|Past Shows - "The Noise
An Evening of Mechanical and Kinetic Sound Installations
Feb 23rd 8 PM Midnight $15
THE SHIPYARD: http://www.pureeviltm.com/shipyard/
A shipping container evening of art and performance not to be missed.
ART ART ART: Interactive Sound/Art and Noise Installations pounding
out of Big Red Shipping Containers with: flapping wings, contact
mics, water pumps and pinball machines, the AMF, the NBC, jackhammers,
piano, ship and airplane parts and no one will ever forget the melting
can. You will marvel at the sonic ice sculptures, but bring ear
protection, wear gloves and be prepared for a surprise guest and
much much more.
"The Noise of Art" a combination of interactive art installations
and live performance and often a combination of both. There were
several self-contained interactive mechanical, kinetic or electronic
sound sculptures; each installed in individual iron oxide red shipping
container, all of which will require audience participation. There
were three multi-piece "bands" and many other interesting
and unusual works of art.
|The evening will started at 8:00 pm with 45min.
of roaming the installations, then we proceed installation by installation
highlighting each artist and performer in the show.
Description of performance-installation: fountains
composed of trashcans, water pumps, contact mics, geophone,
polyethylene, and sealant. Through amplification and signal
processing the fountains' sound isscaled and styled to
fit urban listening space.
Duration of performance-installation: 15-20 minutes
Artist Biography: Kenneth Atchley presents amplified,
harmonically rich [i.e. noise saturated] fountains in
concert-installation settings. His CD 'fountains' will
be released on Auscultare Research label in February 2002.Atchley
has performed as a featured artist at venues, concert
series and festivals including: Intermedia Arts Foundation,
Roulette, Pauline Oliveros Foundation, CalArts/CEAIT Festival,
The LAB, Beyond Baroque, New Langton Arts, the Northern
California Noise Festival, and Z Festival.
Artists' Statement: A few years ago I began to
compose electronic noise with the intention of creating
a highly embellished music. In pursuit of this work I
studied the music of Couperin and other 17th and 18th
French composers, Antonio Maravall's works on the Spanish
Baroque, the surface and sound of water in vessels and
fashion magazines. All this and the contemplation of architectural
space resulted in my creating fountains of amplified,
|Artists' Name: Larnie Fox
Email address: email@example.com
http://www.infoflow.com/larnie Name of installation
(2 possible). The Crow (Wartime Studio Interior)
Description of installation: Both are kinetic/sound
sculptures. Materials: Bamboo, Contact Microphones,
Electric Motors, Found Objects and/or Name of Performance
Artist Biography: Larnie Fox, (
http://www.infoflow.com/larnie ) is known for paintings,
bamboo sculpture, and "low-tech" machine sculpture
and noise performances. He is a founding member of 23five
Incorporated, a non-profit to promote sound art. He is
also a founding member of Art Bias and Art Club, two Utah
Fluxus-influenced groups, and has performed and shown
at numerous venues in Utah. He was commissioned to create
and burn a 20-ft. bamboo and muslin windmill at Burning
Man 1997, and there he made and flew a 23-ft. bamboo and
muslin kite in 1996, and an airplane in 1998. His work
has been shown in the Bay area at The San Francisco Art
Institute, The Lab, SOMAR, Pond, Second Space Gallery,
and at a one-person shows at the Richmond Art Center and
the Randall Museum in San Francisco. He has performed
at CELL, Komotion, Noisegate, Splunge, The Werepad, The
Lab and Anti-Matter Gallery, and has also shown and performed
on a guerrilla basis regularly. Larnie Fox is the Director
of the Children's Art Program for the City of Palo Alto
at the Palo Alto Cultural Center. He has directed the
Art Kids Children's Art Program the Community School of
Music and Art in Mountain View, where he also taught.
Co-founder of, and past instructor for Utah's Youth Arts
Academy, and Project Coordinator for the Utah Arts Festival
Children's Art Yard, he also taught at Weber State College,
the University of Utah, and the Community University in
Bozeman, Montana. He holds a M.F.A. in Painting and Drawing
from the University of Utah and a BA in Painting and Drawing
from Slippery Rock University, Pennsylvania.
