密集音乐会第8回：中日即兴

内桥和久 Kazuhisa Uchihashi
中村としまる Toshimaru Nakamura
好朋友即兴委员会（颜峻，李增辉，刘心宇，VAVABOND）
2012年4月20日，晚8点半；两个好朋友酒吧（www.2kolegas.com 东风桥西汽车电影院内）；门票60
（上海站1：toshimaru nakamura，颜峻，殷漪：21日下午3点30，莫干山路50号，3号楼210，视界艺术中心）
（上海站2：toshimaru nakamura，内桥和久，卖笑国大使，冯昊，颜峻：RESO 第22局：http://www.douban.com/group/topic/28081082/）

缘起：
迷恋Toshi的音乐已经很久，他是那种随性和纯粹的日本乐手，乐器是无中生有的无输入调音台，他的音乐是安静但充满变化的噪音，高度概念但又很美。
2007年，因为FM3的介绍，撒把芥末/观音唱片发表了他和柏林音乐家Nicholas Bussmann合作的CD“我知道你怎样皱眉”。后来我们在“Asian Meeting Festival”见面，说起要请他来北京喝一杯。然后看他和英国萨克斯手John Butcher的合奏：看他演出的确是一种享受，像喝着冰凉的啤酒，和喜欢的人一起坐在三里屯南街的酒吧二楼，静静地看国庆焰火。没想到三里屯南街不再有，但美妙的音乐很快又要响起了。
第一次听到内桥和久的演奏，是在电影《蓝风筝》的配乐里。后来发现他和很多熟悉的名字都有合作。2011年，有朋友收到他的邮件，说计划来中国巡演，我们就此联系上，很快在新加坡的声音艺术节上碰面，商定了细节。在艺术节上看他演奏，一会儿是吉他和一桌子效果器，声音也非常繁复，一会儿是daxophone（他是日本有记录的惟一演奏这种乐器的人），木头的声音。真是个忙碌的哥们啊。
很高兴能促成这次演出，尤其是作为好朋友即兴委员会的成员，和他们一起演奏。
（颜峻）

内桥和久 Kazuhisa Uchihashi
日本前卫即兴吉他手，daxophone演奏家，作曲家，制作人，身份跨足书画家、诗人、舞蹈家等，他跨越了日本即兴音乐的两代，从实验到爵士到流行，到配乐，是一位联接不同场域的重要人物。曾与大友良英合作Ground Zero，他也为电影、戏剧和舞蹈创作音乐，其中与大阪剧团“维新派(ISHINHA)”合作超过20年。

http://homepage.mac.com/innocentrecords

中村としまる Toshimaru Nakamura
2000年以来的日本新即兴音乐，是世界范围内最重要的音乐和声音现象。Toshimaru Nakamura 就是其中最有代表性的一位。
1990年代以来，他逐渐成为日本Onkyo乐派代表人物，他使用无音源的调音台内部电路反馈，使这一技术风靡世界即兴音乐、实验音乐界。他已经发表数十张唱片（包括2007年在中国的撒把芥末发表“ALLES3 – 我知道你为何皱眉”），长年在世界各地旅行演出。
网站：http://www.japanimprov.com/tnakamura/
访谈：http://www.douban.com/group/topic/4762110/

好朋友即兴委员会（颜峻，李增辉，刘心宇，VAVABOND）
由颜峻发起的即兴音乐计划，成员不固定。通过工作坊和演出，探索集体即兴的乐趣，包括设定游戏规则，抓阄组合，模仿动物演奏，等等。曾参加第6回密集音乐会（7人），2012年撒丽不跳舞音乐节（9人）。
因为常年在两个好朋友酒吧演出，所以这次的委员会就命名为“好朋友”。
颜峻：2004年开始实验音乐和声音创作，曾在亚欧美澳各国巡演和参展；杂音收集者，反馈噪音迷，声音催眠师。

http://www.yanjun.org

李增辉：
男，青岛人。1983年出生。
风格：前卫萨克斯、绝叫系人声、微型戏剧。
核桃室／没谱四重奏／武李取闹／RICE屎CORPSE／抗疫体H1N1等组合成员。同时也是曹克非领导的“瓢虫剧社”的成员。
参加过多期“水陆观音”演出活动以及mini midi音乐节、白糖罐声场、中国先锋音乐节的演出。
2009年发行第一张个人正式专辑《李增辉水陆观音现场》

http://site.douban.com/lzh/

http://www.myspace.cn/lizenghui

http://www.subjam.org/archives/611

刘心宇：
主要使用调音台反馈和吉他来演奏毫无意义的极简声响，并经过效果器使其变奏或循序渐进。 http://site.douban.com/liuxinyu VAVABOND： VAVABOND是使用Max/MSP演出噪音音乐的女性艺术家。她的声音基本来源于颗粒质感的电子声响、电波频率交界处的噪音、昆虫震动发出的鸣响、宇宙射线、麦田怪圈、信息和光，强大的声波在噪声中交织出奇特的私密空间。除个人SOLO计划外，还与李剑鸿组成迷幻噪音组合“迷走神经”和环境即兴组合“不可能的可能性”。她曾参加多次国内实验/噪音和新媒体艺术活动，包括NOIShanghai、2pi唱片的“出神”巡演、2007大声展的“听游记”和 “咖喱秀”项目、2pi音乐节、上海美术馆主办的“果冻时代”展览、 “重织城市”香港/深圳建筑双城展、上海电子艺术节、2009年先锋音乐节等。 http://www.vavabond.com/ http://www.china-free-improv.com/

撒把芥末出品
www.subjam.org

由日本国际交流基金会北京日本文化中心资助

http://www.jpfbj.cn/

Miji Concert no.8: China-Japan New Music

Kazuhisa Uchihashi
Toshimaru Nakamura
Friends Impro Committee (Yan Jun, Li Zenghui, Liu Xinyu, VAVABOND)
Pm 8:30, April 20 2012; 2Kolegas Bar (www.2kolegas.com); 60rmb

Kazuhisa Uchihashi
Kazuhisa Uchihashi (内橋和久, Uchihashi Kazuhisa) is a Japanese guitarist involved in free improvisation music. Born in 1959 in Osaka, Uchihashi began to play the guitar at age 12, playing in various rock bands, though he later studied jazz music. In 1988 he joined the band the First Edition, and in 1990 formed the band Altered States. He was also a member of Otomo Yoshihide’s Ground Zero from 1994 to 1997. Uchihashi also plays daxophone, and in addition to his role as a free improviser, Uchihashi has been the musical director for Osaka theatre group Ishinha, has held improvisation workshops (a project known as New Music Action) in various cities in Japan, as well as London, and has set up his own record label, Innocent Records a.k.a. Zenbei Records, had held music festival from 1996 Festival BEYOND INNOCENCE annual for eleven years. He is also known as Daxophone player.

