NURSE WITH WOUND ~ MISMANTLER

2LP
Multiple with photostill of the film Mismantler by Andrew Keogh
Numbered & signed edition of 25 ex.
Signed by Steven Stapleton and Andrew Keogh
Publishing date 30 May

New Work by NWW. Soundtrack of the film Mismantler.

A collaboration between Director Andrew Keogh, Steve Stapleton & Nurse With Wound. Mismantler grew out of animated visuals for a live Nurse With Wound show. The main character ‘The Mismantler’ is taken from a collage by Stapleton.

The film is a stream of consciousness exquisite corpse, an attempt to fill a bin bag until brimming with all the worst things on planet earth; our home.

A film for billionaires who aspire to being trillionaires, the millionaires who aspire to being billionaires, the wealthy aspiring to be millionaires. For those who other, those who control narratives; those who blame the poor.

For those who would debase everything to an economic exchange.

Those people who can no longer look humans and creatures in the eye.

Payment Options: PaypalPrice:
375 euro
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PHILIP SANDERSON ~ DILLY DREAMERS

LP (180 Gram)
Original Artwork by Philip Sanderson
Numbered & signed edition of 25 ex.
d’or069
Date of Publication: 31 March 2023

“The four pieces are loose meditations on the movement of bodies through the circular ticket hall and tunnels of Piccadilly Underground.” (PS)

Born in 1960, Philip Sanderson first began experimenting with reel-to-reel tape recorders and ‘circuit bent’ electronics in his teens. He completed his first cassette Dark Cuttings in 1977 and in 1978 formed the Snatch Tapes label releasing Snatch 1, the first outing for Claire Thomas & Susan Vezey, and Storm Bugs (a collaborative project with Steven Ball). 

1980 saw the release of Snatch 2 and the first Storm Bugs EP entitled Table Matters as well as the cassette release, Reprint by Claire Thomas & Susan Vezey, and A Safe Substitute by Storm Bugs. Both tapes featured the quirky British synthesizer the VCS3 as the main instrument. The following year 1981, Bright Waves by Thomas & Vezey was the opening track on the Cherry Red Perspectives And Distortion LP and a second Storm Bugs single was released on the French L’invitation au Suicide label. 

In the early 1980s Sanderson collaborated/played with David Jackman (of Organum), Orior, Alien Brains, and the Rupenus Brothers (TNB), as well as recording with the chanteuse Naomi. From this came two more tape releases in the shape of O North and Telephone Music. The second half of the 1980s saw Sanderson working on a range of experimental film projects including Green on the Horizon (made with Steven Ball), Hangway Turning, and Shadowman. The films were screened at festivals both in the UK and internationally including at the BFI and the Tate.

The involvement with film led to Sanderson working at the London Filmmakers Co-operative in the early 1990s before spending the rest of the decade creating kinetic sound and light installations, exhibited predominantly in alternative art venues in London. The installations were reviewed in publications such as Art Monthly and national newspapers.

In 1997 Sanderson bought his first Mac computer and began to record music again as well as re-mastering the Storm Bugs back catalogue. The early 2000s was marked by a string of re-issues of material on numerous labels including: Fusetron, Anomalous, Vinyl on Demand, Harbinger, and Die Stadt. These were well reviewed in the Wire music magazine and the Sound Projector and online sites.

Releases of new material followed including Seal Pool Sounds in 2006, the Hollow Gravity LP in 2012,Ice Yacht – Pole of Cold in 2015, and Certified Original and Vintage Fakes by Storm Bugs in 2017. The last five years have been particularly busy with new Ice Yacht (a Sanderson side project) and solo releases as well as the On One of These Bends LP that brought together soundtrack pieces recorded in the 1980s. 

More recently Sanderson has returned to his noise-sound roots with a number of new releases – a move inspired by his contribution of a track for Changez Retravaillé a 2CD set of re-workings of TNB’s Changez Les Blockeurs. In the pipeline for release are further collaborations with TNB and various new long-form noise-sound works such as this Dilly Dreamers. 

Philip Sanderson ~ Dilly Dreamers Excerpt 1
Philip Sanderson ~ Dilly Dreamers Excerpt 2
Philip Sanderson ~ Dilly Dreamers Excerpt 3

Artwork description: Color pencil on paper. Frottage of braille maps of the Piccadilly underground, London. With printed text instructions.