Artists Statement: Artist's notes: "Sub", in
this case, is not followed by "marine". As you
know, sub means "under", and "marine"
means water. What do you think its "under-neathness"
refers to? I'll tell you what I think, but you have to
tell me what you think first. That is the job of the viewer.
(Maybe it IS water...) The lovely and talented Bodil
Volmer asked me a question as we were lying together in
bed the other night. She asked me if submarines were always
associated with the military. "Airplanes", she
explained, " were originally invented and used by
civilians, but subs...?". There are four motors,
four contact microphones, four colored lights and four
motion sensors, which face the four directions. There
are five "birds" following it. I think it suggests
a "mother-ship". The "bird" that has
a propeller really flies if a rubber band is properly
inserted, and it is wound and released. Please do not
touch, or attempt to adjust the sound levels. If you are
reading this at the opening reception ~ you should know
that you will not properly be able to experience "Sub"
tonight. With a crowd of people, the motion sensors will
be constantly tripped, and everyone will be talking. The
piece's quiet parts and silences are an important part
of the work.
Description of installation: An audience-controlled
feedback chamber that approximates the experience of a
gunfighter trapped in a dub-delay.
Artist Biography: Nick Cain is a Bay Area-based
electronic musician and conceptual artist. As part of
the drum-and-bass collective deepfatfried, he has recently
released a new 12" on dietstrcyhnine records. At
last summer's Burning Man festival he create the Art Fortune
Artists' Statement: I created the Clint Eastwood
Vs. King Tubby sound-space in an effort to move past the
stale, binary oppositions of Western narrative. Because
I wanted to freak people out with feedback.
Description of installation: The Visible Woman:
Orgasmic Pinball is a Subverted Pinball Machine with the
theme of the female sexual pleasure system.
Once upon a time, this pinball machine had a somewhat
violent, male-oriented theme based on a Hollywood action
movie. The machine's original graphics have been replaced
with collages of anatomical drawings, giving the machine
an educational slant. Meanwhile, the machine's original
sound has been replaced with orgasmic-sounding vocal noises,
which increase in intensity as the pinball's internal
switches are hit, and decrease in intensity when the player
fails to stimulate the machine properly.
The pinball machine is a beautiful anomaly in arcade
culture. When stripped of its usual themes, the pinball
machine itself is, in structure and function, a non-violent,
ungendered, non-competitive game. There is no killing,
no destruction, no opponent or enemy. It's about motion,
physics, light, sound, stimulus and response. Success
at pinball is based on the player's ability to stimulate
the machine. By eliminating the scoring system completely,
this particular pinball machine gives no pleasure to the
player other than the type of pleasure that is gained
by stimulating another being and thereby eliciting an
Description of Performance: Anyone who plays
this pinball machine has a unique personal experience,
and as a result, gives a performance to anyone watching.
As a sort of secondary object, this performance produces
an interesting sociology experiment - How do people behave
when they are faced with this particular cultural taboo?
The machine "plays" the player as much as the
player "plays" it, creating a performance of
unique gestures and attitude from each different person
Artist Biography: As a rebellious, angst-filled
Silicon Valley youth, I despised all things technological.
I hated television and the inane pop culture that poured
out of it. I resented computers, with their poor communicative
skills, error messages and tendencies towards eating my
most important research papers. I saw my surrounding culture's
fascination with technology as a threat to the "human"
practice of Art, which I revered voraciously, and studied
in its most "organic," "human" forms,
such as sculpture with clay, drawing from live models,
and hand-drawn animated films.
However, during my studies at the University of California
at San Diego, my angry technophobia matured into a healthy,
fascinated ambivalence. Within the Computing Arts major
I had the opportunity to explore my former enemy (technology)
in a friendly (conceptual art) context.
I've been invited to study at the MIT Media Lab's new
"Computing Culture" program, and I hope to start
school there in September 2002.
