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Extra Assignment
Little Band Scene
A group of short-lived experimental post-punk bands in inner-city venues of Melbourne starting in 1978. They focused more on artistic expression than commercial success, constantly changing names and members, but the difference between the performers and audience was vague as all members were in the little band scene’s tight knit community.
The bands had to follow rules during each performance:
Rule One: No band could perform more than twice in a night.
Rule Two: each bands could have no more than 15 minutes.
ideas were more important than musical talent/ability. Their sounds included a drum machine rhythms, synths, and creepy/witty lyrics.
Although the scene faded away by 1981, the bands inspired the 1986 cult film, Dogs In Space.
https://www.youtube.com/watch?v=OSlgFbgK1rw&list=PL3Y_gIsyprIXtwpbVDdZhXtaQbS3e-jaN&index=13
https://www.youtube.com/watch?v=yJm_7JhQEL8
https://www.youtube.com/watch?v=RUmQUdyrmDU&list=RDRUmQUdyrmDU&start_radio=1&t=7
https://www.youtube.com/watch?v=5TLNCDUjmMA
https://www.youtube.com/watch?v=hsXO87y8Qnc&list=PL3Y_gIsyprIXtwpbVDdZhXtaQbS3e-jaN
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Sarah and I live sampling the collaged records synchronized with dance video in class.
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Sound Art Final Proposal
A Tribute To: The Happenings Hits, Gone But Not Forgotten
Our project references a wide variety of sound-art based concepts. The obvious being dance and movement. Inspired by the early sound art scene “happenings movements” and the collaborations between Merce Cunningham and John Cage, which involved sound scored dance translations. Active participation, intricate, following the fundamental concept that art can be brought into the everyday life. The places we danced are apart of a daily walk, bringing choreographed movements into the routined urban soundscape, keeping in mind R Murray Schafer and Hildegard Westerkamp’s sound walks and soundscaping.
Our live sampling acoustically scores the film. By using techniques inspired by Christian Marclay and Maria Chavez and by referencing John Oswald’s plunderphonics, we have collaged together vinyl records sorted and chosen over days spent sifting through piles from the discounted/unwanted sections of multiple records stores throughout downtown.
By splicing and physically breaking them (smashing on our hips), drilling holes, layering, taping, and painting on yellow time indicators, we were able to craft together 10 different collaged records without relying on computerized and technological tools or software.
We chose three of our favorite and most interesting vinyl mash ups. Chance operation determines the way each record will sound and will be played live. Each time sounds differently, no matter how many times we’ve ran through the set.
The title we made from our cut up album covers. The three phrases were found on different albums and happened to fit perfectly, referencing the rediscovery of forgotten/ignored/stashed away/stored vinyl. We like to think that through our project we’re paying tribute to these disregarded records. “Happenings” was an album we found and used which also references the 60s sound art fluxus movement.
Process:
The first week was spent sifting through old and disregarded records, listening to them, and gathering a collection. We chose both random and specific albums in our anthology.
Physically breaking/splicing them on our hips, piecing and layering different ones together based on what we thought would sound coherent or that randomly fit best together. Each record piece that we wanted to use had to have a center hole, and if one specific shard did not, then we would drill a new hole. This caused an interesting time warp and unbalance.
The next week was spent creating the video. Sarah made a choreography based her own interpretation that she felt while listening to the records we made. Fanny chose the film’s locations, and filmed the video while directing the cinematography. We both planned beforehand and also spontaneously made the creative decisions during the filming.
Selecting footage, editing it, and stringing it together.
Collaged the album covers for our three favorite record compilations.
Our last step was practicing our set and timing the live transitions between each record, learning to sync the video with the live vinyl score, marking the records with yellow paint for when/where to play, running through the set in preparation.
Artist in conversation
-Merce Cunningham and John Cage– dance + sound art
-R Murray Schafer and Hildegard Westerkamp– sound walk/urban soundscape
-Christian Marclay and Maria Chavez– Record playing, vinyl collaging
-John Oswald– Plunderphonics/splicing
Albums used
Neil Diamond Greatest Hits, The Happenings Hits, Jazz version of Bach, Mozart, Hank Williams, Field Works, Burt Bacharach, Baby Steps, The Clash.
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layering and playing with piece possibilities
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