CatSynth

CatSynth pic: Hunter J Thompson and Juno 106

CatSynth — Mon, 15 Mar 2010 15:25:54 +0000

From Hunter J Thompson:

“Me and my 106.”

We at CatSynth remind readers that they can submit their own “cat-and-music pics” via our submission form, or facebook or twitter.

On Kawara, MAR. 16, 1993

CatSynth — Mon, 15 Mar 2010 14:00:20 +0000

Today, we consider a work from the Today series by conceptual artist On Kawara. Since 1966, he has created many paintings in this long series, each consisting of the date the painting was created in simple white lettering set against a black background.

By coincidence, the San Francisco Museum of Modern Art (SFMOMA) has in their collection MAR. 16, 1993 from On Kawara’s series:

[On Kawara, MAR. 16, 1993 from the Today series. San Francisco Museum of Modern Art, http://www.sfmoma.org.]

I have seen it several times in the past, but when I wandered though the museum’s 75th anniversary exhibition a couple of weekends ago, there it was again. And there is no way I would pass up mentioning it today.

Pi Day

CatSynth — Mon, 15 Mar 2010 01:04:18 +0000

We at CatSynth once again join others in recognizing Pi Day today. This time, Google is joining in as well with one of the special “Google Doodles” on their front page:

The image very nicely captures many of the well-known geometric and trigonometric properties of π in an abstract representation of the Google logo.

Of course, I tend to me be more curious about some of the more esoteric properties that interrelate to other parts of mathematics. For example, consider seemingly unrelated Gaussian Integral.

This is the area underneath the Gaussian function which is usually associated with normal distributions probability and statistics. The interrelation of π and e, which we have presented in previous years, is at play again here.

The approximation of the square root of π is 1.77245385…, and like π itself, is a transcendental number. In addition to its appearance in the Gaussian Integral and the Gamma Function (which we also presented on a past Pi Day), it plays an important part of the ancient mathematical problem of Squaring the Circle, that is constructing a square with the same area as a circle using only a compass and a straight edge. Because the square root of π is transcendental, it suggests that Squaring the Circle is in fact impossible. But that probably won’t stop some people from continuing to try.

Weekend Cat Blogging and Photo Hunt: Spiral

CatSynth — Sat, 13 Mar 2010 18:11:08 +0000

The theme of this week’s Photo Hunt is spiral, a shape that appears frequently in art, mathematics, nature, and of course in Luna’s expressive tail.

This is an old photo with a much younger Luna in our former home in Santa Cruz. It is one of the best examples of the tight curl she often forms in her tail. Here is a more recent example:

The spirals in Luna’s tail are all about motion, and often difficult to capture in a still photograph. However, you can see them very clearly in the recent videos from our performance.

With respect to music, a spiral was also one of the symbols I used in my recent piece for conduct your own orchestra night:

This is the classic Archimedean spiral, defined by the formula r = aθ. Essentially the distance from the center increases proportionally to the angle as one “spirals out” from the center. There are other formal mathematical variations on the spiral, such as Fermat’s spiral, which I find visually interesting.

Is mathematics, music and cats not a fine way to start the weekend?

Weekend Cat Blogging #249 will be hosted by our friends LB and breadchick at The Sour Dough.

The Photo Hunt is hosted by tnchick. This week’s theme is spiral.

The Carnival of the Cats will be hosted this Sunday by Kashim, Othello and Salome.

And the friday ark is at the modulator.

Cat Rack

CatSynth — Fri, 12 Mar 2010 16:58:51 +0000

This the cat-shaped CD rack that Ann O’Rourke used at Conduct Your Own Orchestra Night.

I am curious if any of the collectors of cat objects out there have seen this, or something similar to it?

Conduct Your Own Orchestra Night

CatSynth — Fri, 12 Mar 2010 01:36:26 +0000

Last Thursday, I participated in Outsound Presents Conduct Your Own Orchestra Night at the Luggage Store Gallery. During the course of the evening, several conductors took turns conducting an “orchestra” of improvising musicians for ten minutes. Each conductor took a very different approach, using a variety of gestures, instructions and symbols to guide the performers.

[Bob Marsh conducts the orchestra.]

As with other recent guided-improvisation pieces, I used a graphical score for my conducting. The performers were each given a set of 16 graphical symbols. During the course of the performance, I held up large cards each containing one of the symbols, directed either at individuals, groups or the ensemble as a whole.

You can see some of the symbols below:

[Click to enlarge.]