"There are two kinds of truths. There are the superficial
truths, the opposite of which is obviously wrong. But
there are also the profound truths, whose opposites are
- Niels Bohr, (nuclear physicist) 1885-1962
The relationship between humans and technology is constantly
developing and fluctuating between disparate truths: sometimes
the two converge, uniting in playful bursts of invention,
communication, convenience and stimulation, and at other
times they confront one another violently, coldly quantifying,
categorizing, dissecting and dismantling... and each truth
is equally right. This ambivalent and pervasive relationship
is one of the most interesting phenomena that our culture
has yet to define, and it has become the conceptual root
of my artistic practice and the cohesive factor behind
all of my projects.
Many people (male and female) are uncomfortable with,
afraid of, or confused by the subject of female anatomy.
It seems as though our culture has alienated us from our
own bodies, as our imperfect flesh pales in comparison
to the empirical simplicity of machines. Likewise and
furthermore, due to its lack of visible empirical signals,
the female sexual response system is seen as a mysterious
freakish entity that many are unwilling to understand.
The goal of The Visible Woman: Orgasmic Pinball is to
create an example of how one might visualize the "invisible,"
unempirical female sexual response system in a way that
is unintimidating, mechanical, and affirming, implying
that skill is involved, but that one can learn and acquire
such skill, and enjoy the learning process, etc.
The Visible Woman: Orgasmic Pinball is an exploration
of the relationships between human and machine, and biology
and technology, as it represents the phenomenon of female
sexual excitement by applying it to a familiar mechanical
Artists' Name: Christopher Benfield
Email address: firstname.lastname@example.org
Name of installation: Frequency Communion
Description of installation: Images of strange
beings appear/dissappear in a strobe lit room, combined
with a white noise sound track scattered with real-time
the viewers in a trance-inducing environment.
the trance state has been a feature of almost all previous
and non-westernized cultures and has an obvious abscence
in our own. It is hoped that the piece will allow viewers
to experience something of the trance state within a technologically
manipulated space, that is cohesive with our society.
Artist Biography: Born '70 I grew up on the other
side of the world and went to Art School in London to
learn "how to be an artist"! And since then
have re-educated myself...moved to N.Y.C early 90'sand
then San Francisco in '98', where I live and work, and
make mainly paintings as far as art goes, and have been
showing around town. I support myself in the capitalist
system making people's dwellings look good in the color
and wall surface department and once in a while painting
murals. I also have been doing some street art and performances.
Artists' Statement: This piece is intended to provide
an environment in which participants experience a trance
like state of another worldly nature. It is inhabited
by strange, ephemeral beings that appear and disappear
rapidly, around and superimposed over, those in the installation.
This visual layering, in conjunction with the sound aspect
of the piece, is designed to nurture a loss of boundaries/identity,
and allow for an inward reflection on how we perceive
others and our selves within the shared experience. The
trance like state will be induced by the use of strobe
light and a sound track of radio interference and white
noise, with audio accidents encouraged to occur. Sound
and especially transmissions have the transient quality
of being time based, i.e. of the moment, as well as the
paradox of carrying the listener to other locations and
time frames. It is hoped to imply the metaphor of the
participant as receiver of messages too. By using technology
in this way I hope to approach the communal spiritual,
inner life so prevalent in previous and non westernized
cultures, which seems so obviously absent from our culture,
in a way that is accessible and using techniques more
cohesive with our present needs.
Artists' Name: Justin
Name of performance: trash can on fire
Mail address: email@example.com
Length of performance: 15 minutes
Description of performance: a trash can filled
with kerosene soaked wood, lit on fire and then force
fed air from a leaf blower until the metal trash can falls
a part in a great white hot fire. Radiating heat and the
rushing roar of a blast furnace fills the air, and the
sound of steel failing under high heat.
Artist statement: I like to burn shit and blow
things up, call it art, hell, just don't call the cops.