http://homepage.mac.com/innocentrecords

http://www.japanimprov.com/kuchihashi/profile.html

Toshimaru Nakamura
Toshimaru Nakamura is a Japanese musician, active in free improvisation and Japanese onkyo.
He began his career playing rock and roll guitar, but gradually explored other types of music, even abandoning guitar and started working on circuit bending. He uses a mixing console as a live, interactive musical instrument: “Nakamura plays the ‘no-input mixing board’, connecting the input of the board to the output, then manipulating the resultant audio feedback.”
Nakamura’s music has been described as “sounds ranging from piercing high tones and shimmering whistles to galumphing, crackle-spattered bass patterns.”
He founded an ensemble A Paragon of Beauty in 1992.
Nakamura has recorded solo albums and has collaborated with Yoshihide Otomo, Keith Rowe, John Butcher, and Nicholas Bussmann among others. He has also collaborated with Taku Sugimoto, Tetuzi Akiyama, dancer Kim Ito, drummer Jason Kahn, and Sachiko M, “a kindred spirit”.

http://www.japanimprov.com/tnakamura/

Friends Impro Committee
Formed by Yan Jun. A free improvised music group consist dozen of young musicians who meet as different number and combinations in different case of shows. Intend to encourage fun of group improvisation as game, under certain rules, or conceptial collaboration.
Yan Jun:
Feedback, site-specific sound, field recording, improvised music… has toured a lot in Europe, US, Australia, Japan/Korea/Taiwan/Hongkong/China in recent years.

http://www.yanjun.org

Li Zenghui:
Born 1983 in Qingdao, China. Relocated to Beijing in 2007. A Saxophone player, poet and voice experimentalist. He is the most promising star in China’s free music / avant-jazz realm. He had found the indie / experimental rock band “the Tipsy Verse” in 2001. Afterwards he held a concurrent post as the keyboard player in “Pipedream Princess”. Also co-founder of “Walnut Room” with Feng Hao in 2007.

http://site.douban.com/lzh/

http://www.myspace.cn/lizenghui

http://www.subjam.org/archives/611

Liu Xinyu：
Plays no-input mix board, effector and sometimes guitar. Working on simple and subtle sound in development. http://site.douban.com/liuxinyu VAVABOND： As one of the few female experimental musicians in Mainland China, VAVABOND began from large volume noise music by using Max/MSP, and concentrating on cosmic sounds and electronic improvisation with Max 5 as the major creative interface nowadays. Besides solo project, VAVABOND also formed a psychedelic noise group and an improvisational duo with Li Jianhong, for performance and creation. In Vagus Nerve’s second album, Lo Pan, released by Utech, Wei Wei’s laptop and Jianhong’s guitar respond with each other, while VAVABOND’s high volume sonic drones leave listeners breathless.
Nowadays, VAVABOND’s unique sonic style is still deeply rooted in her special enthusiasm to the hiss and buzz of insects, electromagnetism, crop circles, outer space, extraterrestrial life, and the cosmos—everything that is related to preternatural and unexplained events. The electronic glitches in her lives, which sound quite spontaneous and improvising, realize her conception to the world – to divide an integral entirety into infinite parts to get infinite entireties. In China’s free improvisation music scene, VAVABOND occupies a place of her own.
Activities she involves in include several experimental/noise and new media art events, such as NOIShanghai, Get It Louder Exhibition, Homeshow, 2pi Festival, Jelly Times Exhibition, the Central Subconsciousness of the Refabricating City-Hong Kong / Shenzhen Architecture Exhibition, Shanghai E-Art Festival, Sally Can’t Dance Music Festival, Mini Midi Music Festival, UCCA Concerts of Sub Jam, and also many other art exhibitions and fashion shows as a sound artist and musician. http://www.vavabond.com/ http://www.china-free-improv.com/

Presented by Sub Jam
www.subjam.org
supported by Japan Foundation

http://www.jpfbj.cn/

公开表演一：3月1日晚9点半，观心亭，免费
公开表演二：作为工作坊的结果，所有参与者将组成一个乐队（“临时即兴委员会”），在由D22/兵马司主办的撒丽不跳舞（Sally Can’t Dance）音乐节上表演。
时间：3月4日下午3点；地点：D22新址（地安门西大街和地安门内大街西南角，无招牌：http://maps.google.com/maps/ms?msid=202823739708922401100.0004b8868b2b0f3263911&msa=0&ll=39.933096,116.395909&spn=0.002809,0.005064）；门票：80/60，双日门票150/100。

简介：
这个工作坊的前提，是对环境的研究：环境，它的相关特性如何应用于架构音乐。工作坊将以集体即兴为主，包括集体的讨论、批判和发展。
基本理念是：通过聆听环境，通过再创造动物、物品和人的声音，来像动物群体那样演奏音乐。用许多这样的声音来创造音乐，就等于是创造环境。这和一个提问有关：音乐的结构，如何与日常生活中其他的声响结构发生关联？通过把我们从环境中学来的结构用到音乐里，我们怎样找到思考音乐的新方法？
创造声音，也就是重组“自然”或者不如说“我们的自然”，是一个探索的结果。它牵扯到记忆、事物和发声机器（乐器）之间的联系。一个关于环境声响的记忆，一个关于我们这个兽、物、人和相关机器的共同体的发声的记忆。我们创造一个环境，它为了被观察而“存在”。我们带着对物与兽的感情而演奏。我们让乐器歌唱，让乐器模仿野兽。
工作坊最终的结果是：创造出共同体的各自的演奏：一场音乐表演：对世界的记忆。

http://hochherz.klingt.org/?p=479

主持人简介：
Olaf Hochherz（奥拉夫•豪赫兹），1981年出生于德国乌帕塔。曾在魏玛包豪斯大学和上海同济大学学习媒体设计/媒体艺术。
创作声音装置和即兴音乐。他的乐器包括笔记本（开源软件），书和接触式话筒，喇叭……
他属于欧洲新音乐家族中，强调思考的那一支，作品多与环境关联。
他曾和即兴乐手照骏园组建一个二重奏：木电质。曾经在撒把芥末/观音唱片发表作品(http://www.subjam.org/archives/833)。
hochherz.klingt.org