Braille maps of Piccadilly Underground

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80 euro




LOUISE LANDES LEVI / SIEN SONCK / JAN D’HOOGHE / BART DE PAEPE ~ NADA / MOONSHINE

LP (180 Gram)
Original Artwork by Bart de Paepe & Louise Landes Levi
Booklet by Louise Landes Levi
Numbered edition of 25 ex.
d’or068
Date of Publication: 1 March 2023

Louise Landes Levi: voice, sarangi
Sien Sonck: bowl, flute
Jan D’hooghe: percussion, synth
Bart de Paepe: organ, guitar, synth, percussion

The text on Kerouac is marvelous. I feel like you approach him as a poet, and very few people understand or appreciate that side of him. Because to understand Kerouac as a poet, you have to let go of every conception you have about poetry. He represents the ‘original mind’ of the poem—its natural state.” (R. Foye)


Nada (excerpt)
Moonshine (excerpt)

Artwork Description: brown gatefold cover with photographs by Louise Landes Levi from her covid induced stay in Kyoto, Japan, 2020-2022. Handwritten text and adorned with dried ginkgo leaves by Bart de Paepe. All text on the inside of the gatefold cover is extracted from Kerouac’s “Mexican City Blues”.
Booklet with text by Louise Landes Levi as presented in spoken word and song, at Jack Kerouac 100 event, Ruigoord (Netherlands) 9-10-2022. Booklet design Bart de Paepe.

Front: photo and dried ginkgo leaves.
Inside: two b/w photos and handwritten text (each nr. has the same photos and text, but individually handwritten).
Back: text and photograph.

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OLIVIER BRINGER ~ FOU KOMVOUS / CALCINÉ

LP (180 Gram)
Original Artwork by Olivier Bringer
Numbered & signed edition of 25 ex.
d’or067
Date of Publication: 20 January 2023

Olivier Bringer is an autodidact visual artist / poet / musician from France born 20 November 1951.

“I hate drawing less than poetry but all the same there is something about art that makes me nauseous…”. (Les Chuchoteurs, les éditions artderien, artbook published in 2021). Olivier Bringer is an outsider artist from France, who’s themes include the horror, the fall or the faillure. The universe of Olivier Bringer is reminiscent of Edgar Allen Poe, Alfred Jarry, Marquis de Sade, Antonin Artaud…

Further reading about the work of Olivier Bringer:
Art:
1)
Music:
Music collaboration Olivier Bringer / Romain Perrot
Books:
L’homme de la cave
L’habitant du château
Les Chuchoteurs
Exhibitions:
– Baron Rouge (Paris) (curated by Quentin Rollet)
– Semaine du bizarre, 1-10 December 2022, Théâtre Berthelot, Montreuil, France.

Face A: Fou Komvous (29 November 2022)
Face B: Calciné (8 November 2022)

Olivier Bringer ~ Fou Komvous (excerpt)
Olivier Bringer ~ Calciné (excerpt)

Description Artwork: 25 unique collage / paintings by Olivier Bringer. Ink, paint on printed media.
Black gatefold cover with original signature on front and artwork between transparent sheet of paper.

Payment Options: Paypal or CreditcardPrice:
80 euro




CHRISTIAN WOLFF & ORDINARY AFFECTS ~ FOR ORDINARY AFFECTS / LINE EXERCISE

LP (180 Gram)
Original Artwork by Christian Wolff
Numbered & signed edition of 25 ex.
d’or066
Date of Publication: 9 December 2022

A

  1. Line Exercise (14:04)

B

  1. For Ordinary Affects (24:00)

Cello: Laura Cetilia
Vibraphone: J.P.A. Falzone
Violin: Morgan Evans-Weiler
E. Guitar: Luke Martin
Piano & Melodica: Christian Wolff
Pieces composed by Christian Wolff.
Recorded: Luke Moldof
Mixed and Mastered: Luke Damrosch
Mastered for vinyl: Astres d’Or
November 2018, Boston USA

Christian Wolff Born on March 8, 1934, in Nice, France; son of book publishers. Education: Bachelor’s degree, 1955, master’s degree, 1957, Ph.D., 1963, all from Harvard University; studied piano with Grete Sultan and composition with John Cage.

French-born American composer Christian Wolff helped establish a movement in contemporary classical music collectively known as the New York School. Comprised of composers John Cage, Morton Feldman, Earle Brown, and pianist David Tudor in addition to Wolff, the group lived on the edge of the classical world. And like many pioneering artists throughout history, the New York School composers were often scorned by their peers and critics, only receiving appreciation for their work decades later. Wolff’s explorations into indeterminacy in the late-1950s and early-1960s, for example, served as an apparent inspiration for John Zorn and other avant-garde musicians in the years that followed. He also gained prominence in the later 1990s through an expanding discography, as well as major commissions, most notably John, David, Wolff’s first large-scale orchestral piece.

Wolff studied briefly with Cage during a six-week period and derived inspiration from his New York peers at the onset of his composing career, but he quickly uncovered his own identity and considers himself largely a self-taught composer. He created intricate systems for his compositions; rather than employing standard notation, Wolff instead provided musicians with symbols, guiding them through each piece and allowing players to interpret for themselves. In fact, personal interpretation and the freedom of flexibility, for the listener as well as the performer, has always remained of particular interest to Wolff. He refuses to undermine the performer’s creativity by loading his pieces with too many directions–such as changes in tempo, dynamics, or articulations–and avoids emotional manipulation or rhetoric.

