More railway research. The Stralau–Treptow Spreetunnel (in active use from 1899 to 1932) used to connect Stralau to Alt-Treptow through a tramline going under the river Spree. The tunnel still exists, but the entrances on both sides are filled in and the tunnel is flooded. To cross the tunnel with a tram used to take about two minutes. It takes just a little longer to do so rowing a boat.

A couple of days ago we posted about ‘Signal Tide — Two Passes,’ the audio mix derived from ‘Signal Tide.’ There’s also an accompanying interview, where we talked with Joel Ferree from the LACMA Art+Technology Lab about satellites, singing, sacredness, and space, for around a half an hour. It’s online here:

mixcloud.com/LACMA/signal-tide

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The two halves of the mix emulate the duration of two passes of the LES-1 satellite through the sky above Los Angeles — the original chronometer that structured the work. 📡 🛰

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The music is derived from three sacred harp songs — ‘Fleeting Days,’ ‘Funeral Anthem,’ and ‘The Lone Pilgrim’ — which were used in the work. This music was recorded in collaboration with David Bryant and Drew Barnet, and features several other musical collaborators — full credits are on our website, (and we explain more about it in the interview).

kovacsodoherty.com/work/signal

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‘Signal Tide — Two Passes’ is a 57-minute-long audio mix, in two halves. It is adapted from the score that structured ‘Signal Tide’ when it was presented in 2017. The mix uses music from the work, combined with sound derived from the radio signals of the LES-1 satellite. The music in the mix was recorded specially for the work.

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Now, as a result of the pandemic lock-down, the museum is temporarily closed, and the LACMA Art+Tech Lab has commissioned and published ‘Signal Tide — Two Passes,’ an audio mix, together with an accompanying interview, as part of their LACMA@home program of online works for the coronavirus times. So if you need to escape from the world and listen to serenades to space archaeology for a while, now is your chance.

mixcloud.com/LACMA/signal-tide

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In 2016 and 2017, we spent quite a while chasing after an abandoned satellite, the LES-1, and working with accompanying music, sourced from sacred harp songs. The outcome, ‘Signal Tide,’ was presented at Los Angeles County Museum of Art in September 2017.

We wrote an account of ‘Remote Voices’ (one of the corona-lockdown interventions in ‘Minute/Year’ organised by Gabriela Gordillo last month at bb15 in Linz). The account has just been published by the Copenhagen Architecture Festival as part of their “corona essays” series of contemporary writing about covid-19 and the built environment. It’s online here, take a look: cafx.dk/corona-essays/remote-v 🏠

From last week: first journey out of the city since the beginning of the corona times, weaving a masked and careful path to the Brandenburg countryside. It was the beginning of a process of researching the routes of abandoned train lines in Brandenburg and Berlin, as part of what will (hopefully) become a new work. Five hours of walking. More soon.

We are very happy that Gabriela, bb15, and AMRO are allowing Minute/Year to form part of the program of AMRO20 — make sure to take a look at all the details of the whole festival online, at www.radical-openness.org. 🕗

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The 2020 edition of the AMRO Festival has a curatorial theme, “Of Whirlpools and Tornadoes,” that is, in part, a frame to consider the radical disruptions that have been wrought by both the immediate crisis of coronavirus and the simultaneous parallel rumbling crisis of climate collapse. The PATIO stream of programming at AMRO is a series of experiments, researches, starting-points, and speculations related to this theme, and ONE MINUTE ROOM will be occurring each evening as part of this stream.

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So if you have something you’d like to be read out in the space and to become part of the archive of the work, this will be a chance to do exactly that. The possibility to make contributions will run throughout the time of the four days of the AMRO Festival — so, from this evening through to Saturday evening. Remember, the recording happens at 20:20 exactly, and so any contributions will need to be offered before then (if too late, they will instead become part of the following day’s process).

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The text that will be read out over the next few evenings is conceived as an explicit acknowledgment of the influence of Alvin Lucier’s 1969 work, I am sitting in a room, on Minute/Year and many other works (it is, truly, the Stairway to Heaven of sound art). ONE MINUTE ROOM will begin with the opening line of Lucier’s work, and will then branch off from this in whatever directions are contributed, following a programmatic process.

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So how does it work? Each evening, at 20:20, Gabriela will be present in the space at bb15, in Linz, where Minute/Year is currently running, and will read out text that has been contributed to ONE MINUTE ROOM. Anyone who would like to contribute is welcome to do so — the link to do so is right here, and it contains a more detailed outline of how to contribute to the work from anywhere in the world: etherpad.servus.at/p/min_year.

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This intervention, ONE MINUTE ROOM, is facilitated and organised by Gabriela Gordillo, and forms part of the PATIO series of events that are occurring at AMRO20. And, of course, due to coronavirus fun times, this is all happening online. See more about the festival’s PATIO program here: gateway.radical-openness.org/p.

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From this evening (Wednesday, 20. May) until Saturday evening (23. May), there will be a daily one-minute intervention in Minute/Year, as part of the Art Meets Radical Openness 2020 (AMRO20) Festival in Linz, Austria — and you are welcome to be part of it.

One of the most striking parts of the week-long series was Gabriela creating a new dadaist poem from scratch, via a score written by Tristan Tzara a hundred years ago, in 1920. The photos and videos here show part of the process of creating that new poem, and you can see more about it, along with the rest of the week’s traces, in the post that we put on Medium about Remote Voices: medium.com/@kovacsodoherty/rem

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With a computer and speakers set up in the main space of bb15, Gabriela has undertaken a text-based intervention or activation each day since the beginning of April. This has included scores and texts from, among others, Yoko Ono, Kazimir Malevich, and Tristan Tzara. Each of these interventions has in turn created layers — both sonic and visual — in the daily slices recorded and archived by Minute/Year.

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