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Statement for an Exhibition, Tokyo 283 Working with photography and film led me to working with holography. With this medium I've tried to create spatial situations that are otherwise impossible. The strangeness of a frozen event and the almost-palpability of a ghost is part of the spatial /temporal experience of seeing Type-writer, Maura Seated or Egg. The smoke/ writer has spectral hands poised in space above the typewriter; Maura sees her ghost self in a tiny mirror. I'm trying to make a sensuous philosophy which contains discoveries for both myself and the spectator. In current critical terminology my work is phallocentric, modernist and formalist (it's been often described as "post-modernist"). Often a work starts with an idea (it's been called "conceptual"), but this idea derives from a medium or mediums and how certain processes set in motion might produce unforeseen forms. The forms, the object, thus made must produce a range of meanings and emotions to be successful, to be able to continue to have a vitality. During the planning stage I consider the area of possible significatory consequence which is involved but I don't want meanings to be finite as the forms must be: materials shaped. Often I hope the spectators will relive the process of the making of the work (it's been called "process art"). I work with representation, but I try to control the extent of references "elsewhere" involved.The piece iris-IRIS is a good example of a range of interconnected references from the present to various pasts and back again. Time. Now. Playing the Radio: A Personal History m9 In 1985 Robert Ulmer of Toronto started to issue cassette tapes and LPs on his own label called Freedom in a Vacuum. As "home" recording equipment, synthesizers and samples became cheaper and more easily available, many musicians made their own idiosyncratic taped electronic music. Ulmer recognized and was interested in this area of vital, experimental and noncommercial music. Subsequently, he made available music by Nurse with Wound, Violence and the Sacred, Empirical Sleeping Consort. Ulmer issued several cassettes by Kaiser-Nietszche, a group originally comprising John Kamevaar, Thomas Handy and David Scurr. Kamevaar, also a member, with Michael Snow, of the CCMC, heard two tape pieces by Snow that were totally "played" short-wave radio sound with no post-recording studio manipulation, liked them and asked Ulmer to consider them. "Short Wavelength" and "The Papaya Plantation," both recorded in 1980, were issued by Freedom in a Vacuum on a cassette titled Two Radio Solosby Michael Snow in 1988. The following text was written by Snow for Ulmer's use as historical background to the cassette music. The first recorded recognition of the radio as a musical instrument seems to be John Cage's 1951 composition Imaginary Landscape No. 4 for twelve radios, twenty-four musicians andconductor. In The Future of Music: Credo, a text written in 1937, Cage wrote: "I believethat the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments." Cage made many amazing creative leaps, but he was building on the insights of a few other daring individuals such as Edgar Varese (e.g., Poeme Electronique, 1951). He had been a student of Schoenberg. Very importantas a basis are Luigi Russolo's writing and compositionof 1913 to 1916, publishedtogether as The Art of Noises. His theories (provoked by Marinetti's polemicizingand the activities of the other Futurists ) implied electrical sound sources, but the instruments he invented for his own pieces were manually played acoustic instruments. The tape recorder, in existence by 1945, became available commerciallyin 1950. It, of course, was immediately perceived as a revolutionarytool by various French composers (their music became known as musique concrete) and in North America by Ussachevsky amd others. The capacity of the tape recorder to use and alter ' 'found'' 284 T ...


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