In a career spanning 50 years and counting (Now already 70 years (editorial note)), Wolff, while holding to his original ideas about composing, has undergone many transformations. Beginning with minimalism, he moved on to explore indeterminacy, open form, and works connected to popular music and political issues. His compositions–performed throughout the world, especially in Europe and the United States–include works for piano and keyboards, instrumental solos, chamber and other unspecified groups, choruses, and orchestras that appeal to a varied audience. Merce Cunningham and his dance company as well as dancer Lucinda Childs implemented several of Wolff’s pieces, while the influential post-punk band Sonic Youth tapped Wolff to perform two of his compositions on their 1999 album Goodbye 20th Century. Earlier that same year, Wolff appeared at San Francisco’s Other Minds Festival alongside luminaries from both inside and outside the New York scene. Such participants included Gordon Mumma, Bob Ostertag, and percussionist William Winant.

Although Wolff witnessed a renewed critical and public interest in his musical work later in life, he spent much of his energy on academic pursuits. Almost as soon as he established himself as a member of the New York movement, he left the city in 1951 after graduating from high school in order to study classics and comparative literature at Harvard University; he earned bachelor’s, master’s, and doctorate degrees from the school. He then taught classics at Harvard for a number of years and, since 1971, taught classics, comparative literature, and music at Dartmouth College in Hanover, New Hampshire.

Thoughts on Teaching
As an instructor teaching a new generation about music and composition, Wolff allows his students the freedom to express themselves in any way they see fit. He recalls that in his own experiences as a student, Cage had done the same for him. “What he did for me was to make a space–‘you don’t have to write like X or like Y, you don’t have to derive your work from this tradition or that tradition, just do what you think you have to do,'” Wolff said to Jason Gross in an interview for Perfect Sound Forever. “He did that at a time when most people thought I was crazy and that I wasn’t doing music. So I try to instill that kind of attitude in my students. I basically try to get the students to find what they need to do.”

Wolff was born on March 8, 1934, in Nice, France. His father, Kurt Wolff, was a well-known publisher in Germany whose authors included Franz Kafka. With the rise of the Nazis, however, he moved the family to New York City in 1941. Wolff has lived mainly in the United States since and became an American citizen in 1946. Continuing to work in the publishing business, Wolff’s parents, in the 1950s, ran Pantheon Books and also operated an outfit called the Bollingen series dedicated to producing the works of Jungian writers, and Wolff grew up in an artistic environment centered around the Washington Square area of New York. Some of the Wolffs’s neighbors and friends included writer and editor Joseph Campbell, dancer and choreographer Jean Erdman, and poet e.e. cummings.

Wolff’s parents also enjoyed connections with musicians–most of whom were the traditional type. Thus, when Wolff took up the piano as a child, he concentrated on classical music. However, Wolff’s interests began to broaden when he reached adolescence. Aside from music, he discovered a talent for drawing and poetry writing. “I got very interested in contemporary poetry and the whole notion of modernism, in a very simple, unreflective way–realizing that there was a way to do things other than the way the traditionalist does them,” recalled the composer in an interview with David Patterson for Perspectives of New Music.

Subsequently, Wolff, around the age of 14 or 15, decided to try composing music. At first, he tried to imitate traditional composers like Bach, but gave up, realizing such a feat both impossible and unnecessary. So, after a period of rest, Wolff attempted composition again. This time, he concluded to try something new. He drew inspiration from studying back issues provided by a friend of the publication New Music, which introduced him to the work of John Cage, William Russell, and others. Like them, Wolff desired to develop music that truly reflected its own identity. “I had this programmatic notion of making it ‘different,'” he explained to Patterson. “Whatever I was going to do, it wasn’t going to be like anything that anybody else was doing as far as I could make out.”

As time passed, Wolff grew more interested in composing than practicing piano and regularly brought self-written pieces to his lessons with Grete Sultan, a traditional pianist who later became a noted performer of Cage’s music. Though she probably knew little about Cage’s music at the time, Sultan thought Cage might be interested in Wolff’s work and arranged for the two to meet. And after becoming acquainted, Cage, who Wolff calls his first and only teacher in composition, agreed to take the 16-year-old on as a student–free of charge–at a time when he accepted few. Because Wolff knew little about the technical aspects of composing, he felt open to a myriad of possibilities when he initiated his studies with the composer in the spring of 1950. As a result of Cage’s influence, Wolff’s first compositions from the early 1950s, including Serenade for flute, clarinet, and violin and For Piano I, piano, were thoroughly written out and implemented few pitches and periods of silence.