颜峻，1973年出生于兰州。
即兴乐手。也创作田野录音和相关声音装置。
撒把芥末/观音唱片创办人。
www.yanjun.org

由撒把芥末，旁边儿，观心亭联合出品 撒把芥末（Sub Jam）是中国最活跃的实验音乐组织。致力于国内外最前沿的音乐和声音探索，曾经策划过数百场演出。旗下观音唱片（前身为铁托唱片），共发表超过60种地下音乐，实验音乐，声音艺术作品。 www.subjam.org 旁边儿： 旁边儿是一个致力于探索中国当代艺术和地下音乐文化的网络平台。我们的初衷是制作，推广和传播中国地下音乐，并力图与各国音乐家和多媒体艺术家建立合作关系。 Pangbianr.com是一个分享资料库，我们挖掘来自北京和中国各地的前卫实验音乐和新音乐创作者，通过添加mp3试听,原创影像，活动评论，当事人采访以及专栏文章来关注中国独立音乐、艺术和影像，并在第一时间与大家分享。 Pangbianr.com 观心亭：
如果说，艺术家的日常创作实践是通过物质形态的转化，保持其日常精神敏锐，以达到能量流动的根本之道的话，那么，如何建构一个日常空间能呈现这种能量的流动？ 如何通过人为建构去达到”自然状态”？ 在今天，艺术如何持续并达到对生命的”养护”？ “观心亭”也许是一个有意识”空”的空间，从而来养护精神生活。 地址：百子湾路苹果社区北区2号楼B座2503（今日美术馆附近）

http://site.douban.com/theshop/

本活动由歌德学院支持
www.goethe.de/peking/

Directors: Olaf Hochherz (DE), Yan Jun (CN)
Time and date: pm 7:30-10:00, February 29 and March 1 (participants should join both evenings)
Venue: The Pavillion (http://site.douban.com/theshop/)
Requirement: music background, is not necessary but pls come with your own instrument. 7-10 participant.
Free registeration: subjam@gmail.com

Concert 1: pm9:30, March 1st, The Pavillion, free
Concert 2: as result of workshop, all participants will constitute a group (“Ad Hoc Impro Committee”) for a public performance under the frame of Sally Can’t Dance Festival which hold by D22/Maybe Mars.
Date: pm3 of March 4; Venue: new D22 (behind a roasted chestnut stand at the southwest corner of Di’anmen Inner St. x Di’anmen West St. x Di’anmen East St); ticket: 80 RMB per day (60 RMB for students).2-day pass: 150 RMB (100 RMB for students)

Introduction:
Within the workshop we like to share my research on environment and its associative qualities as source for musical structures. The workshop will be based on group improvisations, their discussion, critique and development.
The workshop is based on the idea of playing with the associations of animals in music by learning to listen to the environment, by recreating voices of animals, things and humans. To create a music with many of these voices is to recreate an environment. It is about the question, how musical structures relate to other (acoustic) structures in the everyday life. How we can recreate structures we know from our environment in our music to create a new way of thinking about music?
To create sounds, which resemble “nature” or better recreate “our” notion of nature, are the result of an exploration, that relates to the connections between memories, things and sounding machines. A memory of the sounding of the environment, of a conjunction of our associations of animals, things, humans and associative-machines. We recreate an environment, which “exist” to be observed. We are playing with the affection to things and animals. We let the instruments “sing”, to let the instruments mime the animals.
The result will be a musical performance with independently played sounds which create associations – a mimesis of the world.

http://hochherz.klingt.org/?p=479

Introduction of directoers:
Olaf Hochherz
Born 1981 in Wuppertal/Germany. He studied at Folkwang Hochschule Essen electronic composition and at Bauhaus University Weimar media-art/media-design. Parallel to the education in composition he started to improvise with self build electronic instruments. He is interested in unstable systems. His goal is not to control a technical aperture but to create an associative field. The sounds have their own live. His playing tries to keep them alive. He is interested in the effect acoustic activity has, the relation between surrounding environment and instruments, between abstract sounds and associations, between electrical and other worlds.
He has released an album on Sub Jam/Kwanyin label (http://www.subjam.org/archives/833）. He has a duo with Shanghai based improviser Jun-Y Ciao.
Website: hochherz.klingt.org

Yan Jun
Born in 1973 in Lanzhou.
Improviser. Also work on field recording and sound installation.
Founder of Sub Jam/Kwanyin Records.
www.yanjun.org

presented by Sub Jam, Pangbianr and The Pavilion

Sub Jam is the most active experimental music organization in China. Devoted to today’s music and sound. Has organized several hundred concerts. Its sub-label Kwanyin Records (formerly Sub Jam Records) has released more than 60 titles of underground music, experimental music and sound art works.
www.subjam.org

Pangbianr:
Pangbianr is a platform for exploring the lived culture of making music in China. Its mission is to produce, distribute, and promote underground Chinese music and to build relationships between musicians, filmmakers, and visual artists both within China and internationally.
Pangbianr.com is a resource for discovering avant-garde and emerging music from Beijing and elsewhere in China via streaming audio, video, reviews, interviews, and articles about independent Chinese art, music, and film.

The Pavilion：
For one year, a series of events are taking place in “the Pavilion”: activities in the form of courses, seminars, performances, and discussions. Each aspect of these experiments will be related to daily practices and rituals, training and maintaining; with special attention paid to intense public discourse (with the intention of investigating the nature of public space). Furthermore, these events will serve to explore and incubate the roles of individuals and organizations in this common experimental space. This organic space will include a variety of dimensions, each section individually is as equally important as the year- long program as a whole. We feel it could be very interesting to connect these different daily life situations or ‘acupuncture points’, thus shaping both the space around us and the form and value of the Manifesto.
We are trying to extend the boundaries of a public space beyond the limited space of galleries, offices and exhibitions. The communication we are trying to build around The Pavilion, through the interventions of different people from different fields, will thus extend its spectrum of research to the subject of rhythm and velocity. This possibility will hopefully widen our understanding of communication and human interactions to different unexplored levels related to the contemporary world and its everyday pace.

