I’m thrilled (and so wonderfully surprised) to see Zennor has been covered by the Quietus in May’s New Weird Britain.

Thank you so much to Noel Gardner for including my album. I’ve been reading the excellent Quietus for so long and never dreamt I would appear in it, so I really appreciate this!

https://thequietus.com/articles/32967-worriedaboutsatan-kinlaw-rezzett

#music #review #journalism #musicreview #ambient #ambientmusic #experimental #experimentalmusic #sound #soundpoetry #electronic

OUT TODAY

EL ZOMBIE ESPACIAL - La volunta de elegir

He makes music, regardless of styles and trends (#soundart, #avantgarde, #soundscapes, #metal, #audiocollages, #pop, #soundpoetry, #krautrock, #vocalpoetry, #folk, #fieldrecordings and a long etc...)

https://veinte33records.bandcamp.com/album/la-voluntad-de-elegir

Taming of Chance 2022
Kartonboxen, modifizierte Spielwürfel

Im Alltag lässt man sich ständig von Algorithmen führen. Dabei wird dem Menschen die Experimentierfreudigkeit vorenthalten sich mit Unvorhergesehenem und Zufälligen zu konfrontieren. Sei dies das Aufsuchen des nächstbesten Restaurants, der optimierte Bewegungspfad aus den unendlichen Möglichkeiten oder die Endlichkeit der eigenen Existenz.

Hier setzt die Arbeit an: Das Spielerische, das ihr innewohnt, geht auf die Spielmetapher der Würfel zurück, aber auch auf das Spiel mit dem Zufall. Dabei stehen wir vor einem Paradoxon, denn ein Computer kann aufgrund seiner Architektur keinen echten Zufall emulieren, da Algorithmen durch Reduktion und Ordnung gebändigt, nichts dem Zufall überlassen können. Andererseits lassen wir uns ständig von Algorithmen leiten und kontrollieren. Die Schachteln mit 1, 2, 4, 8, 16 oder 32 binäre Würfeln - äquivalent zu den Maßeinheiten der Digitaltechnik und der Informatik - dienen als Werkzeugkästen um diesen Determinismus spielerisch bzw. künstlerisch zu unterlaufen.

Im Rahmen des Residenzprogramms TheHost.is wurden Künstler:innen aus Hamburg und Umgebung eingeladen, die Werkzeugkästen zum Einsatz zu bringen: z. B. durch Neuarrangieren der Objekte oder ausarbeiten neuer Spiele, deren Regeln eine Partitur für ein interaktives Ereignis/Event sein können. Die dabei erstellten Regeln - ergo Algorithmen - wie mit dem Inhalt der Box umzugehen ist, wurden von den Künstler:innen öffentlich präsentiert und z.T. als Handlungsanweisung dem Baukasten beigefügt.

Teilnehmende Künstler:innen: Franz.iska Henschel, Florian Bräunlich, Louise Vind Nielsen, Julia Münstermann, Christian Schwanenberger, Kathia von Roth, Marc Matter

Hosts: @deichtorhallenhamburg & @kampnagel_hamburg

#TamingOfChance #Chance #Zufall #InformationTheory #Technology #BinaryArchitecture #ArtsNumerique #ComputableNumbers #Algorithm #Soundpoetry

An overview of sound poetry from Peru on a label I haven’t come across before: https://buhrecords.bandcamp.com/album/la-materia-verbal-antolog-a-de-la-poes-a-sonora-peruana (it’s as great as that sounds) #music #musicNerds #jukebox #soundpoetry #peru #buhrecords

An overview of sound poetry from Peru on a label I haven’t come across before: https://buhrecords.bandcamp.com/album/la-materia-verbal-antolog-a-de-la-poes-a-sonora-peruana (it’s as great as that sounds) #music #musicNerds #jukebox #soundpoetry #peru #buhrecords

According to those who knew him, Isidore Isou never owned a computer. Hussey, in his sensationalist biography, frequently scoffed at Isou's ideas, pointing out that he was no mathematician.

