From Chapter 14, “Beethoven Was Wrong”, on Steve Reich’s accidental composition of ‘It’s Gonna Rain’
“In one sense, all he done was to isolate a technological quirk: the machines essentially wrote It’s Gonna Rain by themselves and he was simply smart enough not to stop them.”
from later on in that chapter – less profound perhaps, but no less wonderful:
“[Philip] Glass also worked as a plumber, and one day installed a dishwasher in the apartment of the art critic Robert Hughes.”
That would have been one for http://awesomepeoplehangingouttogether.tumblr.com/
I’m interviewing Brian & Peter about their new generative music app, Scape – and much more besides at the Regent St. Apple Store, London, 5.30pm on October 5th.
I’m looking forward to it immensely, but not without trepidation…
Just finished watching Julian Temple’s film about Ray Davies and The Kinks: “Imaginary Man”.
It’s incredibly tender toward it’s subject – which is at once Ray, his music, the band – and London.
The Turner-esque, painterly imagery alternates with more graphic compositions of Davies’ peregrinations around North London.
It’s a series of psychographic sketches, punctuated by Kinks songs – in archive footage, in cover versions and most affectingly perhaps, hummed, sung and stumbled through by Davies as he strolls.
He’s cast by the film as a flawed-heir to Blake – wandering London, inventing his own sung-systems rather than be enslaved by another man’s.
This blog goes into far more detail and appreciation.
If you can hunt it down online do.
If only to revel in London as Temple and Davies do.
My thanks to both of them.
Here I am sat like an rumpled, bearded stooge while it seems a city is carved with light from a block of aerogel in front of me.
Insanely-proud of being even peripherally-involved in this piece of work from Timo, Jack, Cam, Matt B., and Beeker.
I think this might be my new avatar image…
Chorus by UVA and Mira Calix is an installation at The Wapping Project until the 18th July.
It’s deceptively simple but powerful – lights and speakers on pendulums swing and illuminate, emitting building, swooping, harmonies of operatic chorus notes. You walk around and underneath it, but all the time it surround you.
The darkness of the old boiler house that The Wapping Project calls home becomes something like the engine room of a massive brick starship, or the sanctum sanctorum of a neo-Victorian occult engineering cult.
There are further echoes of scifi.
The chorus is aurally-reminiscent of the Ligeti-soaked startup sequences of Kubrick’s stargates.
The deserted Victorian infrastructure that the piece inhabits is a Nigel Kneale set, the Hobbes Lane of Quatermass & The Pit, or the oozing walls of The Stone Tape.
It’s a hauntological intervention, an architecture made of immaterials, a ghost-box of sorts; a real, working, time machine and a wonderful excuse to head to Wapping.
From Charles & Ray Eames ‘India Report’ via Design Observer:
“beware of the professional or specialist who when confronted with a problem having to do with design — seems suddenly to abandon the disciplines of his own profession and put on his art hat — this can happen to those who are otherwise most rational — doctors, engineers, politicians, philosophers.”
Opt for “King’s Lead Hat” instead?