http://site.douban.com/theshop/

http://www.vitamincreativespace.com/en/project/viewProjectTrack.do?trackId=20110304202256500

this event was supported by Goethe Institute
www.goethe.de/peking/

国内淘宝价

01，无题 4’13 视觉设计：James Chu

02，事故 2’26 视觉设计：王葱

03，无题 4’39 视觉设计：谈云帆
04，无题 4’12 视觉设计：胡文渊
05，浮 3’50 视觉设计：Young
06，一个怯懦者的静心曲 6’58 视觉设计：张笑辰
07，7007 14’35

这张CDR是一个工作坊的一部分。
第1-6轨：2011年8月22日下午，上海长乐路1035号W+K广告公司三楼某房间。声音源由颜峻随机选定，由参与者通过耳机听。使用Edirol R09便携式录音机。除第5轨外，均使用了接触式话筒。
第7轨：2011年8月20日凌晨，上海武定西路1085号，莫泰168酒店7007房间。颜峻录音。使用Edirol R09便携式录音机。
第1-6轨相应的图片：参与者为自己听到的声音做视觉设计，进行命名。由阮千瑞指导。

参与者大多从事广告设计工作，或学习。
这是一个反广告的工作坊：没有目标，放弃沟通，无意义。
所有声音和视觉材料都限定在一个房间里。
我们要求参与者听，无论听到了什么。
确切地说，他们不是为声音做视觉传达，而是为自己的聆听行动而做。他们不仅听到了这个房间的细节，也在聆听的动作中，塑造了这个房间。他们不仅听到了作为对象的声音，也听到了作为对象的自身的活动。
在听的过程中，主体和自我分离，共同趋向于消失。一个人不仅仅听自身以外的声音，也听自身，以及受自身影响的现实。
在听的过程中，环境不再是孤立的客体。一个房间也不再是一个纯粹的建筑体，被测量的空间。它的声音并不是水果和花瓶一样，摆放好，等待被照耀，被捕捉的客观对象。
这些参与者还没有学会像一个专业聆听者那样，屏息，噤声，假装自己不存在。他们也来不及尝试演奏，用自己的活动去影响录音机里的现实。他们介于两种自觉状态之间。

第7轨是在半睡眠状态录音的。录音机放在床头。没有监听。
在工作坊中，我们谈到了奇观和垃圾堆。
对美好世界的憧憬，使化妆术和广告业兴盛起来，人们每一天都在许诺着彼岸。
一个封闭的房间，就像自我的外壳一样，我们听见的，是自身的无意义和无目的性。我们比这些建筑，更容易受到震荡。这些建筑，也和我们一样，从不主动发声。

中译英：王婧
感谢：Samantha Culp（W+K 上海），老刘（苏州异托邦）

限量25张

01, Untitled 4’13 graphic design: James Chu
02, Accident 2’26 graphic design: Wang Cong
03, Untitled 4’39 graphic design: Tan Yunfan
04, Untitled 4’12 graphic design: Ryan Hu
05, Floating 3’50 graphic design: Young
06, Calm Music of a Craven 6’58 graphic design: Zhang Xiaochen
07, 7007 14’35 (excerpt mp3)

This CDR is part of a workshop.
Track 1-6: afternoon, August 22, 2011. One room on the third floor of W+K Shanghai at No.1035 Changle Road Shanghai. Participants listen to live sounds randomly selected by Yan Jun via recorder. Recording device: Edirol R09 portable recorder. Contact Microphones are used throughout with the exception of track 5.
Track 7: early morning, August 20, 2011. Room 7007 Motel 168. No. 1085 Wuding Xilu, Shanghai. Recorded by Yan Jun with Edirol R09.
Pictures for Track 1-6: According to what they hear, participants name sounds and make vision design. This session is led by Ruan Qianrui.
Participants are mostly professional graphic designers or are currently studying the subject matter. This is an anti-commercial workshop, insisting that we do without goals, quit communications, and stop searching for meanings. We limit audio and visual materials within this room, and ask participants to listen to whatever they hear.
Properly speaking, participants are not making vision design for sounds they hear, but for their act of listening. They hear the details of this room, but more than that, in the act of listening, they re-create the room. Not only do they hear the sound object, but also they hear the movement of themselves as objects.
In the process of listening, the subject detaches from the self, both of which move towards dissolution. One not only listens to sounds of surroundings, but also to one’s self and to realities affected by the self.
In the process of listening, environment is no longer a separate object isolated from the subject. A room is more than a pure architecture, that is, a space to be measured. The sounds of and in a room are not objects like fruits or vases on display, waiting to be captured.
These participants have not yet learnt to be professional listeners, who often hold their breath, act quietly and pretend not to exist. They have not had the chance to try participating in the sound event, using their activities to affect realities captured by the recorder. They are in-between the two self-conscious states.
Track 7 is recorded while been half-asleep. Recorder is placed by the head of the bed, without monitoring.
In the workshop, we talked about spectacle and garbage heap.
The desire for a wonderful new world contributes to the prosperity of cosmetic and advertising industries. Every day, People are promised the other shore.
This enclosed room is our shell. What we hear is the self without meanings or goals. We are more vulnerable to vibrations than these architectures. These architectures never initiate sounds, like us.

translation from Chinese into English: Adel Wang Jing
thanx: Samantha Culp (W+K Shanghai), Lao Liu (Heterotopia, Suzhou)

limited edition: 25 copies

河端一 + Dj Urine
这是日本迷幻噪音乐队“酸母寺”的吉他手兼创始人河端一（Makoto Kawabata）和法国地下硬件噪音界鬼才Dj Urine的全新组合。
话说河端一在新奥尔良的一次演出中与Dj Urine相识，然后便产生了与其合作的意向。直到现在才有机会真正实施，并断然以亚洲巡演做为开端。
综合他们自己写的介绍：首先，这是河端一在酸母寺之外，个人计划的一部分。在这个二人组合里，他主要用吉他制造出一系列刺耳的迷幻长音氛围。Dj Urine作为资深黑胶碟片粉碎达人，日常破坏噪声收集者，二人将携手带来：空间迷幻摇滚与扭曲拼贴的变体，加上被融化掉在异端的琴弦，粗噪音切割掺杂左右。似曾相识的重型硬摇滚风骨影响并遭遇疯人院致幻剂的调戏，而最终又把一切打磨、揉碎、分散、直至消失在一片超验的寂静里。

