Steina Vasulka - Violin Power (1978)
Bill Viola - He weeps for you (1976)
From 1989 to 1992 New York based artist Gen Ken Montgomery presented the best of sound art, video, cassette culture, mail art, and associated zines to a growing population of international artists, viewers, and listeners. GENERATOR became an essential downtown stop for a network of alternative artists. Check out audiovisualarts.org for more information. Photos courtesy Patti Giancontiero.
Constantin Brancusi, Construction Documentation of the Endless Column, Targu Jiu, Romania, (1937-1938)
The Endless Column Ensemble, by famed Romanian sculptor Constantin Brancusi (1876-1957), has been hailed as one of the great works of twentieth-century public art. Commissioned by the National League of Gorj Women to honour the soldiers who had defended the town of Tfrgu Jiu against a German force in 1916, the tripartite ensemble, erected between 1937 and 1938, is composed of the Endless Column, a 30-metre-high column of zinc and brass-clad, cast-iron modules, and two stone monuments: the Gate of the Kiss and Table of Silence. Over the years the elements took their toll on the sculpture, and although the Column s modules had been replated several times since its construction, by the 1990s it was in dire need of conservation. (Which took place with the support of the World Monuments Fund (WMF).
1939 - the year that the Voder (Voice Encoder) was introduced for the first time to the public at the New York World’s Fair.
The Voder synthesized human speech by imitating the effects of the human vocal tract. The operator could select one of two basic sounds by using a wrist bar. A buzz tone generated by an oscillator produced the voiced vowels and nasal sounds, with the pitch controlled by a foot pedal. A hissing noise produced by a gas discharge tube created the sibilants (voicesless frictive sounds). These initial sounds were passed through a bank of 10 band pass filters that were selected by keys; their outputs were combined, amplified and fed to a loudspeaker. The filters were controlled by a set of keys and a foot pedal to convert the hisses and tones into vowels, consonants, and inflections. Additional special keys were provided to make the plosive sounds such as “p” or “d”, and the affrictive sounds of the “j” in “jaw” and the “ch” in “cheese”. This was a complex machine to operate. After months of practice, a trained operator could produce recognizable speech.
Michel Chion - Le Grand Nettoyage (1975)
Saul Bass | Vorspann/Intro (Arte +7):
Open Source Clothing.
Now I feel it imperative to reblog this, because the project seems to have hit a snag: The video they put up has been taken down because of claims of 3rd-party content, whatever whatever corporate lawyer stuff internet throttling stuff. That makes me think that Bennetton or one of the others whose stores were glimpsed in the background got their hooks in Vimeo.
So I thought I’d tell you a yarn about how this thing works:
You download the open-source plans for the machine.
You build it.
You download their open-souce clothing-maker program.
You enter the desired measurements into the fields (the ones I remember from the video were arm and neck and chest measurements, so I’m sure they have waist and/or hips too)
You print out your sweater, or hat, or scarf, or cardigan, or whatever it was that you selected. It takes an hour to print out the sweater, working off of the two yarn spools that you can see in the bottom right corner of this .gif
That’s it. Custom-fit, custom-color clothing in an hour, for the price of yarn. Can you see why one of the clothing companies targetted in the video might have felt threatened enough to force the video to come down?
I know if I sold overpriced manufactured clothes, I’d see this as a looming menace.
I WILL HAVE HAUTE COUTURE
Dolphin Productions - “Demo Reel” (1978):
Levi Fisher Ames - Animals in shadowboxes. 1895-1923
© Photo: Haupt & Binder
Shoreditch: Experimental Music School 1969
This vintage (1969) BBC program looks at “experimental music education,” of the time. We’re not sure if it’s the most awesome thing ever – or the most disturbing. Either way, it’s a fascinating look at how some of the avant garde musical approaches of the day – including electronics and system music - were brought into the classroom.