This is the second page of the 16 available symbols, generally these were the more complex. Viewers might notice that symbol 12 is a cat. Like other symbols, I expected to be interpreted relatively freely – but by coincidence percussionist Ann O’Rourke had a cat-shaped metal CD rack as an instrument, so it became a very obvious cue for her to play the “cat.”

Ann O’Rourke’s piece was based entirely on pairings of words, such as “fearful/choppy” and “fearful/flowing” or “hesitant/slow” and “confident/fast”. The orchestra was divided in half, with one side receiving one pairing and the other side receiving the other pairing.

Brandan Landis’ conducting was more physical/body-oriented. He did not use any visual cues (textual or graphical), but instead used dramatic body movements to guide the orchestra. Some of these were rather intense and the piece ended with his collapsing on the floor.

Mark Briggs used short rhythmic patterns and cues to individual performers to build up a complex rhythmic texture. I was given a very simple repeated pattern to perform, which allowed me to remain immersed in the overall rhythm of the piece.

Tom Bickley led the orchestra in a very sparse and beautiful piece with individual sounds from cued performance set against silence. It was the sparse texture that made this among my favorite pieces of the evening, musically speaking.

Bob Marsh used his own instructional cards and gestures to conduct the orchestra, and contributed his own vocal performance on top.

Other conductors included CJ Borosque and Matt Davignon, who used a combination of instructional cards, including one that instructed a performer to make a loud sound when Matt pointed a finger gun and shot him/her.

Truong Tran: the lost & found

CatSynth — Wed, 10 Mar 2010 15:00:47 +0000

Another review of art from the month that has past. In mid-February, I attended an artist talk with Truong Tran, part of a month-long exhibition of his work at Mina Dresden Gallery. The exhibition was presented by our friends at Kearny Street Workshop.

The gallery itself is a narrow and starkly white space. Upon entry, one is drawn first to the illuminated shapes and color fields that dot the walls. Moving closer to a particular artwork, one begins to see the meticulous detail and the variety of elements from which it is composed.

[Truong Tran. Installation view. Photo courtesy of the artist. (Click to enlarge.)]

As suggested by the title of exhibition the lost & found, the pieces are created primarily from found objects and materials. Tran is a self-described collector, indeed he admit, “I was a collector long before I was an artist.” This brought to mind the artist in residence program at the SF dump that I reviewed back in January. Far from a simple presentation of found objects, he constructs large-scale works from these constituent parts, placing them into boxes and the combining these boxes into larger structures. This process of found objects, containment and construction is perhaps most apparent in tower, the largest piece in the show:

[Truong Tran, tower. Photo courtesy of the artist. (Click to enlarge.)]

Tran cites Joseph Cornell and Donald Judd as influences, and one can see the combination of “things contained in boxes” and large minimal geometric elements reappearing in many of the works. There is also a certain polished quality to many of pieces, particularly the illuminated works that most caught my attention. For example, the piece broken and whole, shown below looks to be a very minimalist installation with lights, rectangles and solid colors. On closer inspection, one can see that each box contains bones, presumably part of a “collection.”

[Truong Tran, broken and whole. Photo courtesy of the artist. (click to enlarge)]

Truong Tran, a ladder to. Photo courtesy of the artist. (click to enlarge)

The use of found materials within a larger minimal pattern of boxes and solid colors appears in many of the works. The contained materials at times are provocative, such as the syringes that are placed in each box of a ladder to.

Tran is as established writer and author of several collections of poetry and a children’s book. With this exhibition, he is moving into a new medium of visual art and sculpture. However, his poetry is also very visual, as in his book within the margin where a single line of lower-case text is presented on each page. His other books published at Apogee Press have a similar visual quality to them. You can see some excerpts from a couple of the books here. Similarly, text enters into many of the visual pieces in the exhibition, such as the large letter “A” in tower. In both his written and visual works, there is a strong sense of things being “constructed”, and indeed he emphasized the concept of construction during his talk at the gallery.

One work that did not get mentioned during the talk but which drew my attention the invisible city. Once again, found materials (in this case, multicolored golf tees and thread) were arranged into a repeated rectangular pattern, but this time set against an image of a city skyline. While many of the pieces have an architectural quality to them (i.e., as “constructions”), this was only one where the image contained within was itself architectural.

[Truong Tran, invisible city. Photo courtesy of the artist. (click to enlarge)]

However, there is another level of containment, as each of the buildings contains a pornographic image – I believe they are all images of men. This is another recurring theme in many of the pieces, perhaps best exemplified via boy with butterflies which at a distance appears to be a flock of hundreds of colored butterflies frozen in mid motion. Upon closer inspection, one sees that the butterflies are cut from pornographic magazines, and it is the sections of the male bodies in these images that give the butterflies their colors and patterns.