http://www.acidmothers.com/

http://soundcloud.com/dj-urine

http://cargocollective.com/djurine/

茶博士五重奏
颜峻：电子；小河：吉他/电脑/人声；巫娜：古琴；李戴果：小提琴/拇指琴/口弦/尺八/琵琶/人声；老古：茶
这是一支疯狂的乐队。有时候他们静得让人发疯。
他们即兴演奏，有时候像山水画，有时候噪音弥漫，有时候像婚礼，酒狂，万马奔腾。
每个人都有不同的背景，成员之间的各种合作，各种冒险，已经持续多年，新的化学反应一触即发：这个阵容的首演，是在2010年11月，瑞士伯尔尼，一顿美妙的晚餐之后。
2012年，首张专辑“Ceremony”将在以色列新古典厂牌Ent-T出版，由江湖唱片国内独家发售。
颜峻：2004年开始实验音乐和声音创作，曾在亚欧美澳各国巡演和参加音乐节；撒把芥末和观音唱片创办人；噪音催眠师。

http://www.yanjun.org

小河：美好药店乐队主唱；中国怪逼民谣的领袖和惟一成员；用吉他控制电脑，台风既深情又疯癫，暗藏他早年的朋克风骨和后来的实验元素。

http://site.douban.com/xiaohe

巫娜：中央音乐学院古琴硕士；CCTV民乐大赛青年组冠军；丝桐馆馆主；曾和窦唯，崔健，刘索拉等合作；常年周游列国，跨界爵士，多媒体，实验等等领域。
李带果：美籍华人，2005年起长居四川云南，研习中西古典音乐，芬兰印尼印度民乐，爵士，即兴，说唱，会演奏100多种乐器。

http://site.douban.com/love.betternonsequitur.com

http://love.betternonsequitur.com/

老古：自幼品茶，后遇恩师，习茶道，以茶练心，进而以此学习人生之道。现主要从事茶文化推广工作。

由撒把芥末和旁边儿联合出品
www.subjam.org
www.pangbianr.com

Miji Concert no.7: Ronin and Tea Rockers

Makoto Kawabata + DJ Urine; The Tea Rockers Quintet (Yan Jun, Xiao He, Wu Na, Li Daiguo, Lao Gu)
Pm 8:30, January 14 2012; 2Kolegas Bar (www.2kolegas.com); 80rmb (60rmb for students)

Origin:
“Because of music, I haven’t become a terrorist.” – Makoto Kawabata
Kawabata and DJ Urine contact Pangbianr via friend in Hong Kong. They plan to start this crazy new project with an Asia tour.
Meanwhile, Sub Jam is curating January’s Miji Concert. It’s a year after the debut of The Tea Rockers. They would like to meet again on the birthday of one member. Drink some tea. And play,
5 years ago Kawabata visited Beijing for the first time. He came with the “Japanese New Music Festival”. 3 of them played 7 different projects including Acid Mothers Temple. One concert was at Waterland Kwanyin no. 42 (2Kolegas Bar) with Beijing group Mafeisan.
2Kolegas Bar is the place where classical guqin player Wu Na was first touched by the underground music scene. It’s Xiao He’s noise laboratory. Once Yan Jun joined Li Daiguo’s stage when he was drunk… a site where Beijing experimental music meets the world. Waterland Kwanyin has retired. Now Miji Concerts are calling for all terrorists of mind and sound: unite!

Makoto Kawabata + Dj Urine
This is the brand new project of Makoto Kawabata, founding member of legendary Japanese psychedelic noise collective Acid Mothers Temple, and French underground hardcore/power electronics wizard DJ Urine.
Kawabata met DJ Urine at a show in New Orleans, where they got the idea to play together. Now, finally they are making it come true with a major tour of Asia.
To summarize their own introduction: it’s a new project, separate from Acid Mothers Temple and DJ Urine. In this duo collaboration, Kawabata will use guitar to make a series of harsh psychedelic drones. DJ Urine will be the broken vinyl alchemist & daily life noise collector. They will bring us: psychedelic space-rock , twisted collages and harsh noise cutups, melted kaleidoscope strings; Heavy rock meets “asylum blender psychedelia” and creates a unique combination, which at last disappears into the extrasensory silence…

http://cargocollective.com/djurine/#1879034/Video

http://www.acidmothers.com/

http://soundcloud.com/dj-urine

The Tea Rockers Quintet
Yan Jun: electronics; Xiao He: guitar/leptop/voice; Wu Na: guqin; Li Daiguo: violin/mbira/jew’s harp/shakuhachi/pipa/voice; Lao Gu: tea ceremony
this is a crazy group. sometimes they drive people crazy by their quiet.
they play improvised. sometimes sounds like ink and wash painting. sometimes they make noise. sometimes the concert turns to a drunk wedding.
each member has different background: noise hypnotist, weird singer song writer, academy and award winner, underground multi-instrument nomad, tea master… different combination between them have been taken placed in past years. new reaction actived at once: their first time show as this line-up was in Bern, Switzerland, November of 2010, after a nice dinner.
in 2012, first album “Ceremony” will release on Israeli label Ent-T. jianghuchangpian.taobao.com will publish it in China exclusively.

websites:

http://www.yanjun.org

http://site.douban.com/xiaohe

http://site.douban.com/love.betternonsequitur.com

http://love.betternonsequitur.com/

Presented by Sub Jam and Pangbianr
www.subjam.org
www.pangbianr.com

工作坊：12月21日，晚8点；观心亭（http://site.douban.com/theshop/）；免费
7位乐手分别介绍自己的乐器和工作方法。并做简短表演。用这种方式相互了解，并为普通观众剥去实验音乐神秘的光环。工作坊的第2部分，是演示最基本的即兴演奏原则，让参与者开始自己的演奏。这个工作坊会持续进行，请保持关注。
音乐会：12月22日，晚8点半；两个好朋友（www.2kolegas.com）；门票40
各种抽签，掷骰子，游戏规则。各种组合和限制。

缘起：
“水陆观音”结束后，北京的星期二仍然留给了实验音乐：D22酒吧的“燥眠夜”活跃着一些非典型摇滚乐队的分支组合。他们中的一些人离地面越来越远。要么向下，要么向上，和非物质的事物相互缠绕。这就是被称之为实验，纯粹声音，精神体验的事件。
那些稍早一点开始创作的乐手，和他们一样渴望相遇和碰撞。包括和观众的，更深的相遇，更多侧面的碰撞。
冬天，闲着也是闲着。
所以有了这次工作坊和演出。先是在观心亭，借它的空间，气场，潜在的艺术脉络。后在两个好朋友，北京最适合实验音乐的音箱/空间。
因为大家想要的，并不仅仅是又一场聒噪的演出而已。

