A PT ideogram _ FIAPCE
detail
A Person Looks At A Work Of Art/
someone looks at something ...
LOGOS/HA HA
19 March 2013
APT7 _ QAGOMA
A PT ideogram _ FIAPCE
detail
A Person Looks At A Work Of Art/
someone looks at something ...
LOGOS/HA HA
18 March 2013
Only When I Larf
PAIN|T|HING/HA HA
Blind man : "I love to paint."
Sighted man : "Oh, really."
Blind man : "I love to paint."
Sighted man : "Oh, wow! Are you any good?"
Blind man : "I don't know."
Sighted man : "Of course not."
exchange from Dinner For Shmucks (2010)
click image to enlarge
A Person Looks At A Work Of Art/
someone looks at something ...
LOGOS/HA HA
16 March 2013
Oh my God keep me from goin' lunatic!
Regarding the Will of the Ghost in the Machine
to FraMe & NaMe
] and ShaMe (
At The Researchers research the research (VCA),
after the opening white projection-space cometh the apparition of expectation, the opening default of every PowerPoint presentation :
Even a specific unnomination point, in the vicinity of...
Jacob's ladder...
click image to enlarge
Seven-six-eleven-five-nine-an'-twenty mile to-day
Four-eleven-seventeen-thirty-two the day before
(Boots-boots-boots-boots-movin' up an' down again!)
There's no discharge in the war!
Don't-don't-don't-don't-look at what's in front of you.
(Boots-boots-boots-boots-movin' up an' down again);
Men-men-men-men-men go mad with watchin' em,
An' there's no discharge in the war!
Try-try-try-try-to think o' something different
Oh-my-God-keep-me from goin' lunatic!
(Boots-boots-boots-boots-movin' up an' down again!)
There's no discharge in the war!
There's no discharge in the war!
Don't-don't-don't-don't-look at what's in front of you.
(Boots-boots-boots-boots-movin' up an' down again);
Men-men-men-men-men go mad with watchin' em,
An' there's no discharge in the war!
Try-try-try-try-to think o' something different
Oh-my-God-keep-me from goin' lunatic!
(Boots-boots-boots-boots-movin' up an' down again!)
There's no discharge in the war!
from 'Boots : Infantry Columns" by Rudyard Kipling
Peter Dawson and Susie The Dog
on the occasion of the recording
LOGOSONG/HA HA
]Boots(
click the image to enlarge it
click here to sing along with the You Tube videodetail
A Person Looks At A Work Of Art/
someone looks at something ...
LOGOS/HA HA
15 March 2013
Pay peanuts, make a monkey of yourself.
Did anyone else watch the inspirational address by Simon Crean, Federal Minister for the Arts, at the Canberra Press Club a few days ago?
We asked this of a gathering of artists and arts researchers yesterday: puzzlement, no one. So often described as "long awaited", this launch over lunch of the first national cultural policy in twenty year, sparklingly entitled Creative Australia.
We asked this of a gathering of artists and arts researchers yesterday: puzzlement, no one. So often described as "long awaited", this launch over lunch of the first national cultural policy in twenty year, sparklingly entitled Creative Australia.
If you missed it too, our bLOGOS/HA HA arts reporter summarises the Minister's statement thus: Artists are at the centre of this nation, and creativity at its heart. Cheers all round! Many a beret flung into the air!
Back to earth, if you are a visual artist...
This from yesterday's The Age :
Visual arts
Visual artists have been largely ignored in the federal government's national cultural policy, according to a peak lobby group.
The executive director of the National Association for the
Visual Arts, Tamara Winikoff, said the bulk of new funding announced in
the Creative Australia policy had gone to the performing arts.
''I think the disappointing thing is there's no comparable
support to the substantial new money being allocated for the performing
arts,'' she said.
Ms Winikoff said the policy had not taken up a decade-old
finding in the Myer report on contemporary visual arts and craft that
artists be paid when they lend work to a gallery or are commissioned to
create a new work for an exhibition. NAVA estimates it would cost $3
million to pay artists the minimum standards in the industry code.
