13 сентября, 20:00
Бар «Успех»

Так короче есть киборг, танцор и сладкая музыка
Device infantil pop

https://www.facebook.com/events/3000247803383403/?ti=as

Александр Гагарин из группы «Сансара» записал на Студии звукозаписи “Oktava Lab” саундтрек бессмертия — Immortality. 2019. 

Уральская биеннале подготовила свой сингл, посвященный бессмертию #русскийкосмизм


“При сведении саундтрека использованы звуки тульских заводов, записанные в микрофон легендарного действующего завода «Октава» МК-012 (тот самый российский микрофон, при участии которого частично записан третий студийный альбом британской альтернативной рок-группы Radiohead «OK Computer»)."

https://youtu.be/EZOFoGLLnJI

наконец-то вышел: https://music.apple.com/ru/album/faust/1476343455

Новости грантовых программ:
Для художников на создание мерча

От кого: Похититель Ароматов
Сроки: до 7 октября
https://youtu.be/7GBSL5Zjdu8

https://knf.md/inside-modern-art-aes-f/

Съемки меня удивили: тогда то, что они делали, было инновационно. Двигающиеся картинки — такого до них еще никто не придумал. У нас в стране видеоарт в то время только зарождался, и они стали первыми во всём.

Mutabor представляет второй музыкальный вечер «Ткани».

По залам Mutabor пройдет запутанный звуковой маршрут от электроакустических экспериментов и musique concrète к IDM, полиритмии и переосмыслению транса и популярной танцевальной культуры. Классические музыкальные инструменты встретятся с модулярным синтезом, органические тени сменятся алгоритмическим гипнозом, а на главном танцполе клуба вырастет тотем из Funktion-One.
https://www.facebook.com/events/623663194707273/?__mref=mb

With a desirous and alienated ear, contemporary internet-based musicians like Oneohtrix Point Never are playing out a story that previously took place on the fringes of the avant-garde over the last century. With the invention of photography, a new human was revealed to the camera-eye: Snapshots showed a human being frozen in between readable expressions, nature on the way to culture, an uncanny contraption made of flesh, bone, and fat, vibrating, folding, filling and emptying as it moved between recognizably human expressions like a smile or a frown. We’ve all taken bad photos of ourselves and failed to recognize the subject of the photo, but who or what is this human-in-transit? What is the status of this flesh that obeys gravity more than social cues? How are we responsible to this squinting, grimacing, wincing creature? In other words: stars — they’re just like us — but who are we? Just as photography revealed the body as a nonsense poem, in the sound poetry of Oneohtrix Point Never’s Replica, this hidden language unveiled before the camera eye was made audible through digital micro-editing, tuning into the voices of the spectacle with a desirous and alienated ear…

…The pith of Replica: a latticework of sibilants, laminals, clicks, implosives, ejectives, fricatives, pulmonics, expands the limits of human vocal expression beyond phonetic language. Before Replica and the excellent eccojams of Dan Lopatin’s YouTube channel and early Games comes not just DJ Screw but William S. Burroughs, Antonin Artaud, the Ultraletterists, and other sound poets who found a new human articulation in these moments when expression takes a backseat to the laws of physics. Proto-Situationists and radical surrealists like François Dufrêne and Henri Chopin discovered in magnetic tape a medium that liberated speech from voice. Through splicing, manipulation of tape speed, overdubbing, addition of reverb, and other dub effects, poets like Chopin and Bob Cobbing abandoned words in favor of particles of sound, letting one mouth become an entire orchestra. In these poems, sound became a bodily landscape upon which a self might be composed, dramatized, or materialized out of the same dust that comprises the pith of Replica: a latticework of sibilants, laminals, clicks, implosives, ejectives, fricatives, pulmonics…

…OPN’s consonantal chorus of lost voices, the vocabulary of a glossa sans logos, highlighted what Roland Barthes called the “grain” of the voice, the song that comes from the body, not from the speaking subject — the body itself speaking, in a wet, libidinal poetry of consonants — not the speech of the lungs, but of “the tongue, the glottis, the teeth, the mucus membranes, the nose.” Barthes’ posthuman voice of the desirous recording is the same discovered by Lopatin, one that doesn’t come at the level of the word or even the phoneme (not the human, not the cultural level), but at the level of the glottal stop, the fleshy mechanical part of the body. In an interview with Altered Zones, Lopatin explained his interest in this noise that surrounds and comprises signs thusly: “It’s revealing that we’re not in a perfect system though we want to be. We want to believe that we’re efficient and perfect, but things are totally out of control and chaotic, like the way we speak and the way we think.” The human subject becomes a libidinal soundscape just barely contained within our skins, looped air temporarily trapped by the folds of the body, echoing with the consonantal chorus of lost voices, the vocabulary of a glossa sans logos…