颜峻：
他用反馈噪音做即兴演奏。这是一些自己决定自己命运的声音。空间，音响，还有观众都会影响到它的变化，因此演奏者更像是一个观察者。
www.yanjun.org
GogoJ，
原名盛洁，1975年生人，北京，中国。
从事声音与影像的艺术创作。关注由高科技所引发的低科技反思。作品形式包括：录像, VJ, 噪音，装置，行为。2010年创办shan视听实验室，一个以教学为平台的新媒体艺术交流私人工作室。
shanaudiovisualartlab

http://sgogoj.com/

VAVABOND：
VAVABOND是使用Max/MSP演出噪音音乐的女性艺术家。她的声音基本来源于颗粒质感的电子声响、电波频率交界处的噪音、昆虫震动发出的鸣响、宇 宙射线、麦田怪圈、息和光，强大的声波在噪声中交织出奇特的私密空间。除个人SOLO计划外，还与李剑鸿组成迷幻噪音组合“迷走神经”和环境即兴组合“不可能的可能性”。她曾参加多次国内实验/噪音和新媒体艺术活动，包括NOIShanghai、2pi唱片的“出神”巡演、2007大声展的“听游记”和 “咖喱秀”项目、2pi音乐节、上海美术馆主办的“果冻时代”展览、 “重织城市”香港/深圳建筑双城展、上海电子艺术节、2009年先锋音乐节等。

http://www.vavabond.com/

http://www.china-free-improv.com/

照骏园：
艺术家，即兴乐手。深受自由爵士和激浪派艺术鼓舞。出生于上海。2006年毕业于德国杜塞尔多夫艺术学院。2005年与陶轶共同组建自由音乐乐团“没腿的马（MTDM）”。2009年建立了一个和电子乐手Olaf Hochherz的合作项目“木电质（Power Quality Wood）”。

http://site.douban.com/mtdm/

张守望：
CarsickCars成员，
乐队曾多次赴国外音乐节演出，并曾在欧洲与sonic youth乐队巡演，他还与沈静组建了噪音实验乐队White.这支乐队深受先锋音乐的影响，并在德国工业摇滚殿堂级乐队E.N主脑BlixaBargeld的制作下完成。
其个人计划的计划也跨越多种音乐风格，从实验噪音，先锋作曲到不插电民谣和电子音乐，个人的吉他solo演出曾被《纽约客》杂志著名的乐评人Alex Rose评为当年最好的十场演出之一。
刘心宇：
主要使用调音台反馈和吉他来演奏毫无意义的极简声响，并经过效果器使其变奏或循序渐进。

http://site.douban.com/liuxinyu

闫玉龙：
我演奏提琴 通过极度缓慢变化的和声以及声相移动 希望在时间推进的同时也能保有音乐性。

http://site.douban.com/xiaolong

由撒把芥末，旁边儿，观心亭联合出品

撒把芥末（Sub Jam）是中国最活跃的实验音乐组织。致力于国内外最前沿的音乐和声音探索，曾经策划过数百场演出。旗下观音唱片（前身为铁托唱片），共发表超过60种地下音乐，实验音乐，声音艺术作品。
www.subjam.org

旁边儿：
旁边儿是一个致力于探索中国当代艺术和地下音乐文化的网络平台。我们的初衷是制作，推广和传播中国地下音乐，并力图与各国音乐家和多媒体艺术家建立合作关系。
Pangbianr.com是一个分享资料库，我们挖掘来自北京和中国各地的前卫实验音乐和新音乐创作者，通过添加mp3试听,原创影像，活动评论，当事人采访以及专栏文章来关注中国独立音乐、艺术和影像，并在第一时间与大家分享。
Pangbianr.com

观心亭：
如果说，艺术家的日常创作实践是通过物质形态的转化，保持其日常精神敏锐，以达到能量流动的根本之道的话，那么，如何建构一个日常空间能呈现这种能量的流动？
如何通过人为建构去达到”自然状态”？
在今天，艺术如何持续并达到对生命的”养护”？
“观心亭”也许是一个有意识”空”的空间，从而来养护精神生活。
地址：百子湾路苹果社区北区2号楼B座2503（今日美术馆附近）

http://site.douban.com/theshop/

Miji Concert no.6: Winter Improv Committe

Yan Jun (feedback noise and electricity), GogoJ (wave generator, oscilloscope, iPhone and other machines), VAVABOND (laptop and UFO), Liu Xinyu (no-input mixer and flash light), Yan Yulong (Violin and other unknown objects), Zhang Shouwang (guitar and electronics), Jun-Y Ciao (saxophone and clarinet and other blowable objects)

Workshop: December 21st, 8pm; The Pavilion (http://site.douban.com/theshop/); free
7 musicians introduce their instrument and working method. Each talk will be followed by a short solo performance. The purpose is to introduce themselves and their approach to experimenting with music to the other artists and the audience. The 2nd part of the workshop will show the audience the basic principles of improv music and let them join the playing.
This workshop will be held at The Pavilion.

Concert: December 22nd, 8:30pm; 2 Kolegas Bar (www.2kolegas.com); rmb 40
Different combinations dictated by rules, frames, and games of chance

Origin:
Even after the end of the Waterland Kwanyin series, Tuesday in Beijing remains dedicated to experimental music: D-22’s Zoomin’ Night hosts all the misfit side projects of non-rock bands. Some of them are leaving the ground, either going down to the underground or flying into aether. They go more immaterial with materialist sound. We call that experimental music and sound event.
The earlier musicians are thirsty to encounter and intertwine as they do, with each other and with the audience…
And in the Winter, time is slow…
Therefore this workshop and concert: first night at The Pavilion art space and next night at 2Kolegas bar with the best PA and space for experimental music in Beijing.
Because what people need is not just another noisy meeting.