''We're disappointed that the modest request of $3 million a year has not been addressed,'' she said.
''It's chicken feed, one-tenth of what's given to the
performing arts. Also it's a matter of respect.
There's an understanding
that everyone else will get paid. Why are artists expected to do it for
love?''
Ms Winikoff said she would have liked to have seen reforms to
tax, superannuation and social security to assist artists in setting up
and running viable businesses.
She applauded the policy's support for arts in education, but
said this was undermined by budget cuts to state-funded TAFE colleges
in Victoria and NSW that had led to the cancellation of arts courses.
Andrew Taylor
click here to read full article
detail
A Person Looks At A Work Of Art/
someone looks at something ...
LOGOS/HA HA
14 March 2013
The researchers research the research.
click image to enlarge
detail A Person Looks At A Work Of Art/
someone looks at something ...
LOGOS/HA HA
10 March 2013
China blames the Dalai Lama and the western media for a spate of horrific self immolations
As the Chinese Government bullies and buys (with iron ore in Australia, and by its influence on the overall world economy) silence and international compliance, their repression of the Tibetan people and culture continues apace.
As does the horror of the Tibetan protest response. Since 2009 there have been 107 Tibetan self- immolations in protest against the Chinese occupation.
Today, March 10 is observed as Tibetan Uprising Day, to commemorate the 1959 Tibetan uprising and to focus upon the continuing repressive presence of the People's Republic of China in Tibet.
click here to seen Lateline broadcast
Chinese Government officials have launched a blistering attack
on the Dalai Lama and his allies, accusing them of orchestrating the
wave of self-immolation suicides in the west of the country.
Transcript
TONY JONES, PRESENTER: The Chinese Government's officials have
launched a blistering attack on the Dalai Lama and his allies, accusing
them of orchestrating the wave of self-immolation suicides in the west
of the country.
Speaking at the National People's Congress, a leader from Sichuan Province also blamed the foreign media for drawing attention to the pro-Tibet protests.
Earlier this week, China sentenced three Tibetan monks to between 10 and 15 years in jail for supposedly inciting self-immolation protests.
China correspondent Stephen McDonell was at the Great Hall of the People in Beijing today, and a warning: this story contains disturbing images.
STEPHEN MCDONELL, REPORTER: The vast ethnic Tibetan regions in Western China are thousands of kilometres from Beijing.
Many Tibetans there want independence and over the past two years more than 100 have set themselves on fire to try and achieve it. They're mostly monks and the largest group come from Sichuan Province. So when the Sichuan delegation to the National People's Congress met, the ABC asked them why it is that in recent months the self-immolations have continued.
ZHANG DONGSHENG, DEPUTY DIRECTOR, SICHUAN PEOPLE'S CONGRESS (voiceover translation): You ask why these things keep happening, well it's linked to our long and fierce battle with the Dalai Lama clique.
STEPHEN MCDONELL: These powerful Communist Party officials were impressed by the rousing attack on the Dalai Lama from their colleague.
ZHANG DONGSHENG (voiceover translation): Self-immolation is neither advocated nor permitted by Tibetan Buddhist teaching. Self-immolation is a sin. So I wonder how they learnt to do it. The Dalai clique taught them, for sure.
STEPHEN MCDONELL: With Tibetans still killing themselves in protest at Chinese government rule, this issue remains a constant source of embarrassment for the administration here. But the line it's worked out is that this is all the fault of outsiders - the Dalai Lama, his government in exile and now also foreign journalists.
Speaking at the National People's Congress, a leader from Sichuan Province also blamed the foreign media for drawing attention to the pro-Tibet protests.
Earlier this week, China sentenced three Tibetan monks to between 10 and 15 years in jail for supposedly inciting self-immolation protests.
China correspondent Stephen McDonell was at the Great Hall of the People in Beijing today, and a warning: this story contains disturbing images.
STEPHEN MCDONELL, REPORTER: The vast ethnic Tibetan regions in Western China are thousands of kilometres from Beijing.
Many Tibetans there want independence and over the past two years more than 100 have set themselves on fire to try and achieve it. They're mostly monks and the largest group come from Sichuan Province. So when the Sichuan delegation to the National People's Congress met, the ABC asked them why it is that in recent months the self-immolations have continued.
