Cipher [compilation LP]
Released 22nd February 2019 on C.A.N.V.A.S.
Cat.No: CANVAS004
Format: Digital, Vinyl
Cipher, C.A.N.V.A.S.'s fourth release since its reinvention as a label in April 2018, and its first compilation record, features Michael Speers, Xao, Object Blue, Ashley Paul, Ben Vince, Ausschuss, Olan Monk, Flora Yin-Wong and Lugh, all of whom have responded to specific thematic instructions to create a contextually coherently, although artistically varied collective work.
In the context of increasing digitalisation and codification as a means to recreate, record, communicate and propagate events from the real world, Cipher plays with different processes by which musical material is abstracted and codified. This project reconsiders the graphic score and other means by which music has been codified.
Cipher considers the hegemony of authorship in the context of codification of music, and speculates on possible means for musical propagation, whether they uphold human authorship or neglect it.
Responding to one of three sub-themes relating to the context outlined above, the 9 contributing artists have contributed work which, for release on vinyl record and digitally in February 2019.
Tracklisting
Xao - Quintal
Flora Yin-Wong - Murmures
Ausschuss - Frontier Control
Michael Speers - îË|IOÆB
Ashley Paul - Sleep Walker
Lugh - Hot Mess
Olan Monk - Seph
Ben Vince - Fading In Panoramic
object blue - Fourteen Boulders, Fifteen Stones
Vinyl LP & Digital
directed by Lugh O’Neill
graphic design by Louise Borinski
mastering by Ali Najafi
Task responded to by the contributing artists:
Cipher re-evaluates the graphic score and other means by which music has been codified. Cipher considers the hegemony of authorship in the context of codification of music, and speculates on possible means for musical propagation, whether they uphold human authorship or neglect it. Responding to one of three sub-themes relating to this context, 9 artists have contributed their work for this collective release.
PART 1
Consider the Ryōan-ji, kare-sansui garden as a visual score, an instruction to match to sonic or musical parameters. The kare-sansui, dry landscape, at the Ryōan-ji temple features distinctive larger rock formations arranged amidst a sweep of smooth pebbles raked into linear patterns.
object blue’s ‘Fourteen Boulders, Fifteen Stones’, Michael Speers’ ‘îË |I O Æ B’ and his work’s accompanying text, as well as ‘Murmures’ by Flora Yin-Wong with accompanying text, and ‘Fading In Panoramic’ by Ben Vince were all created in response to this task.
Ryōan-ji, Kare-sansui
fifteen stones of different sizes
composed in five groups
one group of 5 stones, two groups of three, and two groups of two stones.
The stones are surrounded by raked white gravel. The only vegetation in the garden is some moss around the stones.
The garden is meant to be viewed from a seated position on the veranda of the hōjō - the stones are placed so that the entire composition cannot be seen at once from the veranda.
They are also arranged so that when looking at the garden from any angle, only fourteen of the boulders are visible at one time.
PART 2
Do you make music in the image of how it is conceived in your mind? Speculate on the possibility or impossibility of visual information that channels sounds conceived in thought. What would the symbols resemble if they would faithfully transmit an absolute authorship of the mind.
In this context, Ausschuss’ Frontier Control and the track’s accompanying visual work shown below, as well as Hot Mess by Lugh and Quintal by Xao were created.
PART 3
This task considers as a starting point that an audio recording and a score share the purpose of instructing for music or sound to be executed, interpreted, to exist despite constraints of place and time, to propagate.
Each person sends a fragment of audio to the other. The other then treats that fragment as the score, a structural entity to interpret, to realise as a musical form. Ashley Paul’s ‘Sleep Walker’ and Olan Monk’s ‘SEPH’ were created in an artistic exchange between the two, following this outlined initiating procedure.
Cipher [compilation LP]
Released 22nd February 2019 on C.A.N.V.A.S.
Cat.No: CANVAS004
Format: Digital, Vinyl
In the context of increasing digitalisation and codification as a means to recreate, record, communicate and propagate events from the real world, Cipher plays with different processes by which musical material is abstracted and codified. This project reconsiders the graphic score and other means by which music has been codified.
Cipher considers the hegemony of authorship in the context of codification of music, and speculates on possible means for musical propagation, whether they uphold human authorship or neglect it.
Responding to one of three sub-themes relating to the context outlined above, the 9 contributing artists have contributed work which, for release on vinyl record and digitally in February 2019.
Xao - Quintal
Flora Yin-Wong - Murmures
Ausschuss - Frontier Control
Michael Speers - îË|IOÆB
Ashley Paul - Sleep Walker
Lugh - Hot Mess
Olan Monk - Seph
Ben Vince - Fading In Panoramic
object blue - Fourteen Boulders, Fifteen Stones
directed by Lugh O’Neill
graphic design by Louise Borinski
mastering by Ali Najafi
Task responded to by the contributing artists:
Cipher re-evaluates the graphic score and other means by which music has been codified. Cipher considers the hegemony of authorship in the context of codification of music, and speculates on possible means for musical propagation, whether they uphold human authorship or neglect it. Responding to one of three sub-themes relating to this context, 9 artists have contributed their work for this collective release.
PART 1
Consider the Ryōan-ji, kare-sansui garden as a visual score, an instruction to match to sonic or musical parameters. The kare-sansui, dry landscape, at the Ryōan-ji temple features distinctive larger rock formations arranged amidst a sweep of smooth pebbles raked into linear patterns. object blue’s ‘Fourteen Boulders, Fifteen Stones’, Michael Speers’ ‘îË |I O Æ B’ and his work’s accompanying text, as well as ‘Murmures’ by Flora Yin-Wong with accompanying text, and ‘Fading In Panoramic’ by Ben Vince were all created in response to this task.
Ryōan-ji, Kare-sansui
fifteen stones of different sizes
composed in five groups
one group of 5 stones, two groups of three, and two groups of two stones.
The stones are surrounded by raked white gravel. The only vegetation in the garden is some moss around the stones.
The garden is meant to be viewed from a seated position on the veranda of the hōjō - the stones are placed so that the entire composition cannot be seen at once from the veranda.
They are also arranged so that when looking at the garden from any angle, only fourteen of the boulders are visible at one time.
PART 2
Do you make music in the image of how it is conceived in your mind? Speculate on the possibility or impossibility of visual information that channels sounds conceived in thought. What would the symbols resemble if they would faithfully transmit an absolute authorship of the mind.
In this context, Ausschuss’ Frontier Control and the track’s accompanying visual work shown below, as well as Hot Mess by Lugh and Quintal by Xao were created.
PART 3
This task considers as a starting point that an audio recording and a score share the purpose of instructing for music or sound to be executed, interpreted, to exist despite constraints of place and time, to propagate.
Each person sends a fragment of audio to the other. The other then treats that fragment as the score, a structural entity to interpret, to realise as a musical form. Ashley Paul’s ‘Sleep Walker’ and Olan Monk’s ‘SEPH’ were created in an artistic exchange between the two, following this outlined initiating procedure.