Comments on: GROUP HUG

By: BD

BD — Sat, 24 Sep 2005 22:32:28 +0000

RE: R.I.C.V.Posted by: kristan at September 24, 2005 08:36 PM …………and what’s more – Impressive discography, ne c’est pas? Which is your favorite? — BD
2005 Ryoji Ikeda dataplex Raster-Noton R-N 068
2005 Ryoji Ikeda formula Book+DVD Forma
2002 Ryoji Ikeda formula Book+DVD ICC/NTT Publishing
2002 Ryoji Ikeda op. Touch TO:60
2000 Ryoji Ikeda matrix Touch TO:44
1998 Ryoji Ikeda time and space Staalplaat STmCD009
1998 Ryoji Ikeda 0ºC Touch TO:38
1996 Ryoji Ikeda +/- Touch TO:30
1995 Ryoji Ikeda 1000 fragments cci recordings CCD23001

2001 cyclo. cyclo. (w/Carsten Nicolai) Raster-Noton
1999 Ryoji Ikeda 99 [for 20′ to 2000] Raster-Noton 20TO200003
1998 Ryoji Ikeda Mort Aux Vaches (live recording at VPRO radio) Staalplaat

2000 dumb type memorandum cci recordings cci 001
1998 dumb type OR Foil Records DTOR
1994 dumb type S/N Spiral 30CD-N022

2002 V.A. An anthology of noise & electronic music vol.1 Sub Rosa SR19
2001 V.A. Clicks & Cuts 2 Mille Plateaux MP 09
2000 V.A. Touch Sampler 0 Touch T_ZERO_0
1999 V.A. Microscopic Caipirinha
1999 V.A. Modulation & Transformation 4 Mille Plateaux MP 061
1999 V.A. END ID Digital Narcis DNCD 20C
1998 V.A. Stilluppsteypa Remix Fire Inc. SOME f15
1998 V.A. Modulations Caipirinha CAI-2018
1998 V.A. meme meme000
1998 V.A. Chill Out Sabotage Rec 30CD
1997 V.A. Tulpas Selektion SCD024
1996 V.A. Touch Sampler 2 Touch T_ZERO_2
1996 V.A. Night Passage: demixed Dorobo 011
1996 V.A. A Fault in the Nothing Ash International Ash 2.6cd2
1995 V.A. mesmervariations Ash International Ash 1.8cd2
1995 V.A. statics cci recordings CCD25002
1993 V.A. silence CD

By: kristan

kristan — Sat, 24 Sep 2005 20:36:40 +0000

From http://www.ryojiikeda.com/ Ryoji Ikeda (b. 1966) New York based, Japan's leading electronic composer Ryoji Ikeda focuses on the minutiae of ultrasonics, frequencies and the essential characteristics of sound itself. His work exploits sound's physical property, its causality with human perception and mathematical dianoia as music, time and space. Using computer and digital technology to the utmost limit, Ikeda has been developing particular "microscopic" methods for sound engineering and composition. Since 1995 he has been intensely active in sound art through concerts, installations and recordings: the albums +/- (1996), 0 degrees (1998) and Matrix (2000) have been hailed by critics as the most radical and innovative examples of contemporary electronic music. With Carsten Nicolai, he works the collaborative project 'cyclo.', which examines error structures and repetitive loops in software and computer programmed music, with audiovisual modules for real time sound visualization. The versatile range of his research is also demonstrated by the collaborations with choreographer William Forsythe/Frankfurt Ballett, contemporary artist Hiroshi Sugimoto, architect Toyo Ito and artist collective Dumb Type, among others. Ryoji Ikeda received the Golden Nica prize at Prix Ars Electronica 2001 in the Digital Music category.

By: blogdog

blogdog — Sat, 24 Sep 2005 14:16:22 +0000

RE: Here is the list of contributors to the Rise: Rose score,
Masahiro Sugaya (original)
Ryoji Ikeda (original)
Pan Sownic
Michael Brook
Posted by: kristan at September 23, 2005 10:56 PM
Licensing issues aside, this confirms one of my guesses…no wonder the score was so weak. Patchwork scores rarely make for mature works. Moreover, wasn’t Ikeda the Dumb Type sound sculptor on the PICA show in 02 (?) – the one who hammered the audience with gut-punch subsonics, not unlike Linyekula’s sound chap just did at TBA. Look, why not just drop the pretense and hire real martial ARTISTs to beat up your paying audience right at TBA Central’s ticketing office. Think what you’d save on hall rental.