ZHANG DONGSHENG, DEPUTY DIRECTOR, SICHUAN PEOPLE'S CONGRESS (voiceover translation): You ask why these things keep happening, well it's linked to our long and fierce battle with the Dalai Lama clique.
STEPHEN MCDONELL: These powerful Communist Party officials were impressed by the rousing attack on the Dalai Lama from their colleague.
ZHANG DONGSHENG (voiceover translation): Self-immolation is neither advocated nor permitted by Tibetan Buddhist teaching. Self-immolation is a sin. So I wonder how they learnt to do it. The Dalai clique taught them, for sure.
STEPHEN MCDONELL: With Tibetans still killing themselves in protest at Chinese government rule, this issue remains a constant source of embarrassment for the administration here. But the line it's worked out is that this is all the fault of outsiders - the Dalai Lama, his government in exile and now also foreign journalists.
ZHANG DONGSHENG (voiceover translation): When these things have happened, they've been hyped up by the foreign media and are used by enemy forces overseas to attack our party and our government.
STEPHEN MCDONELL: There's clearly no sign that Beijing is open to dialogue on this issue. Instead, the government has responded with a massive security crackdown in western regions.
- Stephen McDonell, Lateline.
A Person Looks At A Work Of Art/
someone looks at something ...
LOGOS/HA HA
05 March 2013
GrinderHub_Melbourne
Long before the mighty Grinderman of Nick Cave, Warren Ellis, Martyn Casey and Jim Sclavunos thrilled team bLOGOS at The Forum in Melbourne, the nineteenth and early twentieth century grindermen of Europe daily crankd and buskd their music machine theatrics (see below) to the street.
image courtesy : Theatre of the Actors of Regard
Below is a drawing by Pierrot c.1900 from the recently re-organised archives of our Paris Bureau. The red pencil detail we reckon is an explanatory overlay, perhaps by one of the Slave Pianolas, perhaps by a sub-ed.
The scene records an official meeting between two former adversaries from the time of the Paris Commune (1871). One is now the mayor of Paris. The other was a friend of the late citizen Courbet, and involved with him in the push to re-locate the Vendome Column. Today he is the representative of the automaton artist collective Slave Pianolas.
Courbet as Samson.
And is that the future mayor feeling threatened?
Grinding his SklaveKlavier (in the Commune split, he sided with the Marxists over the Anarchists) the ancient communard demonstrates and advocates for the visionary proposal of the Slave Pianolas :
for a grand architectural project for Paris, a
Palace of the Peoples' Projections
... and of the more recent Exposition Universelle of 1900.
A project to realise to the limit, in one architecture, all of the extraordinary recent inventions of communication and display : electricity, telephone, wireless, recorded sound and cinema.
Grinding his SklaveKlavier (in the Commune split, he sided with the Marxists over the Anarchists) the ancient communard demonstrates and advocates for the visionary proposal of the Slave Pianolas :
for a grand architectural project for Paris, a
Palace of the Peoples' Projections
collection : FIAPCE
A project in the spirit of Eiffel and the Exposition Universelle of 1889
Central Dome of the Gallery des Machines,
Exposition Universelle de Paris 1889 by Louis Beroud
... and of the more recent Exposition Universelle of 1900.
Exposition Universelle, 1900
Palais de l`Électrique : The Palace of Electricity
A project to realise to the limit, in one architecture, all of the extraordinary recent inventions of communication and display : electricity, telephone, wireless, recorded sound and cinema.
collection : FIAPCE
On the drawing is written :
The mayor listens to the submission.
"One more tale spinning mendicant," he thinks
And barely restrains his contempt.
"Perhaps you should approach some more
deserving place," he suggests.
Ignorance will always out.
As he walks away, the old mayor calls back
"...in a hundred years!".
The mayor listens to the submission.
"One more tale spinning mendicant," he thinks
And barely restrains his contempt.
"Perhaps you should approach some more
deserving place," he suggests.
Ignorance will always out.
