Audiovisual content of general interest.

Solfège de l’objet sonore (1967), CD 1 Tracks 1-11, by Pierre Schaeffer. Sound examples by Guy Reibel and Beatriz Ferreyra. Published by INA-GRM (Groupe de Recherches Musicales), 1998-2005.
Narrator: Pierre Schaeffer.

Marshall McLuhan et Pierre Schaeffer (INA, 1973)

Max de Haas – Maskerage 1950/52 (Music/Sound:P. Schaeffer, J. Poullin, P. Giacobbi)
Tones of experimental music lead us into the National Museum of Ethnology in Leiden. An extensive collection of exotic masks is hanging on the walls while the night watchman makes his rounds. But not for long: the masks are waiting for the moment when they can reveal their imposing selves to the viewer. A collection of masks from different parts of the world shows its true face: shocking, charming or sinister. Max de Haas brings the faces to life through his camera-eye. Impressive light-and-dark effects and a chaotic music track enable the masques to tell their own stories, even when nobody is wearing them.

Edgard Varèse: Poeme électronique (Dutch documentary -English Subtitles)

Ways of Seeing is a 1972 BBC four-part television series of 30-minute films created chiefly by writer John Berger and producer Mike Dibb. Berger’s scripts were adapted into a book of the same name. The series and book criticize traditional Western cultural aesthetics by raising questions about hidden ideologies in visual images. The series is partially a response to Kenneth Clark’s Civilisation series, which represents a more traditionalist view of the Western artistic and cultural canon.

Daniel Teruggi – “It is sixty years since Pierre Schaeffer started “musique concrète” in Paris. Does it make any sense to go on speaking of concrete music today? Who are the composers who perform it? A reply to these two questions comes from this musical encounter of Tempo Reale, headed by Daniel Teruggi, composer and Director of Research, INA/GRM, the institution founded by Schaeffer himself. He led the listeners in a journey through the present day and the history of a musical genre which has had no mean influence on contemporary languages.” Unidentified Sound Object

Mark Leckey: Fiorucci made me Hardcore. “Fragments of ‘found’ video footage from British nightclubs are spliced together, repeated and slowed down, while a perfectly edited collage of ambient sounds – snatches of rave tracks, crowd noise, men bellowing across provincial shopping precincts – filters in and out. There’s a loose chronology – northern soul, soul weekenders, casuals, acid house – but the two defining themes of the film are timeless…Firstly, what deeply strange places nightclubs are; hundreds of strangers, all as high as kites, crammed together in a deliberately disorientating space. And secondly, how much poignancy there is in something ostensibly celebratory; the idea that “the best days of your lives” will be wiped away by a change in fashion. Leckey captures this beautifully in the occasional sound of tolling bells, the endless headlong rush of the video timecodes, the snippets of empty rooms and the suddenly frozen images of young, apprehensive faces… (Justin Quirk:2009)

Michel Waisvisz – Hyper Instruments Part 1

Christian Marclay – from the October 29, 1989 episode of the short-lived music television show Night Music. Other guests that night included Todd Rundgren, Taj Mahal, Pat Metheny, and Nanci Griffith.

Pascal Dusapin: Mille Plateaux
An installation based on 66 drawings by Pascal Dusapin. Generative system and IanniX score: Thierry Coduys /Guillaume Jacquemin. Commissioned by SWR Radio in coproduction with le Lieu Unique, Nantes. Acknowledgements: Buzzing Light, ShowTex. Premiere in Donaueschinger Musiktage festival

Francis Bacon – The Southbank Show 1985

Ryan Trecartin: “Trecartin has been hyped as ‘the most consequential artist to have emerged since the nineteen-eighties’. He has become the unofficial figurehead of a generation of American artists – Cory Archangel, Ryder Ripps or Shana Moulton spring to mind – who have embraced the proliferation of digital media in the past two decades, and marry their eclectic practice with a post-pop adoration of the drosscape of consumer culture.Trecartin’s work is typically placed by critics within a genealogy of American subversives. And yes, it is easy to detect within his work a strain of avant-garde aesthetics that feels uniquely US: the sinister kitsch of John Waters’ films, for example, the dysphoric identity-mashing of Cindy Sherman, even the violent ruptures of Paul McCarthy’s performance films. But none of these comparisons quite nail Trecartin down.”


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