John Carpenter's debut album of non-soundtrack material is out 2/3/15 on Sacred Bones. Pre-order LP and CD from Sacred Bones: www.sacredbonesrecords.com/collections…lost-themes Pre-order digital edi
Ester Brinkmann - Maschine
Composition 1960 #7 [La Monte Young]
INTERVIEW: At the Museum with Chad Mossholder of Twine
Bruce Haack Mr Rogers Neighborhood, 1968
Robert Ashley - Perfect Lives Chapter 1: The Park (Privacy Rules) [Complete, HD]
Steve Reich and Music for 18 Musicians
Shoreditch: Experimental Music School 1969
In 1960, Xenakis composed the music NEG-ALE for P. Kassovitz's "Vasarely", an abstract film on the artwork of Op-Art master Victor Vasarely, documenting an exhibition of that painter's work at the Denise Renée Gallery. Xenakis provided music in the form of a piece entitled NEG-ALE for piccolo, horn, cello and percussion, but later withdrew the work from his catalogue.
Luc Ferrari composing music
Elliott Sharp is a multi-instrumentalist and composer who plays electric guitar, steel guitar, bass guitar, soprano saxophone, bass clarinet, and other instruments. Sharp studied music with Morton Feldman, was one of the first to use samplers and computers in performance, and is also an inventor of new instruments (eg. a combined string-percussion instrument called a Pantar, basses with movable bridges known as Slabs, etc.). His music is as influenced by Mandelbrot sets, the Fibonacci series, and chaos theory as it is by heavy metal rock (eg. his CD "Datacide"), Morroccan, klezmer, and contemporary classical music (eg. his string quartets "Hammer", "Re/Iterations", "Shapeshifter". "Twistmap", and "Tessalation Row"). For his Roulette TV performance, Sharp creates two improvisations, "Noospheric" for saxophone triggering electronic and percussion samples, and "Spliny Thicket" on his original eight-string guitar that also triggers samples and is processed digitally. In the subsequent thought-provoking interview, Sharp relates how mathmatics in his music changed the way he heard tuning and structure. He describes "Syndicate", a score played by his orchestra Carbon based on 144 composed fragments and a set of rules that has to do with lateral transmission of information, like the activity of flocking birds, African choir drumming, or large-scale quantum interchange. He draws a parallel between musical performance and Douglas Hofstader's concept of the "meme", or an idea as a virus introduced into the world.
This is an audio interview with Mark Amerika for a Mexican contemporary art and theory journal *Drix*. I took the audio sources and constructed the interview and built the music around it.