Sun, 20 September 2015
I'm trying to explore some new parts of the media art world, and one of those less explored areas has to do with broadcasting. So often, media art seems to be driven by net-stuff, computers and streaming something-or-other. But if you look at some of the most interesting media-based storytelling, it occurs on and through the radio.
My guest (and coworker) August Black has a history with this stuff, having worked with art-broadcast people in creating guerilla radio systems. His view on 'creating a place' for art to happen is an interesting view of an alternate media art, and his distrust of traditional art structures makes it seem a bit radical - until you start thinking about it, and it just seems smart.
August has got a lot of work on the web - he just chooses to hide it well. You can see some of his work at the following links:
Sun, 13 September 2015
John Keston came onto my radar in sort of a random way - he sent me a link to some of his music, and I kind of fell in love with it. It was sound designerly, but also musically deep. Then I started digging into his work, and it touched on a lot of my interests.
So wouldn't you know that, when I interviewed him, I find out that our paths were constructed in similar ways. Musc, tech, art - it boils together to become an interesting - and personal - mix. In John's case, this was programming, music and gigging, expansion into visual arts and finding a way to bring it all together. Some of his concepts on scores and improvisation are incredibly insightful, and I really appreciated him sharing his background and perspectives.
Some of the links to his work are useful for getting in deeper:
I hope you enjoy this as much as I did!
(Note: There was a factual error in a previously published version of this interview. Fixed now!)
Sun, 6 September 2015
I'll have to admit something: I'm a big fan of the double bass. It's an instrument that is as much about physicality as it is technique (although technique is incredibly important). But mostly, its presence in a room - or in a recording - is huge. So when Todd Reynolds opened the door for me to talk with bassist/composer Florent Ghys, I jumped at the chance.
What I found was a person that is comfortable in almost as many skins as there are in the media arts. He's obviously an accomplished bassist, and has done compositions for many serious New York-based groups. But his solo work reveals his interests in programming (primarily with Max) - but in a way that is inclusive of his audience. He's also starting to branch out into video art, and talks about that effort as well.
I had a wonderful time talking to Florent - twice - due to recording problems. So you get to hear the second, but perhaps more personal, chat between us. It is an interesting insight into the mind of a versatile artist.