As he walks away, the old mayor calls back
"...in a hundred years!".
collection : FIAPCE
"...in a hundred years!".
Time passes
In Melbourne and beyond,
Percy Grainger comes and goes...
In Melbourne and beyond,
Percy Grainger comes and goes...
Cross-Grainger Free Music experiment:
“Sea Song” Sketch, three solovoxes, played by
pianola roll,
1950
Silver gelatin print.
Grainger Museum collection, University of Melbourne.
photo by Burnett Cross (1914-1996), New York Cross-Grainger Free Music experiment:
Gliding tomes on whistle, notes on recorders,
produced by holes and slits cut in paper rolls,
February 1950 Silver gelatin print
Grainger Museum collection, University of Melbourne.
The photos and captions above are from here
Grainger's
search for a means to realise Free Music was frustrated by a lack of
substantial resources and by the limitations of available technology.
Despite the recent advances in electronic instrument design, the
question posed by Burnett Cross still bears some careful consideration:
are the means of realising Free Music available today?
Gliding tomes on whistle, notes on recorders,
produced by holes and slits cut in paper rolls,
February 1950 Silver gelatin print
Grainger Museum collection, University of Melbourne.
The photos and captions above are from here
The
final machine, uncompleted at the time of Grainger's death in 1961, was
perhaps the most sophisticated. It too worked on the principle of a
moving roll, but this time made of clear plastic. Here, a row of
spotlights projected light beams through the plastic roll and onto an
array of photocells, which in turn controlled the pitch of the
oscillators. The familiar undulating shapes, so carefully cut into the
paper rolls of the Kangaroo Pouch machine, could simply be painted onto
the plastic roll with black ink. Moreover the circuitry for this machine
was transistorised, lending a stability which could not be achieved
with the use of valves.
Unfortunately,
the machine was lost in transit between Grainger's home in White Plains
and the Grainger Museum in Melbourne during the 1970s. Nor did Grainger
have the chance to compose with this machine, so we can only speculate
about the music he would have created on it.
This
leaves us with something of an enigma. Although we can form a
reasonably clear conception of Grainger's intentions, Free Music remains
essentially an abstract, unrealised idea. Yet the implications of this
idea point to nothing less than a total renovation of Western music; to
far more radical concepts than Schoenberg's 12-tone method, for example.
- extract from The Free Music Machines of Percy Graingerby Rainer Linzfull article here
1952 : The Kangaroo Pouch Free Music machine
"...in a hundred years!".
Time passes
FREE MUSIC : SLAVE MUSIC
In Melbourne, a group of mendicant artist-musician SLAVE PIANOS approach the City of Melbourne with a renewal of this century project rightly dubbed The Reproducing Building : from Bauhas to GrinderHaus, a project for an ongoing son et lumière exposition at the Design Hub,
RMIT University, Melbourne.
detail
A Person Looks At A Work Of Art/
someone looks at something ...
LOGOS/HA HA
A Person Looks At A Work Of Art/
someone looks at something ...
LOGOS/HA HA
28 February 2013
The Reproducing Building
A project by SLAVE PIANOS
intended for the Design Hub at RMIT University.
a moment from the sequence XENAKIS : EVRYALI
The following extracts are from the unsuccessful SLAVE PIANOS application to the City of Melbourne Public Art Commissions 2013
... to transform RMIT University’s architectural landmark The Design Hub (Sean Godsell and Peddle Thorpe Architects) into a towering keyboard and digitally scrolling piano roll.
... the glass cells of the building’s ‘second-skin’ on the southern and eastern walls will be internally illuminated. Computer controlled LEDs will animate a curated program of transcriptions of 20th century avant-garde art, architecture and experimental music.
... a mechanically operated grand piano inside the building will perform the transcriptions in real time. This ‘music’ will then be transmitted over FM bandwidth for radio access by anyone in proximity to the building.
a moment from the sequence XENAKIS : EVRYALI
bLOGOS/HA HA digs Conlon Nancarrow, Kraftwerk, Primitive Calculators, Ben Frost - Theory Of Machines ...
