Arnold Dreyblatt

In his installations, performances and media works, Dreyblatt creates complex textual and spatial metaphors for memory which function as a media discourse on recollection and the archive. His installations, public artworks and performances have been exhibited and staged extensively in Europe. "Dreyblatt's project, maintains its edge--and its importance for the rethinking of identity, history, culture, and memory--by refusing to retreat from or transcend [...] public, archival traces." - Jeffrey Wallen, Hampshire College.
Among the second generation of New York minimal composers, Arnold Dreyblatt has developed a unique approach to composition and music performance. He has invented a set of new and original instruments, performance techniques, and a system of tuning. His compositions are based on harmonics, and thus just intonation, played either through a bowing technique he developed for his modified bass, and other modified and conventional instruments which he specially tuned. He originally used a steady pulse provided by the bowing motion on his bass (placing his music in the minimal category), but he eventually added many more instruments and more rhythmic variety.
Quelle: http://en.wikipedia.org/wiki/Arnold_Dreyblatt






http://www.dreyblatt.de/

The Wunderblock, 2000
In 1925, Freud wrote a text that compares the faculty of memory to a child's toy known as a Wunderblock. It consists of a wax slab stretched with cellophane, upon which a text may be inscribed, and just as readily erased by lifting the cellophane layer up and away from the wax slab.

In contrast to Freud's model, in which the pressure of the act of inscription onto the cellophane surface continues in the direction of the underlying layer of wax, in 'The Wunderblock', the original selection and entry of data has been concluded in the past. The movement originates from ROM and is held in RAM, before travelling up towards the surface.



The ReCollection Mechanism
data projection, circular wire screen, sound, 1998 Black room, computer data projection, suspended wire mesh, sound equipment. Size variable.

An automated writing and recitation machine is found in a darkened black space. One enters a three dimensional data architecture where the process of searching, sorting and locating words and the overlapping inter-textual linkages of information are simulated optically by metaphors of transparence and complexity. Projected onto a barely visible cylindrical screen are multiple transparent layers of continually flowing historical data, which appear to be suspended in the center of the space, and which delineate the room contours with textual landscapes.

Toshio Hosokawa

"Er sagt, in der europäischen Musik sei ein Ton nur ein Teil eines Ganzen, während in der japanischen Musik eine Note eine Landschaft darstelle, es folgt immer auf einen Klang eine Pause, dann wieder ein Klang und eine Pause.
Seine Musik charakterisiert er folgendermaßen: Es ist als wenn man langsam durch einen Garten ginge. (Japanische Gärten sind nicht symmetrisch.)"
Quelle: http://de.wikipedia.org/wiki/Toshio_Hosokawa

WHAT WE SEE & MAKE SEEN

Seminar "Visualisation Strategies & Public Spheres"

Visualisation Strategies & Public Spheres. A study of the notions and functions of art in public spheres in Hong Kong and Zurich. As a work in progress it is a working blog and serving as a tool for exchange.
Focus on transculturality, contemporary art in Hong Kong, Public Art, Performance in public space.
http://www.whatwesee.ch/