Indeterminacy
Then, during the mid- to late-1950s, Wolff developed an interest in the role of chance in music, an occurrence he prefers to call “indeterminacy.” Cage, too, became intrigued with the music of chance around the same time, but Wolff’s use of it was distinctly individual. “From a practical point of view, Cage was initially interested in using chance as a compositional device,” explained Wolff to the Wire’s Andy Hamilton. “Once he had used it, he had made a composition which was then performed the way it was written; it was fixed. I have very occasionally used chance in this way. But what I became interested in introducing wasn’t even chance so much any more, but the element of what we called indeterminacy–not at the point of composition but at the point of performance. So my scores might be made without using any chance procedures at all, but they were made in such a way that when performers used them, unpredictable events would take place.” In other words, Wolff describes the results of his approach, as opposed to Cages, as “working actively with contingencies.”

Minimalism and the Avant-Garde
During the 1960s and early 1970s, aspects of minimalism again affected Wolff’s work. Important sets from this period include the Tilbury pieces composed in 1969-70, dedicated to British pianist John Tilbury, and Exercises 1-14 from 1973-74. In the 1970s, Wolff also began writing more politically and idealistically engaged music. Examples of his political works include Changing the System and Accompaniments, the latter written in 1972 for piano and voice with a text relating to the Chinese Cultural Revolution. Although he soon abandoned composing within an explicit political context, Wolff continued to draw material from political folk and popular music for a number of years. String Quartet Exercises Out of Songs (1974-76), as well as Exercise 21 (1981), illustrate the composer’s connection to less politicized issues. Another example of Wolff’s move away from music with a direct social message includes For Morty. Completed in 1987, it was composed for vibraphone, glockenspiel, and piano in memory of close friend and colleague Morton Feldman, who died in September of 1987. The personal tribute further utilized instruments–and the sense of fragility–particular to Feldman’s work. Wolff also wrote a piece for mentor John Cage’s seventy-sixth birthday, entitled Digger Song, in 1988.

Wolff also made forays outside the world of strict composition. In 1967-68 while staying in London, Wolff joined the avant-garde group AMM–featuring Cornelius Cardew on cello–on electric bass and other miscellaneous instruments. At the time, he had no prior experience with jazz or free improvisation. “That was my first experience of it,” Wolff told Hamilton. “It was sort of quietly exhilarating, learning and experiencing making music without the mediation of scores, explanations, rehearsals, etc. Especially with musicians who’ve centrally always done that–Keith Rowe, Eddie Prevost, Lou Gare. You’re simultaneously entirely on your own and entirely part of a collective activity.” Inspired by his participation in AMM, Wolff composed Edges and Burdocks (1970-71); both pieces contained improvisational components and are featured on Sonic Youth’s Goodbye 20th Century.
(Biography by Laura Hightower)

Awards Loeb bequest grantee, Harvard University, 1967-68; fellow, Center for Hellenic Studies, Washington, D.C., 1970-71; Music Award from the American Academy and National Institute for Arts and Letters, 1974; Asian Cultural Council Grant, 1987; John Cage Award for Music, 1996.

Books about CW Changing the System: the music of Christian Wolff, edited by Steven Chase and Philip Thomas (Ashgate, 2010); Christian Wolff, Michael Hicks and Christian Asplund (University of Illinois Press, 2012).
Books by CW Cues: Writings & Conversations (MusikTexte, 1998); Occasional Pieces (Oxford University Press, 2017).

_______________________________________________________________

Ordinary Affects is an experimental music ensemble of composers and performers. Formed in 2016 in Boston, the group includes James P. Falzone (vibraphone, piano), Morgan Evans-Weiler (violin), Laura Cetilia (cello), Luke Martin (guitar), Jordan Dykstra (viola), Francesca Caruso (violin), and Luke Damrosch (recording engineer). In addition to each performer’s own compositional work, they have toured, recorded, and/or performed with composers including Christian Wolff, Jurg Frey, Eva-Maria Houben, Michael Pisaro-Liu, Magnus Granberg, Ryoko Akama, and others. The group has had music released on Wandelweiser, Elsewhere, rhizome.s, Editions Verde, Suppedaneum, ftarri/meena, and others.

Cellist and electronic musician Laura Cetilia is a performer, composer, educator, and presenter. As a daughter of mixed heritage (second generation Mexican-American), she is at home with in-betweeness, moving through genres and practices as she did with cultures and languages growing up on the Eastside of Los Angeles. As a composer, her music has been described as “unorthodox loveliness” by the Boston Globe and “alternately penetrating and atmospheric” in Sequenza 21. She plays cello with her duo Mem1 (alongside Mark Cetilia), Ordinary Affects, Ghost Ensemble, and Suna No Onna. She is currently pursing a DMA in Music Composition at Cornell University and is a proud mother of an 8-year old who loves to draw.
http://laura.cetilia.org


J.P.A. Falzone is a musician and composer currently pursuing his doctoral studies at SUNY Buffalo.