However… Isou's daughter, Catherine Goldstein, is a number theorist and historian of mathematics. I wonder whether they talked about kladology and graph theory, and the interconnectedness of all knowledge?

https://sethcooke.bandcamp.com/album/pour-isidore

#graphtheory #soundpoetry #photography #speechsynthesis

Technologies such as Google and Facebook are mentioned a lot in terms of concern regarding their power and influence.

Graph theory is the engine that powers that - but you can look in the indexes of books about surveillance capitalism and data ethics and not find a single mention of it.

As people migrate from Twitter to Mastodon, these questions are of increasing urgency.

If there's any real subject of '⦵ (pour Isidore)', it's graph theory - who gets to apply it, for whom, to what purpose, and at what scale?

How are language and concepts interpreted by the knowledge graph? How much load can language safely carry?

Are there ideas that are inherently resistant to extraction and exploitation?

What happens when a bridge opens, closes, gets stuck, or is removed altogether?

https://sethcooke.bandcamp.com/album/pour-isidore

#graphtheory #soundpoetry #photography #speechsynthesis

The final set of works are graph visualisations of ‘Isidore Isou’s Library: A certain look on Lettrism’, published by ArtVenir in 2014. The scholars Fabrice Flahutez and Camille Morando entered Isou's apartment after he passed away and catalogued every book they found. I subjected their text to simple cleansing and extracted a table of edges.

It feels fitting that the first of these fails to render in Chrome and can crash Acrobat.

The work accumulated other found items along the way - texts, references, open source materials. I'll leave you to discover these.

My hope is that the work isn't received as attempted Lettrism. Isou is already sufficiently messianic, I'm being playful with my tribute rather than endorsing. I'll leave you to discover him, too.

https://sethcooke.bandcamp.com/album/pour-isidore

#graphtheory #soundpoetry #photography #speechsynthesis

Isidore of Seville and Isidore Isou became competitors in my conceptual frame. Some treat the former, author of a medieval encyclopedia, as the Patron Saint of the Internet. Formal intercessions speak of charity, patience.

Isou is unsafe - combative, critical, occasionally chaotic. Isou knew that the exploited, past a threshold, would turn on their exploiters. If you needed a Patron for the Internet, to whom would you rather pray?

https://sethcooke.bandcamp.com/album/pour-isidore

#graphtheory #soundpoetry #photography #speechsynthesis

I voiced the extracted OCR poetry via a speech synthesis model trained on Poèmes Lettristes 1944-1999.

The titular '⦵' is a contingent mishearing. Is it the sigh of the Letteric Alphabet? Is it the black theta of Isidore of Seville, signifying death? Is it the Plimsoll symbol that denotes a vessel's maximum capacity?

What is the safe capacity of language when it is subjected to the automated extraction of the knowledge graph?

https://sethcooke.bandcamp.com/album/pour-isidore

#graphtheory #soundpoetry #photography #speechsynthesis

'⦵ (pour Isidore)' began with two experiences:

Firstly, visiting the Isidore Isou exhibition at the Pompidou Centre in 2019. Isou dealt in language and the ineffable. There's an immensity to his work, it's both sensual and a mass concealed from the senses.

Isou was the founder of Lettrism, which most people only know as a footnote on the path to Situationism. But the more I learned, the more Isou's ideas bypassed the Spectacle and spoke to the current moment.

Hypergraphics to OCR. Supertemporal art to the internet. Infinitesimal art to the cloud. Youth uprising to the revenge of the producers of exploited data. And kladology, the interconnectedness of all things, to the knowledge graph.

https://sethcooke.bandcamp.com/album/pour-isidore

#graphtheory #soundpoetry #photography #speechsynthesis

'⦵ (pour Isidore)' is the second work in a series titled 'Method of Loci'. The first was 'This Content is Unavailable in Your Country'.

https://sethcooke.bandcamp.com/album/this-content-is-unavailable-in-your-country

'Method of Loci' started with dissatisfaction with field recording and data-driven art. The former is often naïve about 'place', the latter too beholden to function. I wanted a poetic richness that neither do well.

