I follow Eric Whitacre in Facebook. His Lux Aurumque blew me away the first time I ever heard it, and still shivers me timbers countless listens later. He is a young, online, easy-on-the-eyes guy too, which, perhaps strangely, I do not associate with the world of virtuoso choral composition.
Today I share with you a post from my Facebook friend Eric. He is producing a virtual performance of Lux. Actually the Facebook post is of a blog post, which includes enticements to investigate further, such as “Making the conductor track was a strange experience for me personally. The production crew set up the cameras and left the room, and I conducted through the entire piece in total silence, hearing only the ‘ideal’ version in my head. Then I went back to the video and played the piano part over my silent conductor track. That was especially difficult, and weird: the Eric-piano-player playing for the Eric-the-conductor on a piece that Eric-the-composer wrote ten years ago.”
Should you decide to participate in the virtual performance, the video you’ll use, for syncing and of course for direction from The Eric, is right there, beckoning…Actually it is right here too, above. But go read the original post, below.
Virtual Choir: The Lux Aurumque Conductor Track « SoaringLeap.com.
Michelle Fleet, photo copyright Jordan Matter
I love this project, in concept and in execution. I had been thinking that I could browse it endlessly, when a funny thing happened. My typically hyperbolic thought became reality, and the series went on without end. The device I first saw it on did not display a complete thumbnail gallery, so I had no idea how many photos were in the series. I just knew that I had been viewing them for some time, then I knew that I’d had that thought repeatedly, then I hypothesized that the website somehow triggers new photos (how it would locate such amazing events was obviously the x to solve for), then I considered throwing in the towel but was still too entertained to do so, then I became sleepy but aware that I could not stop viewing, then I thought of Bunuel’s Exterminating Angel, then I sought sanity and considered my unfortunate dance ignorance and determined to end that, then I found myself back at the beginning of the thought cycle (certainly not the photo cycle) realizing that I was again noticing how long I’d been viewing.
Dancers Amoung Us | Jordan Matter Photography – New York Headshot, Comp Card Fashion & Wedding Photographer.
O my heart. Love this project, as previously posted, but especially love the writing on this one.
Ocean Scene Globe | Significant Objects.
"Grace Throckmorton", Torin Stephens 2010
“images found on the internet of people who have died…downloaded and projected into a space that was either important to that person in life or was the site of their death…”
I saw this on Wooster last week, and took the time to learn more. I was surprised by what I learned. There are few other words posted with this work on Stephens’ site. I found I didn’t care, and learned instead that some things are better experienced without knowing how it is to project onto a horse.
The Artwork of Torin Stephens.
Amanda Coogan's How to explain the sea to an uneaten potatoe. Photo: kDamo
Why such an unreasonable demand? Only the premiere of a four hour screening of performances of women “repeatedly submerging and scrubbing the fabric they wear…effusive liquid emerging between their legs…” Never mind, you are free to come and go throughout. Still not persuaded?
Well. Surely you can spare a click or two to at least contemplate Amanda Coogan’s impressive body of work. How We Live Now tells me Coogan is a national treasure on the isle, and the website makes it easy to believe. Here, the Madonna performances, with the blunt offering of unglamorous breast. There, We Shall Glorify, Coogan lip synching while white powder is manually poured over her, eventually forming a conical pile on her head. Everywhere, shiny, colourful formalwear.
Coogan’s main thing is durational performance, brought nearly mainstream recently by Marina Abramovic. But she seems to believe that these performances can communicate after the fact, through pixels, as she’s invested her site with plentiful documentation: pictures, videos, writings.
I concur. We haven’t seen any of this live yet, and have juuuust missed the Yellow premiere. But I will be thinking about explaining the sea to an uneaten potatoe for a while (above, thanks kDamo).
Amanda Coogan – Performance artist – Home.
boar of letters, 2008
I finally got some q-time with the new Parasol, and number six did not disappoint. Among the delights presented by Mizz Parasol is Overture, aka Jason and Aya Brown. The Browns say they are dreamers whose thought waves overlap and mingle. Which you don’t need to be told if you’ve seen the work. Parasol features some from their Caffeine series, watercolor and ink soaked in coffee. If you visit their blog, you will learn of a gathering March 11 which will involve mask making, storytelling, and animation screening. Another good reason to make NYC in March.
Overture Aya & Jason.
ROA!’s images of piled up critters are interesting, but none moreso than the ones of rats. Taking a normally endearing animal image, the “puppy pile”, and applying to a reviled beast, provokes the kind of thought I like to entertain.
Wait – they are asleep, aren’t they???
London-Groupshow Brick Lane Gallery on Flickr – Photo Sharing!.
(Anselm Kiefer/Nomenus Quarterly)
So set your rss or bookmark or whatever system you use to nomenus quarterly, as his newness should arrive very shortly. And you know that six grand pricetag on the print edition is for chumps.