Morgan Evans-Weiler is an interdisciplinary artist and musician currently residing in Philadelphia, PA.
www.morganevansweiler.com


Luke Martin is an experimental composer, performer, and writer living in Minneapolis, MN. He plays guitar and no-input mixing board, often with people in and around the Wandelweiser Group. Luke’s work is mainly oriented toward thinking the relation between music and truth, with a special focus on theorizing silence as such. He also runs, with Aaron Foster Breilyn, the Co-Incidence Festival.
www.lukecmartin.com

Christian Wolff & Ordinary Affects, concert for this publication (photos courtesy Danny Gromfin). November 2018, Boston USA .

Christian Wolff & Ordinary Affects ~ Line Exercise (Excerpt)
Christian Wolff & Ordinary Affects ~ For Ordinary Affects (Excerpt)

Art description
Original drawings by Christian Wolff. Crayon, gouache and pencil on paper.
White gatefold sleeve with title vignet on front. Inside is a transparent folded paper containing the drawing.

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160 euro




FORT BEDMAR ~ KLINGE KLANG

LP (180 Gram)
Original Artwork by Sien Sonck
Numbered & signed edition of 25 ex.
d’or065
Date of Publication: 28 November 2022

A

  1. Casimir Graf
  2. Plongée In Glacis
  3. Keutelattaque
  4. Scharrebier
  5. Astrale Caravan

B

  1. Geirnoaert
  2. MIWA
  3. Schnitzel
  4. Trailer Park

Recorded in Stekene, Belgium, September 2019

David Colohan: Moog Mother 32 & Eminent T260.
Jan D’hooghe: DIRC music synthesizer
Bart De Paepe: Korg MS-20

David Colohan (1975) lives in the Irish midlands. His main project is the psych-folk collective United Bible Studies though he is just as happy recording solo or collaborating with like-minded souls.

Jan D’hooghe (1971) studied jazz at the Antwerp Jazz Studio and played in numerous alternative bands since the early nineties.
Nowadays the focus is on painting and experimental music.

Bart De Paepe (1980) has released several albums of psychedelic soggy murkiness on various labels, most recently Macula Kuru on Feeding Tube.

Fort Bedmar ~ Klinge Klang (Side A) (excerpt)
Fort Bedmar ~ Klinge Klang (Side B) (excerpt)

Artwork description: acrylic paint on cardboard LP cover by Sien Sonck. Backside: calligraphy by Bart de Paepe and Jan D’hooghe.

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80 euro




OLIVIER BRINGER ~ BARBITURIK / LE CRÉTIN EN MOI

LP (180 Gram)
Original Artwork by Olivier Bringer
Numbered & signed edition of 25 ex.
d’or064
Date of Publication: 28 November 2022

Olivier Bringer is an autodidact visual artist / poet / musician from France born 20 November 1951.

“I hate drawing less than poetry but all the same there is something about art that makes me nauseous…”. (Les Chuchoteurs, les éditions artderien, artbook published in 2021). Olivier Bringer is an outsider artist from France, who’s themes include the horror, the fall or the faillure. The universe of Olivier Bringer is reminiscent of Edgar Allen Poe, Alfred Jarry, Marquis de Sade, Antonin Artaud…

Further reading about the work of Olivier Bringer:
Art:
1)
Music:
Music collaboration Olivier Bringer / Romain Perrot
Books:
L’homme de la cave
L’habitant du château
Les Chuchoteurs
Exhibitions:
– Baron Rouge (Paris) (curated by Quentin Rollet)
– Upcoming exhibition: Semaine du bizarre
1-10 December 2022, Théâtre Berthelot, Montreuil, France.

Barbiturik (23:08)
Le Crétin En Moi (17:20)

Barbiturik (April 11, 2020) and Le Crétin En Moi (The Moron In Me) (March 6, 2020) are two intense pieces from the private universe of Olivier Bringer, involving the voice of the author and crude acoustic sounds with incidentally rudimentary organ and microphone feedback.

Olivier Bringer ~ Le Crétin En Moi (excerpt)
Olivier Bringer ~ Barbiturik (excerpt)

Description Artwork: 25 unique paintings by Olivier Bringer. Ink, paint on printed media.
Black gatefold cover with original signature on front and artwork between transparent sheet of paper.

ORDER BELOW
Payment Options: Paypal or CreditcardPrice:
80 euro

PETER BEYLS ~ IT ALWAYS TAKES A SHORT TIME (1975) / IN FLIGHT CONTROL (1983)

LP (180 Gram)
Original Artwork by Peter Beyls
Numbered & signed edition of 25 ex.
d’or063

This is the third publication dedicated fully to the work of Belgian early electronic composer Peter Beyls (1950).

Included here is the tape-only part of It Always Takes a Short Time, an intermedia performance piece involving live narration, slide projection and music on tape [1]. The tape-music composition was produced at the IPEM Studio in Ghent and developed from a short text by my late friend conceptual artist Yves De Smet (1946-2004). The text runs as follows: “When two trains are standing next to each other and one of them starts, it always takes a short time before I realize whether it is, mine or the other”.

