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I. This is a sentence by Micah Lexier (00:54) (2010)
This is a sentence was made for a group show at the Albright-Knox Gallery (Buffalo, New York), where participating artists were asked for a statement and Lexier turned it into a text piece for recorded audio. Courtesy Birch Contemporary, Toronto. (http://micahlexier.com/)
II. You will live by Pierre Andre Arcand (8:55) (1985)
You will live piece appears on ERES +7, a CD made up of a series of sound sculptures on tape loops. All tracks were composed with the macchina ricordi, a tape recorder modified to permit simultaneous playback and overdub in open-ended looped cycles. Speaking, singing, noise, and instruments were recorded, processed, and structured through repetition and accretion. The process is one of constituting stratified sound space, multisource song, and the murmuring of multitudes—live. (http://avatarquebec.org/en/projects/eres-7/?k=Arcand)
III. ...for bodies near the surface of the earth by Ryan Park (78:00) (2009)
A list of contact points (for bodies near the surface of the earth). Dependent on mass, energy, momentum, trajectory, pressure, tension. Some observed, some proposed. Oblique or direct. Sustained or momentary. One after the other. Work commissioned by the Blackwood Gallery in response to Erika Keirulf's video triptych Breathe(2007) for the Fall In/Fall Out exhibitions curated by Christof Migone in fall 2009. This audio work is part of the Blackwood Gallery's Permanent Art Collection. (http://www.inconclusiveresults.com/work/fbntsote) (http://blackwoodgallery.ca/exhibitions/2009/fallin.html)
IV. Plongeurs by Diane Landry (40:06) (2007)
Based on the Flying School installation, audio version released on CD by Merles. Flying School stands amidst empty space like an impenetrable island. From it sprout 24 multicoloured umbrellas attached to different rods at different heights, but always within the range of a person's stature. The umbrellas unfold and fold intermittently, slowly, like a person inhaling and exhaling. While apparently protecting themselves from an unlikely shower, they seem to chant a litany. The plaintive melody comes from little motor-driven accordions, of my making, that lie at the base of each umbrella. They further accentuate the lung effect and, often, the spectators adjust their own breathing accordingly. After a while, one also notices the silhouettes that the halogen lamps cast on the ceiling. These moving silhouettes, projected upwards, resemble a flower opening and then closing. The field of umbrellas moves unpredictably, its vagaries much like those of our climate. The motion follows an ambiguous sequence that echoes the accordion sounds, thus capturing the audience's attention and altering the way they perceive the work. To animate Flying School, each umbrella-accordion is hooked up to a controller that in turn connects to a computer. A program enables me to compose a sequence that makes the umbrella-accordions unfold or fold one after another. The umbrella-accordions are a hybrid of light and sound, infused with elements of sculpture, musical craftsmanship, and electronics. (http://dianelandry.com/flying-school-2/)
V. I Really Should by Kelly Mark (49:16) (2002)
This work utilizes text, which I had been playing with since 1996. The text is a stream of consciousness type list of things that “I really should” do such as “pay back my student loan”, “drink more water”, “take more chances”, “clean out the litter box” etc… Originally this took the form of a video monologue, and then later in 1999 it came to the surface again in my work as hand written black magic marker notes on refrigerators (view). In 2002 I reincarnated this list, which I increased to 1000 things “I really should” do, as an audio CD multiple. This latest version can be exhibited in various ways such as a minimalist wall mounted stainless steel sound box, with or without headphones; or simply playing through speakers directly in the gallery. The audio track is a monotone voice (myself) listing off all 1000 things I really should do. This work is clearly humorous and lighthearted in nature. I first began this inane list in order to poke fun at myself and to comment on my increasingly obsessive tendencies. However, this work is not limited to being simply autobiographical in nature. The tendency towards procrastination, whether it involves doing those things we have always wanted to, improving self-perceived
character flaws or the mind numbingly repetitive tasks of everyday life, surely this proclivity is universal whatever the personal circumstance. (http://kellymark.com/OTHER_IRScd1.html)
VI. Breathing Room by Hildegard Westerkamp (3:03) (1990)
Music as breath-like nourishment. Breathing as nourishing musical space. The breath - my breath - is heard throughout the three minutes. All sorts of musical/acoustic things happen as I breathe in and out. Each breath makes its own, unique statement, creates a specific place in time. Meanwhile the heart beats on, propelling time from one breath to the next. (http://www.sfu.ca/~westerka/program_notes/breathingroom.html)
VII. I fall to pieces by Kim Dawn (1:26) (1996-1999)
I listened to songs I have nostalgia for on headphones. I sang unabashedly, without reserve or concern for singing in tune and recorded my singing without hearing myself. I used songs from Patsy Cline, ACDC, Blondie, Joan Jett, Madonna, etc.
VIII. Talking to a Loudspeaker by Dan Lander (24:29) (1988-90)
Although radio has been cited as a warm medium — due to its relative openness for interpretation when compared to television — it is nonetheless a one way medium. The listener is compelled, via the loudspeaker, to construct meaning without the benefit of a mechanism for re-address. In addition, radio as we have come to know it is limited by a host of predetermined factors: broadcast quality, balanced programming, congruent appeal, marketing research, the trained voice, restrictions to access, music distribution slavery, uniform time allocations, technical specifications, licensing regulations and so on. Talking to a Loudspeaker plays with some of these considerations in a work comprising the following sections: Mister Speaker; The Weather; The News; Call Now; Talking About Ether; Broadcast Quality; The Sponsors; We live in the Age...; Dead Air; Here Comes Everybody. (http://www.electrocd.com/en/cat/imed_9526/)
IX. Get Out Of My Head, Get Out Of My Mind by Charles Stankievech (5:21) (2008)
I have re-performed Bruce Nauman’s Get Out Of My Mind. Get Out Of This Room. (1968) and re-mixed it for wireless headphones. Unlike the original, Get Out Of My Head, Get Out Of My Mind (2008) denies architecture and explores the unique relation between virtual space and psychotopology. (http://www.stankievech.net/projects/getout/index.html)