Previous showings: this performance has not been
done publicly yet, but more will always be better. A little
about artist: 27 years old, filmmaker, and sculptor, not
currently on any anti-depressants or lithium. Also life
insurance salesman, owner ofeatfuckkill.com
Duration of Performance: 10 minutes to 10 hours
- audience decides when they can't take it anymore (It
went most of the evening)
Artists' Statement: I
Description of Performance: Kinetic Sound Sculpture
Description of Performance/Installation: Doctor
Friendly uses motion capture gloves to control 14 parameters
of a self-organizing stereo feedback loop 200 times a
second, growing and evolving a bucking, singing sonic
beast in realtime. Is he controlling this new lifeform,
or is it controlling him? You decide.
Artist Biography: Aaron Wolf Baum, A.K.A. Doctor
Friendly, National Science Foundation Fellow, studied
physics at Harvard and Stanford University, where he received
a Ph.D. in 1997. His work with fractal and living system-inspired
electronic music began the same year. His first major
project was a system that used fractals to continuously
process and layer samples obtained from popular culture
and the local environment via microphones. This system
formed the voice of the Nebulous Entity, a giant, roving
"alien information scavenger" that serenaded
thousands of people at the 1998 Burning Man art festival.
His next project was to develop an audio texture generator
using biologically-inspired approaches to make weeks of
environmental organic electronic music without human intervention.
This project was exhibited in numerous galleries, audio/video
shows and multimedia conferences in the San Francisco
Bay area. His current project is an extension of these
ideas to the creation of interactive, "living software"
audio and video instruments capable of significant creativity
of novel sorts, enabling collaboration and play between
humans and new, alien life forms. The use of walkthrough
video feedback loops and motion capture gloves creates
an intimate, intuitive experience. This system was shown
at SIGGRAPH 99, The Exploratorium Science Museum, Ground
Zero, Artificial Life 7, Generative Art 3, The Lab, Crucible
Steel Gallery, Burning Man 2000 & 2001, New Langton
Arts, the Asilomar Microcomputer conference, and many
Artists' Statement: The value of control, especially
of complex systems such as living things and information
technology, is a bedrock assumption of most technology
DEVELOPMENT. As this technology penetrates our lives more
and more deeply, we find the consequences of this approach
-- that control is often the enemy of creativity, especially
the creativity of the natural world, which is being threatened
on a planetary level by humankind's quest for control.
The field of artificial life has demonstrated at a technical
level the fact that surrendering control -- creating systems
which, by design, one cannot understand -- can lead to
unique forms of organization; i.e., creativity. As this
interplay between creator and created becomes more fluid,
the possibility of a collaboration between two complex
systems -- a human and a created life form -- emerges.
My systems are an attempt to demonstrate this in the most
intuitive, direct way possible -- by placing a person
into an environment which responds to the details of their
movement in interesting, but often surprising ways. The
interactor may see images or hear sounds that they wish
to experience more of, and in attempting to influence
the system they discover the rewards of conscious listening
and experimentation; simultaneously one finds that total
control is not possible, and in this way a collaboration
develops. The metaphor of learning to appreciate the natural
responses of a system, and learning how to interact productively,
extends into all of our relationships -- personal, social,
governmental, and environmental. Its demonstration in
technology shows its universality, and extends hope that
our technology need not be a sterile, deadening presence
in our lives.
|Artists' Name: Erich Filthmilk,
Dan Hernandez, Nick Peterson, and Scott Rot
Group Nam: FiLTHMiLK
Email address: firstname.lastname@example.org
Web site: http://
Name of installation: Applications of past
Description of installation: midi controlled
power tools attached to a piano body, sheet metal, and
ship and airplane parts.
Name of Performance: applications of past unlawful
Description of Performance: Steel accompanied
by electronic noise devices, sub harmonics & cello
Duration of Performance: 00.21.04.02
Technical support requirement electricity, perhaps more
just, if a larger compressor is available we might be
able to use our jackhammer as well.
Artist Biography: FiLTHMiLK began 3 years ago.
Prior to the existence of FiLTHMiLK mankind did not exists.
Human kind's collective history and very memories was
fabricated during a session at the FiLTHMiLK studio. All
technologies, food stuffs, children's toys, cold remedies,
toast-r-ovens and so forth were designed and fabricated
by this illustrious group. Your history is their history.
