| $20.16
back in stock as of
june 17th, 2009
first in stock on
november 18th, 2003
threads:
harsh-noise
sound-art
sound-installation
analogue-synth
electro-acoustic-improvisation
electro-acoustic-composition
modern-composition
japan
musique-concrète
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| | 23five incorporated (usa) #23five 901 cd
san francisco museum of modern art (united states) #sfm 901 cd“ju-jikan • ten hours of sound from japan” double compact disc set - tanami tono - dinergy 2 (1997)
- pain jerk - acid bath drip bones (1994)
- yasunao tone - trio for a flute player (1991)
- nerve net noise - thousand knocks (2001)
- otomo yoshihide - composition for two guitars (2001)
- atau tanaka - 28:33:23 (2002)
- i.d. - öô»..»..ßt (2001)
- masonna - love (2000)
- kozo inada - d[0] (2001)
- ichiro nodaira - neuf ecarts vers le défi (2001)
- hanatarash - 77up
- yuji takahashi - tori mo tsukai ka ii (2001)
- masahiro miwa - alleleuia (1998)
- ryoji ikeda - abstructures (2002)
- merzbow - electric for icc turn (1999)
- kazuo uehara - musique collage ii (1988)
- astro - apastron (2001)
- tetsuo furudate - der geist (2001)
| | 23five incorporated press release... |
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ju-jikan: 10 hours of sound from japan
23f/sfm 901, double compact disc set
in 2001, the san francisco sound-arts organization 23five and the san francisco museum of modern art co- presented ju-jikan — a ten hour ‘listening event’ documenting the past 50 years of japanese experimental music. the curators of ju-jikan; atau tanaka, ryoji ikeda, and shunichiro okada did not intend their exhibition to be a comprehensive encyclopedia of japanese experimentation; rather they sought “to trace the complex web of sonic style that constitutes the current japenese musical landscape.” tanaka, whose lucid writings are found within ju-jikan’s liner notes, takes great care in describing the contradictions and unspoken connections that linger not just within the niches of japanese audio experimentation but also throughout all of japanese culture. just as technology and electronics are the lone assimilating factors within the broad scope of ju-jikan, these same tools also gave the possibility for separation from the west and from each other to create a wealth of new languages.
while the ten hour ‘listening event’ at sfmoma spanned 5 decades of historical recordings, the double cd centers upon the last decade, as a means to publish previously unreleased work from many of featured artists. all of the artists with ju-jikan (both the 2cd and the sfmoma listening event) draw from the recombinant power of electronic synthesis and the juxtaposition of disparate styles; which together have become a standard if elusively-defined musical vocabulary for japanese music. tanaka, ikeda, and okada offered convenient catagories (computer music, anti-academic movements, noise, anti-pop permutations, ambient fields, after improvised music, etc.) as ports of entry; however, they point out that many japanese experimental artists refuse to paint themselves into an aesthetic corner. ju-jikan’s cd companion features compositions from tamami toro, pain jerk, yasunao tone, nerve net noise, otomo yoshihide, atau tanaka, i.d., masonna, kozo inada, ichiro nodaira, hanatarash, yuji takahashi, ryoji ikeda, merzbow, kazuo uehara, astro, and testuo furudate.
founded in 1993, 23five incorporated is a nonprofit organization dedicated to the development and increased awareness of sound works in the public arena, and to the support and education of artists working with and discussing the medium of sound. for the past 14 years, 23five incorporated has remained at the forefront in bringing the most adventurous elements of sound art to the san francisco bay area. 23five has served as an important benefactor to artists such as john duncan, christina kubisch, francisco lopez, achim wollscheid, matt heckert, zbigniew karkowski, atau tanaka, and many more. |
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