st celfer on zoom

St Celfer (aka John Parker) discusses his recent art and music via Zoom:

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Methods of Negotiation - Closing Reception - St Celfer from Art Music Lit Space on Vimeo.

Art Music Lit Space is a post-post-internet virtual community seeking to "probe the chasm together so suddenly imposed by social distancing measures" by providing a "locus for artists, curators, writers, lookers, listeners, feelers and thinkers to show, share, and connect despite the nearly global closure of physical exhibition spaces such as studios, galleries, basements, museums, schools, art fairs, fields, etc."

The performance of St Celfer's musical piece "March of the Covids" (featured on our recent collaboration and on St Celfer's Bandcamp page) was realized (or rather, virtualized) by Art Music Lit Space as an embedded sound clip on a blog page; the Vimeo above is more in the nature of post-show documentation.

When the music was performed last week in Austin (described in an earlier post) it was displayed as a YouTube video with an abstract video component (and encoded bonus content for YouTube users), on multiple large screen monitors with speakers behind each screen.

"Post-post-internet" is a joke, of course. "Post-internet" was a brief, curator-driven quasi-movement that dealt with art-with-internet-content being shown in galleries. It was a bizarre name because of course the internet never ended and in fact most gallery activity didn't exist in people's consciousnesses until it appeared there. Covid simply takes the gallery out of the loop. Yet, as we saw in Austin, some physical spaces still exist (and in Austin they had about twenty mask-wearing visitors). Once I have documentation of people walking around the room while the video plays, I'll post it, and that will be the so-called post-internet manifestation. [Update: Some documentation of the event is here.]

To Rococo Rot + D - A Day Long (seacrestcheadle music video)

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Screenshot from seacrestcheadle music video To Rococo Rot + D - A Day Long [YouTube]
A dead horse canters around a spectrally tinted liminal space (Sisyphean bardo loop for equestrians?).
Seacrestcheadle says the video exploits some happy accidental feedback between tv and webcam (not an exact quote).

bandcamp picks

The name "bandcamp" raises some hackles and it is juvenile. Still, in certain ways a camp might be preferable to a cloud:

camp (as in artistic movements, workshops)
cloud (Silicon Valley Saurons sucking your data)

Work by a couple of band(width) campers worth checking out:

Disconnector's release Resistor (minimal electro beats); sample track: a11
RP Boo's release I'll Tell You What! (Chicago footwork)

See also Seacrestcheadle's fan video [vimeo] of RP Boo's song Wicked'Bu, from that release.

spudoogle video loop

screenshot of spudoogle twitter video thumbnail -- with one small correction

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Have been enjoying Spudoogle's twitter account recently but still have a problem with the way the SVS (Silicon Valley scum) appropriated GIFs to their commercial platforms. It's like in the movie Barton Fink where the cigar-smoking producer tells the East Coast populist playwright he wants "movies with that 'Barton Fink' feeling," then later says "get out of my office, I can get 100 writers who can give me that 'Barton Fink' feeling."
One imagines an SVS getting a neck massage and saying, "we need something like those GIF things the kids are exchanging." And then the tech slaves come up with a typical, locked-in proprietary video format with the word "GIF" superimposed. 100 guys can give them that animated GIF feeling.

It's not spudoogle's fault, he accepts conditions the way they are and rolls with the shoddy resizing, rounded edges, and fake labeling. That's twitter's price for providing an audience for your GIFs.

MIDI Users' Group performance

MIDI Users' Group performs at an electronic music event, Oscillate:Pittsburgh 2017 [YouTube]

Travis Hallenbeck tweeted: "my set in Pittsburgh was described by the organizer as like being stuck in an office"

On the other hand, it was kind of refreshing not seeing an Apple laptop or a rack of modular gear. These not-quite-ancient MIDI devices have their own unique sound and seem to have their own mind. Hallenbeck treats them like a flock of erratic sheep, letting them go where they will and savoring their little bleeps and hums as events in themselves. The caretaker approach to (dis)organized sound.