Artists Statement" FiLTHMiLK is now attempting to
right the wrongs of the past 3 years. During these years
the band has spent too much time performing recording
and occasionally practicing. This waste of mind control
time has left the world to its own devices, which has
allowed the planet to spiral downward in counter spinning
vortex of crappiness.
|Artists Name: Louis Fleischauer,
Serina Lilly, Jenner Sharp, Robert Sin
Group Name: Aesthetic Meat Front
Email address: email@example.com
Web site http://www.a-m-f.org
Name of installation: Public Deprogramming
Ritual Name of Performance: Pure Kaos Against Total
Description of Performance: The ritual includes:
Musik made of bones, blood, meat, metal combined wit dark
electronics, body modifications, which are also used as
sound source, collective art and audience participation.
The idea behind this Ritual is to help the participants
(performers and audience alike) de-program themselves
from a reality that we've been taught to believe. By releasing
out inner powers and the primal instinct we become aware
of side in us, that has been suppressed far to long. We
ask you to use these moments to realize that there is
more to life than what we have been programmed to believe.
You are invited to participate! Duration of Performance
Artist Biography Artists Statement: We stand
at the end of western civilization. Mankind's mind has
been crippled by broad casted pseudo morals and religious
dogmas, which stand for stagnation, mediocrity and self-
annihilation. Instead of using our communication systems
as a tool to help mankind grow and evolve, we let the
mass media abuse it as a mind tranquilizer, numbing our
instincts, dulling our senses and spreading fear and paranoia
towards creativity, individuality and self indulgence.
The equality that the "civilized" man strives
for condemns the strong and reduces everything to the
level of the weak. Outrageous safety laws and useless
disclaimers (caution coffee is hot! Never use a condom
twice) eliminate the need for self-responsibility and
the use of common sense. Has thinking become a crime against
humanity? Is it our destiny to become soulless meat machines?
...Or is there more to LIFEA-M-F is not an organization
to be joined, it is an Idea, an experience, a philosophy.
It is a thought manifesting itself. We promote Self-evolution.
If you want to evolve and re-manifest your Self, you have
to rise above a mass media invented reality, which is
designed to breed submissive consumer slaves. You have
to dissociate from cultural and social boundaries. As
more individuals and ideas put into action are capable
of taking this path, we create a rupture in standards
of reality, and in doing so, create gateways towards new
spheres of evolution. Our ideas are to be seen as an inspiration,
not as a guideline. Feed your Deep Desire on A-M-F, mutate
the thought, and inflame your creative mind! Invent your
own line of attack. Proceed with the Left Hand Path.
Artists' Name: Bruce Cartier aka 'manboy'
Group Name: TEchnomania Circus
Email address: firstname.lastname@example.org
Name of installation: Technomaniacal Noise
by a Circus
Description of installation: Loud, interactive
integration of music & Circus
Name of Performance: Technomaniacal Noise Production
Description of Performance: Interactive Noise
Duration of Performance: 5 minute performances
perhaps 4-6 times every 30 min or so as a between.
Artist Biography: Circus Ringleader, Ringmaster,
and Performer the past 3 years.
Artists Statement: HA HA HA !! GOod freakin question.
Perhaps the answer lies within our show and we don't want
you in on it quite yet. Perhaps we have no reason or rhyme
why we do the things that circus do. But be aware we find
that the smile induction therapy may be transmitted to
surrounding folks and they may actually go home and hug
their wives and kids. OR even a STRANGER !! Perhaps even
give someone a break in traffic and let him or her in
line. Perhaps. Perhaps not. You see...... We are of the
creative spirit and you will see things you will never
see before and things you will never see again. Guaranteed,
like all our shows. Those attending will enjoy the show
or I will personally clean their house. More hyperbole
Description of Performance: Collaborative sound
performance using found metal as primary audio source;
processing and pure synthesis
Duration of Performance: 25 minutes
Artists' Statement: The NBC will dispatch its
agents to the Shipyard to teach some unruly but malleable
molecules to sing in unison.'