You can see some more photos of other works from the exhibition at The Lost and Found, a visual blog created by Tran. You can also see photos from the well-attended opening at KSW’s blog.

Wordless Wednesday: Portal

CatSynth — Wed, 10 Mar 2010 07:12:26 +0000

Cats & Gear 2

CatSynth — Tue, 09 Mar 2010 17:28:45 +0000

Another from pulsewidthmod on flickr:

Not a “Cat-and-synthesizer pic” per se (though Logic does come with soft synths).

CatSynth video: shamii_in_studio_annoclip1.m4v, with Mister Kitty

CatSynth — Mon, 08 Mar 2010 19:57:55 +0000

From prophei on YouTube, featuring Mister Kitty and an extensive collection of synthesizers:

“annodalleb studio cuts #1″

We featured Mister Kitty in this previous post.

William Leavitt, Boyce/Greenlief duo and Karl Evangelista trio

CatSynth — Sun, 07 Mar 2010 20:54:01 +0000

I continue to work through the backlog of art and music reviews by presenting some of the openings and performances I saw on the particularly busy and fun evening of February 19 here in San Francisco. Although the evening included both musical performances and exhibitions of visual art, music was present as a central theme throughout.

First up, we visited Jancar Jones Gallery for the opening of William Leavitt: A Show of Cards. The exhibition featured “over 300 ink drawings on index cards” (though I only counted 248) arranged in three groups on the walls of the gallery.

[William Leavitt, A Show of Cards: Installation View. Photo courtesy of Jancar Jones Gallery. (Click to enlarge.)]

The gallery’s stark white walls presented a great surface for drawings, which were sometimes very sparse and sometimes quite detailed. Many featured musical elements, such as instruments or notes on a staff. There were also mathematical pieces (such as an x-y plot of a sine function), electronic circuit diagrams, architectural drawings, animals and abstract textures.

[Click photos to enlarge.]

It was fun to scan the rows of cards, picking out individual ones for closer inspection and comparison, particular the abstracts and the references to some of my own areas of expertise (e.g., music and electronics). It turns out Leavitt has a long-standing interest in electronic music, and was featured in this article at GetLoFi alongside circuit-bending godfather Reed Ghazala.

William Leavitt, Pyramid Lens Delta. Image courtesy of Jancar Jones Gallery. (Click to enlarge.)

In addition to being works of art in their own right, the cards serve as a source material for chance procedures that Leavitt uses in other works. In particular, a random subset of cards were used to generate a narrative that was incorporated into the text for his play “Pyramid Lens Delta” (the title came from the first three cards in the set). The script for the play was part of the exhibition. The back of the script contained the card set, and glancing through the text one could see where portions of the dialogue seemed to be drawn from the cards, particularly dialogue associated with Ivan, one of the characters in the play.

Leavitt has used chance processes for past works, including a theater piece The Radio which premiered in 2002. This piece includes not only dialogue but also an original score that included musique concrete. I would have liked to have seen this.

After Jancar Jones, we made a brief detour into that ambiguously defined area at the base of Potrero Hill to Project One for The Art of Noise, a visual exhibition coincident with the Noise Pop Festival. It featured large artistically altered portraits of well known musicians, as well as some installations, such Ted Riederer’s piece featuring drums covered in rose petals.

We finally ended up in the Mission District, and after a brief stop for tacos arrived at Bluesix for a pair of musical performances.

The saxophone duo of David Boyce and Phillip Greenlief. As noted in previous reviews, Greenlief’s virtuosic saxophone performances cover a wide variety of instrumental techniques. The duo weaved effortlessly between idiomatic jazz riffs and more free-form sections featuring multiphonics, noise production and vocals. The change between sections was both sudden and subtle; I was immersed in a jazz riff with long up-and-down lines or rhythmic patterns and only later would realize that we had moved to a more non-tonal (i.e., “noisy”) and arhythmic section. They demonstrate that these modes of music making need not be at odds (as they are sometimes portrayed on musician discussion lists) and can be part of a single piece of music. The performance did, however, inspire a short discussion with a friend about what is “experimental music” and why the performances this evening did or did not qualify as “experimental”.