I use an assessment of data to identify ready-mades and found artefacts. The process resembles crafting a score, but the emphasis is on the process and 'score' as much as the final sound work.

As a former public sector analyst I'm used to drawing inferences from the quantitative and qualitative and crafting an assessment. 'Method of Loci' complicates the assessment and pushes it away from the practically informative, towards art.

The coherent aesthetic is the process, not the result. And I don't want that result to feel data-driven, it shouldn't feel merely informative.

Even the graph visualisation choices don't straightforwardly communicate the data, they point outside the dataset as an attempt to dialogue with other artworks or express ideas wider than the edge table.

#graphtheory #soundpoetry #photography #speechsynthesis

I've recently joined tldr.nettime from mastodon.art, and already I feel much more at home. Lovely to be here! But it's tabula rasa for my posting history, so I thought I'd reintroduce myself by being more open than usual about my recent art.

'⦵ (pour Isidore)' is series of works (including speech synthesis, photography, graph analysis, found artefacts and text) presented across a wav and a pdf. There is no streaming preview.

https://sethcooke.bandcamp.com/album/pour-isidore

#graphtheory #soundpoetry #photography #speechsynthesis

#circuitoc4m collabora con il progetto datapanic, una serie di compilation a tema, composta da brani della durata di un minuto.

Domani the ox*/canecapovolto, promotori del progetto, saranno a #bologna . Abbiamo pensato di omaggiarli con una nostra installazione effimera.

Luogo: monumento della shoa
#cassetta : Datapanic#3
"memory/oblivion"

https://datapanic-3.bandcamp.com/releases

(((Chi arriva prima se lo piglia)))

#art #mastoart #radio #circuitbending #fieldrecording #soundpoetry #noise #experimental

Datapanic#3 Memory – Oblivion is out now!

Datapanic is a #project created in 2020 by The Ox* brand and by Scuola FuoriNorma involving a digital music compilation released twice a year.

We ask musicians to compose a 60-second track (of any genre) following a theme.

Datapanic#1 was “Order – Disorder”

Datapanic#2 was “Dark – Light”.

#circuitbending #fieldrecording #soundpoetry #noise #radiodramma #artwork #experimental #elettronica #circuitoc4m #synth

https://datapanic-3.bandcamp.com/releases

Datapanic is a #project created in 2020 by The Ox* brand and by Scuola FuoriNorma involving a #digital #music #compilation released twice a year.

We believe that limits are a great opportunity to unleash one’s creativity, therefore we ask musicians to compose a 60-second track (of any genre) following a theme.

Datapanic #2 "Buio e Luce"

#circuitbending #fieldrecording #soundpoetry #noise #radiodramma #art #experimental #elettronica #circuitoc4m #synth

https://datapanic2.bandcamp.com/releases

Prima uscita di una linea di compilations tematiche.
"Ordine e Disordine" raccoglie 36 tracce della durata di 60 secondi ciascuna e 35 autori.

Ideazione e produzione Scuola FuoriNorma, Catania.
l'artwork del logo è di Zoltan Fazekas. Si raccomanda un ascolto mirato, possibilmente con cuffie.

Datapanic#1 è dedicato ad Ennio Carbone, r.i.p

https://datapanic.bandcamp.com/releases

#circuitbending #fieldrecording #soundpoetry #noise #radiodramma #artwork #experimental #elettronica #circuitoc4m #synth

A sound poetry piece for a uni assignment

https://soundcloud.com/user-843152372/abandoned-radio-stations

Abandoned radio stations tuning in and out of your car radio as you're driving through the desert

#poetry #soundpoetry #noise #drone

# Performance aan de Laan #1, The Autobiographical

with Heyer Thurnheer, Gj Derook, Toine Horvers, PQI (Patricia Qi Pluijmers), Marcus Bergner, Kathrin Wolkowicz & Rachel Carey. Programmed by Kathrin Wolkowicz, hosted by Gerwin Luijendijk, Johanna Monk & Vanita Monk - my video:

https://vimeo.com/298894586

#performance #performanceart #literature #storytelling #poetry #soundpoetry #conceptualpoetry #performancepoetry #poetryperformance