... Conlon Nancarrow argued that the piano roll is
the perfect notation for musical temporal patterning, and is a representation
that is not only capable of being immediately apprehended by untrained
listeners, but which directly aids in ‘seeing’ musical structures that may otherwise
remain ‘unheard’.
... In this sense the RMIT work would continue SLAVE PIANOS’ recent works where elaborate architectural and sculptural forms have provided physical and visual modes for communicating intricate musical and artistic ideas.
... In this sense the RMIT work would continue SLAVE PIANOS’ recent works where elaborate architectural and sculptural forms have provided physical and visual modes for communicating intricate musical and artistic ideas.
a moment from the sequence XENAKIS : EVRYALI
the 'reproducing building'
... the proposed work would, after having drawn
attention to itself in an unsubtle manner derivative of advertising procedures,
engage audiences at a more considered and indirect level by presenting a
carefully curated 'exhibition' using the 'reproducing building' as display
mechanism, and the 'reproducing piano' as auditory analogue.
a moment from the sequence XENAKIS : EVRYALI
... would elaborate a concise and
coherent visual and musical argument, transferring acknowledged ‘masterworks’ from
the rarefied atmospheres of the recital hall and university library (Xenakis'
‘Evryali’ and Tenney's ‘Spectral CANON for CONLON Nancarrow’) and the
institutionalised public art gallery (Stella's ‘Black Painting’ and Tyndall's
‘Black Square Regarded by Members of the White Art Cult’) onto the ‘street’ and
into a form and language familiar from advertising and computer games.
... the ground floor ‘piano control room’ will provide public access to detailed information about the work, housing scores, recordings, commentaries, working diagrams and archival materials.
from the sequence PETER TYNDALL : BLACK SQUARE REGARDED BY MEMBERS OF THE WHITE ART CULT
Further sequences by James Tenney, Frank Stella and Sol LeWitt can be seen at slavepianos.org
. . . .
proLOGOS/HA HA
proLOGOS/HA HA
From one Melbourne building
(Art Projects, 566 Lonsdale Street )
to another
(Design Hub, Cnr Victoria and Swanston Streets)
From SLAVE GUITARS
to SLAVE PIANOS
From a yellowing photograph of Peter Tyndall's exhibition at Art Projects in February 1980
to bLOGOS/HA HA here now
In the centre of the room is an exact model of the interior of the room. Same lino, same four light bulbs shining, same sash windows all at scale.
Inside the meta-room is a meta-exhibition of Tyndall's dependent projection-space ideogram, shown as if turning through it's four revolutions - one right-angle turn for each of the four walls.
On the floor, in the centre of the meta-room model is a|the black square.
On the outside, the model room is supported some distance above the floor, just as Art Projects the gallery was at that time suspended three floors above the ground. (The building has since been demolished.) The gallery was accessible by a flight of stairs, the model by a fretted ladder. Same diff.
The overall exterior design of the object has the form of the Slave Guitar. This evolved from the Puppet Culture Framing System, as illustrated here.
The extended sub-Title of this Art Projects meta-work makes a mention of these Slave Guitar and Puppet Culture forms :
detail
A Person Looks
At A Work Of Art/
someone looks
at something …
LOGOS/HA HA
Art Projects (A
Gallery) 566 Lonsdale St. Melbourne
An Exhibition.
February. 1980. (Painting, Sculpture, Conceptual Works)
The Fourth Room
(The Third Room)
The Red Gallery/
The Blue Gallery/ The Yellow Gallery/ The Clear Vision Gallery
incorporating
(The Red City/
The Blue City/ The Yellow City/ The Clear Vision City)
The Three
Dimensional Guitar (Puppet Culture Framing System)
The Head (The
Dream)
From the Ballarat Fine Art Gallery, here is the
'BLACK SQUARE REGARDED
BY MEMBERS OF THE WHITE ART CULT'
thingo from 1979.
detail
A Person Looks At A Work Of Art/
someone looks at something ...
LOGOS/HA HA
(Puppet Culture Framing System)
A Person Looks At A Work Of Art/
someone looks at something ...
LOGOS/HA HA
(Puppet Culture Framing System)
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