By: kristan

kristan — Fri, 23 Sep 2005 22:56:53 +0000

Here is the list of contributors to the Rise: Rose score,
Masahiro Sugaya (original)
Ryoji Ikeda (original)
Pan Sownic
Michael Brook

By: blogdoged

blogdoged — Wed, 21 Sep 2005 19:02:04 +0000

OK, gang, if advice on professionalism is hard to take, what’s it to me? This wasn’t a debate. I critiqued what I encountered and offered honest opinions and professional advice. If it sounded spiteful, sorry, I’m too old to mince words. Yeah, I’ve been in the arts a long time, and work on a professional level, but that’s all I’m going to say about me. I’m not out to get on the committern’s blacklist. Anyway at day’s end, here’s the deal: If PICA want’s to play in the big league, not Bangkok or even half-baked PDX loft productions, but on the city’s biggest stages and to compare yourselves to Edinburgh, Venice, et al, you’re really going to have to step up to it. And that probably means not only on staff but in clearing the stages of post-modern posers who fear virtuosity like the plague. Again, sorry for the tough-love lecture, but it’s time to grow up.

By: kristan

kristan — Wed, 21 Sep 2005 14:54:32 +0000

It remains to be seen if anyone was being flaky or unprofessional, we all wish to do better and continuously strive to do so. I appreciate your opinion of Kota’s recent production, and i hope to get you information about Kota’s score as soon as i hear from him.

By: Faith

Faith — Wed, 21 Sep 2005 12:44:52 +0000

Blogdog, you seem to have a very specific definition of what constitutes professionalism. I’m wondering, which arts organization are you running? It is easy to cast judgment on those who are not meeting our standards (and I’ve been known to gripe about PICA, or about critics, or about artists and their flakiness, etc) but more difficult to step into their shoes and do it the way it “should” be done. Would it be nice if PICA met every single person’s standards of integrity and professionalism? Yes. Is that possible? No. And I for one am glad that they have put so much on the line to create this festival in Portland, a festival that generates a level of excitement and discussion I rarely see here. That excitement is much more important to me than absolute professionalism, which in my experience is a fluid (perhaps a fluid hug-hug) concept anyway. Being a professional on Broadway is different from being a professional on an arts council in Kansas, or a newspaper in Taiwan, or in the offices of PICA. Or in the offices of Wieden + Kennedy, for that matter. It’s not the either/or scenario you suggest. So the fact that no sound designer was credited does not tell me that either the artist or the staff of PICA is rampantly unprofessional. It’s good to have standards, but you also have to know that there is not one overarching standard of professionalism. Wouldn’t it be nice if there were?
It sounds to me like you are a sound designer. I suppose I would be equally annoyed if they did not credit the dancers, since I am a performer. But can we separate that criticism from a blanket attack on the artist and his ‘flakiness’?

By: blogdog

blogdog — Wed, 21 Sep 2005 00:04:14 +0000

Dear kristan at September 20, 2005 07:49 PM, So you’re just now learning how flaky and unprofessional some (many?) artists are? You may call it ridiculous, but FYI: you’re the presenter. It’s your responsibility to get the licenses, and it’s your board’s ass on the line. None of this surprises me. I’ve seen this crap in Portland for decades. So-called professional organizations and presenters who don’t know dick about copyright law and don’t really respect authors’ rights. RACC (formerly MAC) has never included a line item in its proposal budget forms for licensing of copyrighted material. Incredibly, they used to have a line item titled “copying.” It don’t get any plainer. You’re all cut from the same cloth. But then Hicks didn’t even notice, did he? Well, when it comes to critics, who knows what the professional standards are?

By: kristan

kristan — Tue, 20 Sep 2005 19:49:43 +0000

FYI Blogdog- artists provide all copy for programs related to their performances- PICA did not “forget” to include information. I have requested the score information directly from the artist. Perhaps this will put an end to this ridiculous debate seemingly built on equal parts conjecture and spite.

By: blogdog

blogdog — Mon, 19 Sep 2005 19:29:56 +0000

RE: “…doesn’t seem to exactly apply here does it? I mean, if the music was sampled pieces and you didn’t recognize them… And of course, how do we know there was no permission?”
Oh Boy, applies like crazy. But right, we don’t know anything about the music’s authorship and whether someone recognized it or not makes no difference at all. Even if the “owner” (author or publisher) simply gave verbal permission, voila, that’s a license. As for more formal licenses, they are virtually never issued without the caveat that the author be acknowledged. And in this case, as I speculated, if the author knew, perhaps he didn’t want to be acknowledged. It’s structural weakness shows the piece to be immature, if indeed it’s all the same piece, which we don’t know — perhaps a known composer’s early work, he’d rather went away…one can only guess, unless Yamazaki-san would like to tell us, or the PICA staff who forgot to include it in the program.
More likely it was an unprofessional oversight. And frankly, all its self-congratulatory bravura aside, I don’t see TBA running in an especially professional manner. — blogdog