Boyce and Greenlief were followed by the Karl Evangelista Spaceman Explorer Trio, featuring Karl Evangelista on guitar, Cory Wright on baritone sax, and Jordan Glenn on drums. Evangelista in his various groups blends jazz traditions with elements of late-20th-century experimental music. This of course led back to the question of whether or not this performance was “experimental”, particularly given strong jazz foundations on the pieces that we heard. The trio opened with loud driving rhythms and Evangelista and Wright trading long fast melodic runs. The piece “Hurdles” on Evangelista’s MySpace is quite representative. Another piece a somewhat slower groove with strong quarter notes (one might say a little bit “funkier”, more 1970s). Within this context, the melodies, riffs and one-off notes were often atonal, which helps to keep things moving forward. Overall, it was a fast-paced and virtuosic performance.

Weekend Cat Blogging and Photo Hunt: Foreign

CatSynth — Sat, 06 Mar 2010 18:50:38 +0000

This week’s Photo Hunt theme is foreign. Cats often intersect with my foreign travels, and with the objects that I bring home. Consider the Suzhou painting silk cat and Maneki Neko from Japan in the photo below:

We have seen these items before, in discussions of cats of China and the cats of Tokyo, respectively.

Here, we see Luna near some of our art pieces:

Most of these, including the large watercolor on the left and small metal sculpture, are local. However, the mostly yellow geometric print is foreign. It is by a Cuban artist. I visited Cuba twice in 2001 and purchased this print in the town of Matanzas. The topic of visiting Cuba as an American (and the entire U.S. policy towards Cuba) could fill up an entire article.

Sometimes one may assume something is foreign when it is in fact not. Consider this photo of Luna from December:

The title may be in French and evoke a bygone era in Paris, but it is actually the work of an American artist, Ken Bailey.

We close with some more maneki neko figures:

All of the cat figurines in this photo are from Japan. There is one more cat, however, on the matchbox. This is not foreign, and created by a local artist.

A sad note this weekend. Gattina and family, who regularly host “Cats on Tuesday”, said farewell to their cat Lisa this week. Lisa was a little over eighteen years old, which is a good long life for a cat. We send them our thoughts.

Weekend Cat Blogging #248 is hosted by Meowza at his blog iMeowza.

Photo Hunt 203: Foreign is hosted by tnchick.

The Carnival of the Cats will be hosted this Sunday by Nikita Cat at meowings of an opinionated pussycat. We also wish Nikita a happy birthday this weekend!

And of course the Friday Ark is at the modulator.

CatSynth pic: Luna checks the mini jam

CatSynth — Fri, 05 Mar 2010 19:07:16 +0000

From rarebeasts on flickr:

“Luna checks out the Wicks Looper and DinoAxe.”

We at CatSynth are always delighted to meet another musical cat named Luna!

You can see the actual mini jam with the Wicks Looper and DinoAxe in this video:

We recently presented this Wicks Looper in this post. I am quite fascinated by this little instruments (and not just because of the black cat logo).

Wordless Wednesday: Wires and angles

CatSynth — Wed, 03 Mar 2010 06:22:18 +0000

Anthony Discenza: Everything Will Probably Turn Out OK

CatSynth — Wed, 03 Mar 2010 05:15:12 +0000

With the month-long string of performances mostly behind me, I am trying to work my way through my backlog of reviews. Today we at CatSynth present a recent exhibition by artist Anthony Discenza at Catherine Clark Gallery entitled Everything Will probably Work Out OK. That phrase has become a bit of a mantra since the exhibit, and I keep the original card on my desk, reminding myself as I work on my music or other projects that “everything will probably work out ok.” It might not, but it probably will. Additionally, the card, with simple black lettering on a white background, appeals to my interest in text-based art – indeed, the relationship between text and image was a central theme of the exhibition.

I particularly liked his series of “street signs”, which featured cryptic and humorous messages in the familiar rectangular shape and sans-serif type of signs used in American cities.

[Anthony Discenza, KITTENS and DIRTIER, 2009. Photographs courtesy of Catherine Clark Gallery. Click to enlarge.]

In addition to the gallery presentation, several of the signs were posted on streets (prior to the exhibition). In the example presented here, A LAPSE INTO THE ROMANTIC, one can see how the signs really fit the part in terms of scale, design, layout and type.

[Anthony Discenza, Lapse into the Romantic, 2007. Photo courtesy of Catherine Clark Gallery. Click to enlarge.]

With just a peripheral glance one could easily assume this is just another sign explaining some parking or traffic rule. A selection of the street signs were also featured in the exhibition catalogue.

Another prominent series featured plays on the “Hollywood elevator pitch”, where someone attempts to summarize their idea as “A meets B”. In Sometimes a Great Notion (Part 1). Discenza presents a wall of absurd pairings drawing from pop culture, literature, history and other sources. Examples include “It’s M.C. Escher meets Z. Z. Top”, “It’s Le Corbusier meets Chuck Norris”, “It’s Star Trek: The Next Generation meets The Indigo Girls”, and “It’s Twitter meets SARS”. You can see a full version of the text from the piece here. He also has some extended chains as light boxes:

[Anthony Discenza, Teaser #1, 2009. Photo courtesy of Catherine Clark Gallery. Click to enlarge.]

