Above, a picture of the score for composer Yoshi Wada’s November, 8th 1987 performance of The Appointed Cloud, newly reissued by Omega Point and the ever-eclectic EM Records. In this performance, eighty of Wada’s homemade pipe horns and organs were controlled via a single computer, and paired with a small ensemble playing instruments and prepared metal objects. In addition to directing the was flow of air powering the pipes, the program also had control over the mallet which struck the hanging steam pipe gong.
The Appointed Cloud was not only a performance, but also exhibited as an interactive installation which began anew every hour. Visitors could create variations on the theme via an external keypad, which was fed into the computer orchestrating the pipes.
A special artist’s edition of the release comes in a roughly legal-sized folio containing a reproduction of the colorful score pictured above. This is the second Wada reissue/release by EM, and let’s hope that it isn’t the last. Perhaps Audibility will be next.
Sarah Oppenheimer’s 610-3356 (via Life Without Buildings) eradicates the boundaries between the viewer and the museum, and viewer and the floor below. Remnants of Rauschenberg. The Vanishing Design erodes the style from a webpage while you watch.
Visual: Bruno Munari’s Original Xeropgraphies. The gallery of disciples. The book covers of Henry Sene Yee. The photography of Sarah Cass. A gallery of book trade labels. The seductive art of Robert McGinnis.
Piet is a fascinating visual programming language paying tribute to Mondrian. The language operates on the change in color from one block to the next. The shift and hue change dictates the instruction. An IDE is available online.
An interview with Honey Owens, who performs under the name Valet. Her newest album Naked Acid smears vocals upon whispers upon a subtle pounding. She speaks of the electric current running through her body that sabotages computers, and truth or not, the sounds are bewitching. Serious orange feathered sunset music here folks.