Music of the Spheres

An Exercise in Listening

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prostheticknowledge:

Newly Discovered Warhol Artworks Found On Amiga Floppy Disks From 1985

From The Frank-Ratchye STUDIO for Creative Inquiry:

A multi-institutional team of new-media artists, computer experts, and museum professionals have discovered a dozen previously unknown experiments by Andy Warhol (BFA, 1949) on aging floppy disks from 1985.

The purely digital images, “trapped” for nearly 30 years on Amiga® floppy disks stored in the archives collection of The Andy Warhol Museum (AWM), were discovered and extracted by members of the Carnegie Mellon University (CMU) Computer Club, with assistance from the AWM’s staff, CMU’s Frank-Ratchye STUDIO for Creative Inquiry (FRSCI), the Hillman Photography Initiative at the Carnegie Museum of Art (CMOA), and New York based artist Cory Arcangel.

More Here

It’s kinda funny to be presented with the news of new works by established artist from a digital medium, but then again it is well known that Warhol loved working with the Commodore Amiga - some links below:

A video showing Warhol using the Amiga to create a piece live before an audience with Debbie Harry [Link] [NME Front Cover] [The Finished Work]

An interview with Amiga World on working with the computer [Here and Here]

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prostheticknowledge:

36 ventilators whirl 4.7m3 of packing chips

Latest installation from Zimoun uses simple materials to display turbulance - video embedded below:

From Creative Applications:

Opening this Saturday (April 26) at the Art Museum of Lugano in Switzerland, 36 ventilators, 4.7m³ packing chips is the new installation by Zimoun, the Bern-based artist known for his architecturally-minded platforms of sound. Zimoun yet again extends his installation inventory. Converting nine of the museum’s towering window spaces into ‘ventilation chambers’ (four ventilators are installed in each window) and filling them with polystyrene, Zimoun unleashes a perfect ‘plastic storm.’ Congregating into a mass that’s neither solid, gaseous nor liquid, the flakes perform a violent, otherworldy dance. With the phenonema trapped behind glass, we get to watch in wonder from the safety of the outside.

More at Creative Applications here
Zimoun is also featured in Creative Application’s new magazine HOLO, which you can find out more here

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Five Drafts Of Pop History

tomewing:

1. THE NOW: This is the moment and this is what matters.

2. THE PROPHECY: The moment has just now passed. This is our wager on what remains important.

3. THE FULFILLMENT: We remember the moment, but it passed some time ago. What matters in it are the seeds of the new moment we now live in.

4. THE STORY: The moment is a story passed down to us. We retell it in our own words.

5. THE ARCHAEOLOGY: The moment is lost. By scraping away the story we can recover it.

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But the focus on the band’s politics obscures something important: Godspeed You! Black Emperor are making art, not writing editorials. And the fact that they are making art gives them leeway to do things that wouldn’t work in the context of pure rhetoric. It allows them to find magnificence in destruction and build an aesthetic out of decay and loss. So for all their political slogans, pointed titles, and references to global doom, engagement with Godspeed’s music can feel exceedingly personal. When listening to their music, I’m not necessarily thinking about the downtrodden transcending their place in the capitalist hierarchy or the end of the world; I’m thinking about the idea of transcendence, the raw grace of noise, and the tragedy of endings. Godspeed’s music works so brilliantly because it can be abstracted and scaled, blown up into an edifice that towers over a continent or shrunk down to something that feels at home in a bedroom. So mapping the contours of their grand music onto your own ordinary life can feel both natural and inspiring.

Godspeed You! Black Emperor: Allelujah! Don’t Bend! Ascend! | Album Reviews | Pitchfork

This is probably one of my favorite bits from a critical piece that I wrote in the past few years, but a person I respect very much, who used to write for Pitchfork and is now a professor, took issue with it, and that helped me to see an aspect of my own experience with music with more clarity. This person’s POV, basically, was that GY!BE’s politics are inseparable from their music, and that the political ramifications of their music don’t necessarily negate my point anyway. Which seemed fair. And it made me realize that I experience so much of music from a sort of abstracted and aestheticized place, and also made me realize that whatever interesting observations I might have probably also come from that place, which is certainly not “universal.”

(via markrichardson)

(via markrichardson)

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You speak English, a futured language, and what that means is that every time you discuss the future or any kind of a future event, grammatically, you’re forced to cleave that from the present and treat it as if it’s something viscerally different. Now suppose that that visceral difference makes you suddenly disassociate the future from the present every time you speak. If that’s true, and it makes the future feel like something more distant and more different from the present, that’s going to make it harder to save.

If, on the other hand, you speak a futureless language, the present and the future, you speak about them identically. If that suddenly nudges you to feel about them identically, that’s going to make it easier to save.

[…]

Futureless language speakers, even after this level of control, are 30 percent more likely to report having saved in any given year. Does this have cumulative effects? Yes. By the time they retire, futureless language speakers, holding constant their income, are going to retire with 25 percent more in savings.

Can we push this data even further? Yes. Think about smoking, for example. Smoking is, in some deep sense, negative savings, right. If savings is current pain in exchange for future pleasure, smoking is just the opposite. It’s current pleasure in exchange for future pain. What we should expect then is the opposite effect. And that’s exactly what we find. Futureless-language speakers are 20 to 24 percent less likely to be smoking at any given in time compared to identical families. And they’re going to be 13 to 70 percent less likely to be obese by the time they retire.

In a fascinating episode of NPR’s TED Radio Hour titled The Money Paradox, behavioral economist Keith Chen shares some absolutely astounding research on how the tenses in a language influence that culture’s attitudes about saving and spending money.

Complement with this excellent, albeit flawed by virtue of being written in the futured English language, read on how to worry less about money.

The full TED Radio Hour is well worth a listen.

(via explore-blog)