : in see

go online to Terry Riley's "In C"

open as many copies of that page as you wish to have numbers of players in your performance

arrange your orchestra like so, for easy access

Now, click/play/vary as you wish :

Regard (rubato)

Theatre of the Actors of Regard 

 detail
 A Person Looks At A Work Of Art/
 someone looks at something... 

         

 LOGOS/HA HA

 
 

Chin Music

Australia v England

at the Gabba, Brisbane

first match of The Ashes 2017/18

day 4

FIAPCE  

           detail
           A Person Looks At A Work Of Art/
           someone looks at something... 

         

           LOGOS/HA HA 

   

Color Me Ken

Last week we attended the impressively credentialed workshop Art and Translation : Ian Fairweather’s The Drunken Buddha lead by Claire Roberts at the Ian Potter Museum of Art, Melbourne University. 


 Towards an Abstract Mood : The Drunken Buddha, 1965

While there, we also regarded (and translated...) The Potter's current exhibition The Score, curated by Jacqueline Doughty :

A musical score is a form of translation. It transcribes sound into drawing, by representing the aural complexities of pitch, rhythm and tempo as visual symbols.

The Score expands upon this spirit of transformation to ask, if music can be represented by notes on a staff, why not by colours? If a song can be performed by the voice, why not with silent hand gestures? And how would dance based upon the syllables of a poem, or music based upon the shape of a leaf manifest?

photos by Jodie Hutchinson   

excerpts from The Score of Theatre of the Actors of Regard  

Now, following The Score, we're listening again to Ken Nordine, to his 1966 Colors album, an extension of his 1964 7" EP Fuller Paint 'Color' Spots made for the Fuller Paint Company. 



The ad man Bob Pritkin gave Ken Nordine this opportunity. That's Bob below, on stage with the Fuller Four Paint Performers doing their conceptual Can-Can-Can-Can for TAR. This info and these images from the excellent audioarcana.

Theatre of the Actors of Regard  

COLORS has thirty-four tracks, each around 1' 35" of cool jazz hip bop advertisement copy for the chosen colors. It's available on Spotify and YouTube. 

cover design Daniel Czubak  

Flesh is ... color-centric thinking

Flesh, as a color is in an awful mess, yes
Ask anyone with flesh, they'll tell ya
Flesh, as a color is about as close to a problem as a color can get
Some people think the only color flesh color should be is the color their flesh color is
Which, pure and simple, is color-centric thinking
Popular in some corners, but you and I know, though, 
That the proper color flesh for flesh to be is the proper color it is
Varying from complexion to complexion
But if black flesh
And white flesh
And brown flesh
And red flesh
And yellow flesh
And tan flesh
If all the fleshes that are flesh want to establish a sensible similarity among differences,
We better forget the flesh, and the colors it can be, and think on the Spirit, and its singular light
Otherwise, flesh as a color could be black and blue,
Or even a bloody hue

Tracklist
01 Olive
02 Lavender
03 Burgundy
04 Yellow
05 Green
06 Beige
07 Maroon
08 Ecru
09 Chartreuse
10 Turquoise
11 White
12 Flesh
13 Azure
14 Puce
15 Magenta
16 Orange
17 Purple
18 Muddy
19 Russet
20 Amber
21 Blue
22 Black
23 Gold
24 Crimson
25 Brown
26 Rosey
27 Hazel
28 Mauve
29 Fuschia
30 Sepia
31 Nutria
32 Cerise
33 Grey
34 Coral


TAR presents regarding Abstract Mood (for Ken N) :

Ken Nordine  

 Towards a Drunken Buddha : Haymes 'Interior Colours' chart, 2017

 detail

 A Person Looks At A Work Of Art/

 someone looks at something... 

         

 LOGOS/HA HA