It Always Takes a Short Time is a 4-channel piece constructed as two individual 2-track tapes playing in sync. It includes elements of text-sound composition borrowing spoken fragments from the source text as recited by Herman Sabbe. In addition, much material is generated by a crackle-box; a small portable electronic music instrument I designed and built at STEIM, Amsterdam in Spring 1973 [2]. All source material was manually organized by cutting and splicing fragments from multiple audio tapes.

[1] Premiere performance at Museum Dhondt-Dhaenens, Deurle, Belgium, 1975 Narrator: Herman Sabbe.

[2] Cracklebox, https://steim.org/cracklebox/


In Flight Control
is a live electronics piece, it was first performed at De Zwarte Zaal, PROKA Ghent in 1983.

During a flight from California to the US east coast in 1981, a conversation between the pilot and the control tower was recorded using a small portable tape recorder. Correspondingly, a conversational performance strategy developed: performer and instrument engaged in a tight musical dialogue. In this type of performance practice, one first designs a musical instrument; a system created out of a number of electronic modules all connected into a particular complex patch. Such systems exhibit some form of sonic character, a specific behavioral scope as implied in a given patch. The performer interacts in a conversation-like setting while the system unfolds its musical character over time. Serge Tcherepnin whom I had just visited in San Francisco designed and built the modular voltage-controlled synthesizer used in the performance of In Flight Control [1].

Peter Beyls
Ghent, January 26, 2022

[1] Serge Modular Systems: http://serge.synth.net/

Peter Beyls works on the intersection of computer science and the arts. He develops generative systems in music, the visual arts and hybrid formats. Beyls studied music and computer science at EMS, Stockholm, the Royal Music Conservatory, Brussels and the Slade School of Art, UC London. He was a researcher at ICCMR and was awarded a PhD in Computer Science from the University of Plymouth UK, for his research on evolutionary computing applied to real-time interactive music systems. He published extensively on various aspects of digital media, in particular, real-time interactive music systems, generative art and, in general, the application of Artificial Intelligence for artistic purposes.

Beyls pioneered the use of cellular automata in the field of computer music while at the VUB AI-Lab. His work was widely exhibited and performed at conferences like Siggraph, ICMC, Imagina, ISCM, Generative Arts and ISEA. He was invited professor at a.o. the University of Quebec, Montreal, California Institute of the Arts, Shanghai Institute of Visual Arts, the School of Visual Arts, New York and the Osaka Arts University, Japan. Until September 2016, he was a research professor at CITAR, Catholic University of Portugal, Porto. He is currently a visiting researcher at the Department of Media Art, University College Ghent, specifically developing a project at KASK Laboratory aiming to interface aesthetic and biological processes. Beyls is also a is a visiting professor at Artec, University Paris VIII Vincennes-Saint Denis, Paris, France.

Peter Beyls has been involved with ISEA (the International Symposium on Electronic Art) since the early 1990’s, he is currently a member of the IIAC (ISEA International Advisory Committee). In addition, he is an associate with Ear to the Earth, New York, Intermedia Projects, Albuquerque, NM and the Algorists collective.

Beyls was initially active in electronic music, as a composer of tape music. Later on, he developed various analog live electronic music systems. In close partnership with Michel Waisvisz, he designed and built the early prototypes of the crackle box synthesizer at STEIM, Amsterdam (1973-1975). While teaching at the Vrije Academie/Psychopolis, The Hague, Beyls develops various collaborative projects with Dutch experimental filmmaker Hero Wouters. Around the same time, Karel Goeyvaerts and Lucien Goethals were his mentors at the IPEM Studio, Ghent. In the mid 1990s Beyls performs extensively in a trio with John Van Rymenent and Geoff Leigh. Over the years, Beyls’ engagement with music systems evolved from home-made electronics to time-sharing computers to laptop performance.

Beyls conceives of computer media as active partners in a creative process, a methodology he refers to as “conceptual navigation”. Software is written in order to explore ambiguous intentions. Once an idea is formalized in a program, one can evaluate its imaginative potential by way of the feedback that program provides. Since a program reflects the objectives of the artist, programming is considered a method of aesthetic introspection. Software is thus instrumental as a functional, materialist means allowing the active manipulation of otherwise purely conceptual constructs.

Over the years, Beyls’ work has primarily centered on generative systems, including extensive series of machine drawings, human-machine interactive music systems using machine-learning and interactive audiovisual installations, many of them using computer-vision. A clear line of thought underpins the evolution of his artistic thinking: from methodologies borrowed from conventional AI (knowledge-based systems) to Artificial Life oriented systems exploring the notion of emergent functionality. An experimental, exploratory attitude is core to his work.