Yan Jun: he uses feedback noise for improvised performance. Sometimes extremely quiet and sometimes extremely drilling. He regards himself as an observer instead of a performer. The instrument contains electronics and, obviously, PA speakers, space and audience.
www.yanjun.org

GogoJ aka SHENG JIE, 1975. Beijing CHINA.
I have focused on the arena of technology looking at its impact on society. Combining video, sound, installation and performance, my work aims to investigating the associations and reflections between high and low technologies. 2010, founded shan audio video lab.
shanaudiovisualartlab

http://sgogoj.com/

VAVABOND：
As one of the few female experimental musicians in Mainland China, VAVABOND began from large volume noise music by using Max/MSP, and concentrating on cosmic sounds and electronic improvisation with Max 5 as the major creative interface nowadays.

http://www.vavabond.com/

http://www.china-free-improv.com/

Jun-Y Ciao:
Artist and improv musician. A Fluxus offspring and free jazz lover. born in Shanghai. 2006 graduate of the Academy of Fine Arts, Duesseldorf, Germany. Member of the free music group MTDM. In 2009, founded the acoustic-electronic project “Power Quality Wood” with Olaf Hochherz.

http://site.douban.com/mtdm/

Zhang Shouwang:
As founding member of Carsick Cars, Zhang Shouwang has participated in several international tours and music festivals, including a European tour opening for Sonic Youth. He also performs in experimental noise duo White, originally formed with Shenggy. White is deeply influenced by avant-garde music. Their first record was produced by Blixa Bargeld, frontman of German industrial rock band Einstürzende Neubauten.

Zhang Shouwang’s solo work blends many different styles, from experimental noise and avant-garde composition to acoustic folk and electronic music. Acclaimed critic Alex Ross of The New Yorker included one of Zhang Shouwang’s solo improvisational performances in his list of “The Ten Best Classical-Musical Performances of 2008.”

Liu Xinyu:
Primarily uses mixer feedback and guitar to create completely meaningless, extremely simple sounds. The noise is also processed through several effects pedals to achieve variation and incremental progressions.

http://site.douban.com/liuxinyu

Yan Yulong:
I play the violin
Through extremely slow variations of harmony and the movement of sounds
I attempt to draw attention to the passing of time, and to retain the essential characteristic of music.

http://site.douban.com/xiaolong

presented by Sub Jam, Pangbianr and The Pavilion

Sub Jam is the most active experimental music organization in China. Devoted to today’s music and sound. Has organized several hundred concerts. Its sub-label Kwanyin Records (formerly Sub Jam Records) has released more than 60 titles of underground music, experimental music and sound art works.
www.subjam.org

Pangbianr:
Pangbianr is a platform for exploring the lived culture of making music in China. Its mission is to produce, distribute, and promote underground Chinese music and to build relationships between musicians, filmmakers, and visual artists both within China and internationally.
Pangbianr.com is a resource for discovering avant-garde and emerging music from Beijing and elsewhere in China via streaming audio, video, reviews, interviews, and articles about independent Chinese art, music, and film.

The Pavilion：
For one year, a series of events are taking place in “the Pavilion”: activities in the form of courses, seminars, performances, and discussions. Each aspect of these experiments will be related to daily practices and rituals, training and maintaining; with special attention paid to intense public discourse (with the intention of investigating the nature of public space). Furthermore, these events will serve to explore and incubate the roles of individuals and organizations in this common experimental space. This organic space will include a variety of dimensions, each section individually is as equally important as the year- long program as a whole. We feel it could be very interesting to connect these different daily life situations or ‘acupuncture points’, thus shaping both the space around us and the form and value of the Manifesto.
We are trying to extend the boundaries of a public space beyond the limited space of galleries, offices and exhibitions. The communication we are trying to build around The Pavilion, through the interventions of different people from different fields, will thus extend its spectrum of research to the subject of rhythm and velocity. This possibility will hopefully widen our understanding of communication and human interactions to different unexplored levels related to the contemporary world and its everyday pace.

http://site.douban.com/theshop/

http://www.vitamincreativespace.com/en/project/viewProjectTrack.do?trackId=20110304202256500

缘起：
认识DJ Sniff是在2007年的巴黎，我们在一个黑乎乎的酒吧里演出。他单手搁在黑胶唱机上，发出干净的低频，像一阵小风倏忽即逝，不像是这个乐器以往的样子。
然后是在东京和名古屋的“Asian Meeting Festival”，他的表演很有范儿，声音绵密而饱含能量，滔滔不绝，有形，有感，伸手可触。很喜欢。后来我和巫娜，小河，张荐去阿姆斯特丹找他，在STEIM住了几天，演了一场。演出是以打麻将结束的，荷兰人对此记忆犹新。
今年再见面，又是阿姆斯特丹，他刚刚出版了和前卫爵士大师Evan Parker合作的CD：用搓盘手法，解构Parker原有的音乐，又重新建构。
11月，DJ Sniff 结束在首尔的驻村，经北京回欧洲，撒把芥末为他安排了北京，上海，杭州的演出和讲座。
——颜峻

介绍：
DJ Sniff是住在阿姆斯特丹的日裔美国人。他使用黑胶唱机和自制电子设备，继承了hip hop 和实验音乐的双重财富，用搓盘技术重新建构音乐，组织出充满能量的声音体。他是全世界最重要的电子乐器研发中心STEIM的艺术总监。
www.djsniff.com/

(Yan Jun, photo by Randy Yau)
颜峻会使用反馈设备，一些自己决定自己命运的声音，在空间，音响，还有观众构成的气氛中不断改变，演奏者更像是一个观察者。
www.yanjun.org

(Feng Hao, photo by Laowang)
冯昊，安徽合肥人，现居北京。声音艺术家，实验乐手，设计师，“核桃室”和“没谱四重奏”等多个乐队成员。DJ Strausss则是他进行采样拼贴的创作代号。创作涉及实验音乐、设计、绘画、行为表演与影像等多个领域。

http://site.douban.com/fenghao/

STEIM：
创建于1969年，为电子表演艺术研发乐器和工具。
它是：实验室，工坊，国际会议举办地，艺术家旅馆，制作办公室，现场电子音乐，DJ，VJ，戏剧和装置制作者，视频艺术家，移动工作室。
它开发过：大名鼎鼎的Cracle Box，Laetitia Sonami的淑女手套，Jon Rose的超弦计划，Nic Collins的迷笛六角手风琴，世界上最早的动作迷笛控制器The Hands……

http://www.steim.org/steim/

Cracle Box：利用人体作为电阻的，随机发声的，手触式合成器，欧洲的实验乐手几乎人手一个：http://www.crackle.org/

观心亭：
如果说，艺术家的日常创作实践是通过物质形态的转化，保持其日常精神敏锐，以达到能量流动的根本之道的话，那么，如何建构一个日常空间能呈现这种能量的流动？
如何通过人为建构去达到”自然状态”？
在今天，艺术如何持续并达到对生命的”养护”？
“观心亭”也许是一个有意识”空”的空间，从而来养护精神生活。
地址：百子湾路苹果社区北区2号楼B座2503（今日美术馆附近）

