maryanne amacher

does this need to be at overwhelming volume for me to appreciate it? I finally got speakers that could handle cranking the Tzadik disc and it was a very interesting effect.

this one is less dependent on volume. but volume does help, and so do headphones.

and also taking the recording seriously helps. I almost feel uncomfortable just seeing this posted online. It's not just another file.

wow, excited to listen to this.

thanks

march 1975

http://barryschrader.com.hostbaby.com/img/Writing/CURRENTS/Ripert_2.jpg

http://www.barryschrader.com/currents_at_theatre_vanguard/

http://noise-park.tumblr.com/post/34827930387/maryanne-amacher

A++

http://www.youtube.com/watch?feature=player_detailpage&v=PAvpK2DENB0#t=553

http://vimeo.com/87401740

I wish I spoke German.

loved the stories about the house.

https://www.nytimes.com/2017/05/19/arts/music/reviving-the-ghostly-sounds-of-maryanne-amacher.html?_r=0

that Charles Atlas documentation of the Merce piece from 1977 maybe the earliest composition to prompt otoacoustic emissions? you can hear the same materials appear in 'Living Sound Patent Pending' and the 1982 Music Gallery concert

sadly this piece makes no mention of the recent live concert exhibition of her work last year by Recombinant Media Labs at Gray Area. Reviews were mixed (I was out of town, but I think GA were still trying to tame the natural reverb of their room) but that 12 channel recording of her entire 2000 concert at the Compound has got to be the primary document of what she did in concert that she never even attempted to do on CD. at least I hope so; that night will always be in my top 5 concert experiences list

I still don't understand the Tzadik CD, any suggestions for optimizing a listening environment there?

never really listen to it either, I usually just play this: https://soundcloud.com/artpractical/maryanne-amacher-clip-for

though programming just track 3 playing it at 100 dB + on a good system in a large room might come close

my favorite is the first part of this https://www.youtube.com/watch?v=_MahrtRVhkA

https://academic.oup.com/oq/advance-article/doi/10.1093/oq/kbx025/4734984?guestAccessKey=8095c75d-c8dd-4370-b419-cf66ff4224fa

in case that link goes dead one of these years

An idiosyncratic three-part storyboard drops us into the middle of Maryanne Amacher’s media opera Intelligent Life (1981–1982) (see figure 1). Readied for submission to directors and funders throughout the 1970s and early 1980s, the opera consisted of nine one-hour-long episodes designed for television broadcast with in-home FM simulcast. As of yet, it has not been taped, recorded, or broadcast. Rather, it persists as five short texts, totaling 150 pages in length, with Amacher’s surprising membership in the Professional Screenwriters of America foregrounded on the cover page.1 A “Premise” and “Background to the Story’s Intrigue” introduce the opera’s fictive milieu. The year is 2021—the bicentennial of Hermann von Helmholtz’s birth—and the plot concerns Supreme Connections LLC, a music research and entertainment company, following the workaday lives, research practices, and aspirations of its leading figures. In a “Partial Treatment and Material for Pilot Story,” Amacher’s characters narrate how Supreme Connections came into being. Forged amid the failure of algorithmic music recommendation services and a second-generation artificial intelligence that could compose in nearly any historical idiom,2 the company proposed an alternative world of public media interactivity: “smart” technologies for the car and the home, enchanted architectures of customizable audio, and multisensory designs for a burgeoning “urban informatics” that re-cast the city as a kind of theme park that could respond to passersby with all sorts of original but also highly situated forms of sounding.3 Though its technologies are fictive, Supreme Connections’ story makes a clear reference to concerns that long structured Amacher’s own work.

On the heels of a technophilic 1960s U.S. experimentalism eager to claim the sounds of living bodies—eartones, heartbeats, brainwaves, and other close mic’ed oddities—as raw material newly “discovered” and then submitted to composers for aesthetic refinement and technological elaboration, Intelligent Life shows how any “newly sonorous” biomechanical processes come already carved and compacted by technology, capital, and politics.15

can you believe it? and sounds like there's enough there that it could be staged credibly as hers -- the archives contain digital tapes of many of the separate tapes she'd use to mix a concert, and there are a few collaborators familiar enough with her performance techniques. though like Ives' Universe Symphony it's going to require some imaginative intermediaries.

Is it available on spotify?

dull sincere response: sounds like someone (person or institution) should apply for funding to produce this. Opera America has special grants for producing/developing work by female composers (along with other grant programs).

After having read more thoroughly: producing this sounds like an awesome project. Invariably it will be done in Europe or somewhere with more resources than the Bay Area.

Excellent:

https://www.artforum.com/news/archive-of-sound-art-pioneer-maryanne-amacher-goes-to-the-new-york-public-library-82200?fbclid=IwAR3t4RdykwGDncILcuZoIc4FRpvITUoZ2l6KmcVMXy1C8s4odBE9959J70k

So where online do you people go to chat about that new interview book?

https://vimeo.com/513113108/56af20437a