Beyls is equally fascinated by the problem of translating digital/virtual artifacts back into the tangible analog world as to make them available for humans to be experienced. This raises questions of how digital art is connected to the sensual parameters of human physicality and how it can be referenced/understood from the whole of human culture and the massive depth of its history. A monograph documenting his oeuvre was published by MER Paperkunsthalle in 2014. The event coincided with a major survey exhibition at IMAL, Center for Digital Culture, Brussels. A more recent collection of texts entitled Coming Full Circle, (2019) was published by the Verbeke Foundation Belgium following a solo show at the Verbeke Museum. Beyls’ work is represented by Gallery DAM, Berlin, Germany.

Ever changing Animation by Peter Beyls
https://www.peterbeyls.net/SPO_01.html

Website Peter Beyls


a side
– It Always Takes A Short Time (1975).
b side
– In Flight Control (1983).

All Music by Peter Beyls

Peter Beyls ~ It Always Takes A Short Time (1975) (Excerpt)
Peter Beyls ~ In Flight Control (1983) (Excerpt)

Artwork Description:
A series of 5 unique pen plotter drawings on chromogenetic prints, each in an edition of 5.
298-298 cm. Gatefold cardboard cover with green sticker.

Serie 1, Edition of 5.
Serie 2, Edition of 5.
Serie 3, Edition of 5.
Serie 4, Edition of 5.
Serie 5, Edition of 5.

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PETER BEYLS ~ ROTHKO (1977)

LP (180 Gram)
Original Artwork by Peter Beyls
Numbered & signed edition of 25 ex.
d’or062

This is the second publication dedicated fully to the work of Belgian early electronic composer Peter Beyls (1950).

Rothko is a tape-music composition produced at the Expanded Media Studio, Brussels – a personal electronic music studio established at the time by my late friend, pioneering experimental jazz musician John Van Rymenant (1942-2018) and myself. Musical material gathered in the studio was manually assembled by cutting and splicing multiple audiotapes. The final mixdown took place at the IPEM Studio in Ghent.

A fascination with the work of American color-field painter Mark Rothko exemplifies the title of this piece. In 1952, he wrote: “The most important tool the artist fashions through constant practice is faith in his ability to produce miracles when they are needed” [1].

Never having any intention to translate Rothko’s pictural language into sound, the connection was an affective one as reflected in the immersive, embodied experience of color itself. Expressive timbral articulation is key to the piece – close listening entails an immersive experience emphasizing the organic quality of sound. As Rothko asserted: “I paint big to be intimate” [2].

Peter Beyls
Ghent, January 25, 2022

[1] Rothko, Mark: (1947) in: Possibilities, Vol. 1, no. 1, Winter 1947-48, Wittenbron Schultz, Inc. New York, NY, pp. 85

[2] Rothko, Mark: The Artist’s Reality: Philosophies of Art, Yale University Press, New Haven, CT. A seminal text written by Rothko during 1940 – 1941, discovered in 2000 and ultimately published in 2004.

Peter Beyls works on the intersection of computer science and the arts. He develops generative systems in music, the visual arts and hybrid formats. Beyls studied music and computer science at EMS, Stockholm, the Royal Music Conservatory, Brussels and the Slade School of Art, UC London. He was a researcher at ICCMR and was awarded a PhD in Computer Science from the University of Plymouth UK, for his research on evolutionary computing applied to real-time interactive music systems. He published extensively on various aspects of digital media, in particular, real-time interactive music systems, generative art and, in general, the application of Artificial Intelligence for artistic purposes.

Beyls pioneered the use of cellular automata in the field of computer music while at the VUB AI-Lab. His work was widely exhibited and performed at conferences like Siggraph, ICMC, Imagina, ISCM, Generative Arts and ISEA. He was invited professor at a.o. the University of Quebec, Montreal, California Institute of the Arts, Shanghai Institute of Visual Arts, the School of Visual Arts, New York and the Osaka Arts University, Japan. Until September 2016, he was a research professor at CITAR, Catholic University of Portugal, Porto. He is currently a visiting researcher at the Department of Media Art, University College Ghent, specifically developing a project at KASK Laboratory aiming to interface aesthetic and biological processes. Beyls is also a is a visiting professor at Artec, University Paris VIII Vincennes-Saint Denis, Paris, France.

Peter Beyls has been involved with ISEA (the International Symposium on Electronic Art) since the early 1990’s, he is currently a member of the IIAC (ISEA International Advisory Committee). In addition, he is an associate with Ear to the Earth, New York, Intermedia Projects, Albuquerque, NM and the Algorists collective.