In addition to the visual pieces, there was also an audio installation Untitled (The Effect). In a dark room with low lighting, a disembodied female voice narrates a text describing visuals or instructions that seem disjoint but also seem to flow naturally. The text is based on fragments gathered by searching for a specific phrase on Google.

Although this quote from the press release seems to most describe the audio work, it could easily apply to the visual text-based pieces as well:

I’m very interested in text—in part because I’ve always drawn so much inspiration from literature—and specifically for the way that text can act as a kind of score, enticing the mind to construct things that don’t exist anywhere else. I’m curious about that peculiar fluidity of something experienced primarily in the imagination, and I’m fascinated by the way a small fragment of something—maybe only a few sentences, or even just a phrase—can, under the right conditions, conjure an entire narrative.

Discenza is also known for his past work which features meticulously edited and constructed video work. The exhibition does include one piece Charlton Heston: The Future Has Already Been Written in which he intersperses several Charlton Heston films on a frame-by-frame basis. It takes a moment to get used to seeing the rapidly changing images, but once one’s eyes and brain adjust, scenes and transitions become clearer (and I quickly recognized Planet of the Apes).

CatSynth video: Analogue synths and sleeping animals in my bed

CatSynth — Tue, 02 Mar 2010 17:02:05 +0000

From Synthiefrau on YouTube, via matrixsynth:

“Hello lovely synthfolks, my cat Cleo and my dog Susi have a funny life. They always sleeps the hole day and listening to my music;-). The sequenz comes from my Dot.com 911 Sequenzer, I play the Minimoog, Synton Syrinx, Moog Prodigy, The effects comes from the Roland Juno 60 and from Doepfer Dark Energie”

I quite like the leopard-print Minimoog and modular case.

CatSynth pic: Zoe and Living Room Studio

CatSynth — Mon, 01 Mar 2010 16:22:47 +0000

From oliverchesler on flickr:

In addition to Zoe the cat, there is a Voice of Saturn, Korg KR-55 and Boss DR-110 rhythm machines, a Roland SH3 and a Yamaha CS5, among others.

Oliver Chesler is also the author of the blog wire to the ear which we at CatSynth follow.

Weekend Cat Blogging: post performance

CatSynth — Sat, 27 Feb 2010 18:36:02 +0000

Luna was a big hit at my performance last Thursday, where she was featured in the video 月伸1.

Here are more screenshots from her video debut:

The video quality in different sections is deliberately different, sometimes dark or grainy, sometimes really crisp, as these shots below (which were featured in previous posts that you can find here and here):

And here are some clips from the video:

The video was just part of the performance; I did live improvisation with electronic instruments to accompany it. I do have a video of the full performance, although I have not had a chance to review it. Look for a formal “CatSynth review” of the performance as well as Polly Moller’s Genesis in the near future.

Weekend Cat Blogging #247 is hosted by Nikita Cat.

The Carnival of the Cats will be hosted this Sunday by Sniffie and the Florida Furkids.

And of course the Friday Ark is at the modulator.

Another show this weekend

CatSynth — Sat, 27 Feb 2010 03:23:47 +0000

No sooner have I finished what was a really successful show this Thursday at the Luggage Store than I find myself with another gig this weekend at the Meridian Gallery here in San Francisco. Full info:

Meridian Gallery
535 Powell St, San Francisco.
10PM
$10 donation at the door.

More info can be found here.

I will be performing a 30-minute electronic set, including some of the pieces of this past Thursday. A combination of electronics and folk instruments from India and China.

No decision yet on whether Luna will be making another video appearance.

CatSynth pic: Chloe in Studio, October 2009

CatSynth — Fri, 26 Feb 2010 17:19:24 +0000

From Señor Pantalones on flickr:

“Cat perspective distortion! (she’s backup security in case the primary one fails)”

In addition to the cat Chloe, there is a Clavia Nord G2, a Moog Voyager, a Snyderphonics Manta (see this NAMM report on the Snyderphonics Manta), L.L. Electronics Rozzbox, several offerings from Roland (System 100m, TB-303, TR-606, MKS-50/Juno), an SH-101 Novamod, and a Cwejman S1 mkII among many others. I also like the modernist studio furniture from Heckler Designs.

You can see a full-size image as well as labels for all the gear on the original flickr page.