http://site.douban.com/theshop/

11月9日晚，杭州，中国美术学院；11月10日晚，上海，BM Space：
DJ Sniff，颜峻，Gregory Buttner

“喇叭之声——为喇叭准备的声音”
Gregory Büttner 用不同的音箱喇叭演奏电子原音音乐。他用各种日常用品罩着这些喇叭，来改变声音。
简历：来自汉堡的音乐家和艺术家。2000年以来，他的主要兴趣集中在声音艺术和电子原音作曲上。他参加音乐节，为舞蹈和表演做配乐，创作广播艺术，视频艺术，装置艺术作品。2004年，他创办了自己的厂牌“1000füssler”。他和人声即兴乐手Birgit Ulher有一个二重奏组合。
“Speaker Sounds – Sounds for Speaker”
Gregory Büttner plays electroacoustic music using different external speaker. At the same time these sounds are modulated by resonating objects placed on the speakers and by several, in everyday life used resonance bodies.
Biography: Gregory Büttner lives and works as a musician and artist in Hamburg. Since 2000 his main focus is on sound art and electroacoustic compositions. He performed at several festivals and concert series in Europe, composed music for dance and performance, radio, video and sound installations. In 2004 he launched his label 1000füssler which releases experimental music in small editions. He plays regularly in a duo with Birgit Ulher, ‘Stark Bewölkt Quartett‘ with Michael Maierhof, Heiner Metzger, Birgit Ulher, or as ‘für diesen abend‘ with Stefan Funck and Katrin Bethge. His music released by labels like 1000füssler, Firework Edition Records, Anthropometrics / Aufabwegen, Grünrekorder, Compost and Height.

http://www.gregorybuettner.de

国内淘宝价

颜峻的第二张反馈即兴录音。调音台，特制话筒，效果器，喇叭，小物件。气息和身体的移动。断续和空白。
seconde release of Yan Jun’s feedback improvisation. mixer, pedal, speaker cone, objects. breath and body movement. intermission and blank.

01，V0 9’56
02，V1 5’20
03，V2 7’31

04，V3 3’45
05，VA 5’42

06，VOW 8’42
07，VS 3’05

08，VX 3’12

现场录音于2010年5月，Observatori 艺术节（西班牙，瓦伦西亚）
编辑于2011年9月，北京
母带处理：杉本拓
recorded in May 2010, Observatori Festival (Valencia, Spain)
edited in September 2011, Beijing
mastered by Taku Unami

限量166张 limited edition: 166 copies

感谢 thanx: Rubén García，Zbigniew Karkowski，Lupei

review

www.yanjun.org

国内淘宝价

乐器：笔记本。声音：颗粒状。作者：生于八零年代，女，北京，除独立创作外，和李剑鸿组有迷幻噪音乐队“迷走神经”。
自述：这是距离我们成百上千甚至数亿个光年的一些远古行星、恒星和团状星云。它们的闪耀，也许只是源于某个造物脑中的一束电波，正如我们现在正在做的那样。
instrument: laotop. sound: granules. artist: born in ’80s; female; Beijing; psychedelic-noise project “VagusNerve” with Li Jianhong.
self foreword: These are some ancient planets, fixed stars and globular clusters that are hundreds, thousands and even hundreds of millions light years from us. Maybe their shining just came from a flash of electric waves in some nature’s mind, just as what we are doing now.

01 M4 03’27

02 GJ 1214b 10’23
03 Sedna 08’06
04 TrES-4 11’16
05 CoRoT-7b 12’57

限量100张 limited edition: 100 copies

国内淘宝价

开始于2002年的，众多的葵花籽项目之一。在今日美术馆的一小时漫步，嗑瓜籽和录音。
请把它当作环境音乐来使用。
one of numerous Sunflower Seeds Projects since 2002. one hour of walking, cracking and recording in Today Art Museum.
please use it as muzak.

01，昨日 1:0:44 Yesterday

录音：颜峻（2011年9月9日晚9点03分-10点04分，北京今日美术馆一号馆二楼展厅）
限量50张

2011年8月6日至8月19日，我参加了在今日美术馆展出的“第二届中国当代版画学术展”，作品题目是“怎样嗑瓜籽”：现场提供葵花籽，观众可以随意取用，并且把瓜籽皮扔在地上。
作为后续创作，现在，这张CD，会寄给留下了联系方式的观众。
版画是视觉艺术。我只能为大家带来其他的东西。
在展览现场，嗑瓜子这个举动，这些微小的声音，都是其他的东西。事实上，在我们倾注了热情和愿望的目光里，日常生活也已经成为了其他的东西。当其他的东西返回，它造成的扰动，或者说感染，是微小而持久的。
重返美术馆的录音行动，不同于之前的展览。这是一次私人的漫步。我希望大家把这张CD当作环境音乐来使用。——颜峻

感谢：李帆，乔乔，姚保国（吉香栗干果店），赫斌（展览录音），今日美术馆的工作人员和志愿者

recorded by Yan Jun (pm 9:03 – pm 10:04, 2nd floor of building no.1, Today Art Museum, Beijing)
limited edition: 50 copies

My work “How To Eat Sunflower Seeds” joined “The Second Academic Exhibition of Chinese Contemporary Prints” during August 6th-19th in Today Art Museum. I provided sunflower seeds for audience. They crack them and throw the shells on floor.
As a follow-up, this CD, now will send to audience who left their contacts.
During the exhibition, the activity of cracking seeds and its tiny sounds are Other Things. In fact, from our sight of passion and will, everyday life has became Other Things as well. Once the Other Things return, the disruption, or infection, is tiny but long lasting.
The action of recording along in the museum is different to the previous exhibition. It’s based on a personal walking. I hope you use this CD as muzak. –Yan Jun

thanx: Li Fan, Qiao Qiao, Yao Baoguo (Jixiangli Dried Fruit), He Bin (exhibition recording) and staff and volunteers of Today Art Museum

国内淘宝价

维也纳，下一个实验艺术和新音乐的中心？
鼓的振动，声音的细微变化，感知的艺术，还是客观化的艺术？
Vienna, the next centre of experimental art and new music?
vibration of drum, subtle variations of sound, art of perception or art of objectify?

01 timbre 41’19 音色

realized with computer, 2 structure-borne drivers, a drum and two microphones
乐器：电脑，二支结构振动传感器（structure-borne driver），一只鼓，二支话筒
限量98张 limited edition: 98 copies
thanks to 感谢: manuel knapp, bernhard breuer and seijiro murayama.

review

http://tim.klingt.org