André Vida’s Moving Scores is an installation of films and animated musical notations that focuses on the delicate relationship between performer and score. Unlike typical musical scores, these interactive pieces listen to their performers and respond with motion, amplifying the musical gesture and giving the sound a space to develop in equilibrium with the visual. Audiences may visit the gallery during the day, 10-12 April, as the performers develop their individual interpretations of these pieces.
10 April, 12-3PM: Andre Vida, sax
10 April, 3-6PM: Christa Robinson, english horn
11 April, 12-3PM: Sara Schoenbeck, bassoon
11 April, 3-6PM: Loren Dempster, cello
12 April, 12-3PM: Jay Rosen, tuba
12 April, 3-6PM: Brett Sroka, trombone
it’s late, and theyre making me write something…
If, as Bifo says, “The idea that the future will be better than the present is not a natural idea, but the imaginary effect of the peculiarity of the bourgeois production model” and yet we have watched the horizon of the future crumble into the network, as (smart) dust, a layer that receives impressions but no deeper, then, (like the songs by YACHT) Utopia and Dystopia are now one, and the old bourgeois production model is over. It has been superseded by consumption on the level of gesture, to ‘like’, to tweet, to vibrate, co-mimesis between body and image, data and action, through reflexivity and recursion. Network protocols have become means of social control. By whom? A central authority? Or by the mass of impassioned churn itself?
NEW WORK: Eternal Portraits
Facebook uses face recognition software to identify its users in photos. This works via a ‘template’ of your facial features that is created from your profile images. These features — the distance between your eyes, the symmetry of your mouth — generally do not change over time. Unlike a photograph, which captures some ephemeral expression of who you are at a particular moment, a face recognition template forever remains your portrait.