Beyls was initially active in electronic music, as a composer of tape music. Later on, he developed various analog live electronic music systems. In close partnership with Michel Waisvisz, he designed and built the early prototypes of the crackle box synthesizer at STEIM, Amsterdam (1973-1975). While teaching at the Vrije Academie/Psychopolis, The Hague, Beyls develops various collaborative projects with Dutch experimental filmmaker Hero Wouters. Around the same time, Karel Goeyvaerts and Lucien Goethals were his mentors at the IPEM Studio, Ghent. In the mid 1990s Beyls performs extensively in a trio with John Van Rymenent and Geoff Leigh. Over the years, Beyls’ engagement with music systems evolved from home-made electronics to time-sharing computers to laptop performance.

Beyls conceives of computer media as active partners in a creative process, a methodology he refers to as “conceptual navigation”. Software is written in order to explore ambiguous intentions. Once an idea is formalized in a program, one can evaluate its imaginative potential by way of the feedback that program provides. Since a program reflects the objectives of the artist, programming is considered a method of aesthetic introspection. Software is thus instrumental as a functional, materialist means allowing the active manipulation of otherwise purely conceptual constructs.

Over the years, Beyls’ work has primarily centered on generative systems, including extensive series of machine drawings, human-machine interactive music systems using machine-learning and interactive audiovisual installations, many of them using computer-vision. A clear line of thought underpins the evolution of his artistic thinking: from methodologies borrowed from conventional AI (knowledge-based systems) to Artificial Life oriented systems exploring the notion of emergent functionality. An experimental, exploratory attitude is core to his work.

Beyls is equally fascinated by the problem of translating digital/virtual artifacts back into the tangible analog world as to make them available for humans to be experienced. This raises questions of how digital art is connected to the sensual parameters of human physicality and how it can be referenced/understood from the whole of human culture and the massive depth of its history. A monograph documenting his oeuvre was published by MER Paperkunsthalle in 2014. The event coincided with a major survey exhibition at IMAL, Center for Digital Culture, Brussels. A more recent collection of texts entitled Coming Full Circle, (2019) was published by the Verbeke Foundation Belgium following a solo show at the Verbeke Museum. Beyls’ work is represented by Gallery DAM, Berlin, Germany.


Website Peter Beyls


a side
– Rothko Part I.
b side
– Rothko Part II.

All Music by Peter Beyls

Peter Beyls ~ Rothko (1977) (Excerpt)

Artwork Description:
A series of 5 unique pen plotter drawings on chromogenetic prints, each in an edition of 5.
298-298 cm. Gatefold cardboard cover with blue sticker.

Series 1. Edition of 5.
Series 2. Edition of 5.
Series 3. Edition of 5.
Series 4. Edition of 5.
Series 5. Edition of 5.
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RAYASTRE ~ PARA BRAHMA

Installation by Rayastre
Rayastre ~ Para Brahma
LP AND ARTWORK IN BOX
PUBLICATION OCTOBER 6
(Photo of Installation by Rayastre)

LP (180 Gram)
Original Artwork by Rayastre
Numbered & signed edition of 25 ex.
d’or061

  1. Claquement Bruit…
  2. Rhytme Sinusale…
  3. Extrasystole Sporadique…
  4. Bruit du Cœur…
  5. Éclat Variable…
  6. L’écume du Ciel…
  7. Dédoublement du deuxième bruit……
  8. Gallop Presystolique…
  9. Bruit de Triolet…
  10. Claquement d’ouverture Mitrale…
  11. Le souffle Systolique…
  12. Le souffle Discret…
  13. Souffle Proto Systolique…
  14. Le Souffle du Rêve…
  15. Souffle Gastolique…
  16. le souffle continue de la persistance du canal artériel rappelle de la locomotive…

All Music by Rayastre…
All Music made with Voice and Tape Manipulation Only.

The Music celebrates the different Forms and Deviations of Heart Murmur. Cardiac Auscultation in full Exclamation…” (Rayastre)

Rayastre ~ Claquement Bruit…
Rayastre ~ Rhytme Sinusale…
Rayastre ~ Extrasystole Sporadique…

Listen to full album here: https://astresdor.bandcamp.com/album/rayastre-para-brahma

Artwork Description
The following collages were made by Rayastre during the course of several years. The original collages are transparent collages on lightboxes. All etchings are direct transfers from original 19th century books. The transfer procédé is a unique technique developed by Rayastre and involves careful washing with water and transfer to adhesive tape. There is no computer or copymachine used in this process, but is fully done by hand.
These 5 prints are blow ups (30-30 cm) of the originals (10-10 cm) on a transparent plastic sheet. A unique series of 5 prints of five collages in first (and last) edition. Signed by the artist.
Hardcover box with black linen and wooden dowel.

Rayastre Website

Series 1. Edition of 5 Original Prints
Series 2. Edition of 5 Original Prints
Series 3. Edition of 5 Original Prints
Series 4. Edition of 5 Original Prints
Series 5. Edition of 5 Original Prints
Series 2 on hardcover box
Innercover
Innercover with 4 prints
Series 2 print on transparent plastic sheet
Series 2, transparent sheet
SOLD
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