I'm sorry but I've been advised against providing context for this one
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Pennsylvania Governor DILFs
Dick Thornburgh, Bob Casey Sr., Josh Shapiro, Arthur James, George M. Leader, Milton Shapp, Tom Wolf, Ed Rendell, Tom Corbett, Raymond P. Shafer, Mark Schweiker, Tom Ridge, Edward Martin, James H. Duff, John C. Bell Jr., John S. Fine, William Scranton, David L. Lawrence
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Mark Rothko - No. 5; No. 22
Mark Rothko - White Center (Yellow, Pink and Lavender on Rose) 1950
Mark Rothko - Untitled, 1949 (Yellow, Brown, and Green)
Mark Rothko - Untitled (Violet, Black, Orange, Yellow on White and Red) 1949
Mark Rothko - Untitled (Yellow, Red and Blue), 1953
Mark Rothko - Yellow and Blue (1955)
Mark Rothko - Untitled (1948)
Fuminao Suenaga - Search Results / Mark Rothko (2017)
Milton Avery - Portrait of Mark Rothko (1933)
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State Music — Residency at Columbia University / Computer Music Center
I spent five weeks in NYC between March and April 2023. It was a fantastic opportunity to work at the Computer Music Center in New York. The CMC is the first electronic music studio in the USA and Seth Cluett was kind enough to let me continue my research in the best conditions.
During this stay I was able to compose two new pieces for my forthcoming debut album State Music. The first was recorded in Studio 324 on two very early versions of Buchla and Serge analogue modular systems and two Bode frequency shifters. The process was similar to what I had done at EMS Stockholm, Radio Belgrade, KSYME Athens and Willem Twee Studio in Den Bosch. I tried to adapt to the machines installed in the studio, tested a lot of patches and recorded many hours of textures, accidents and other sonic events using a variety of techniques. The editing, collaging, layering and mixing was done later in my studio. I just followed one rule. Don't use the same recording twice. No loops, nothing like that.
The second composition was recorded in Jace Clayton's office. Why? Because the RCA Mark II, considered one of the first music synthesizers ever, still sits in that room. The synth has been out of order since 1976, when someone broke into the Prentis Hall building and vandalised the machine. But I decided to make use of it anyway. I opened one of the office windows to let sounds from the city into the room and recorded the tiny vibrations caused by street noise with a geophone magnetised to the synthesizer. In this way the synthesiser essentially acted as a loudspeaker. A cheap recorder was placed near the window. Two wide cardioid microphones were placed in the middle of the room for a high quality recording. Most of the time I sit in front of the synthesizer and do nothing but listen, and every now and then I flip a switch, turn a potentiometer or unplug a patch cable to activate the acoustic space of the office and make the metal frame of the machine vibrate.
It was an amazing moment. I've been working on the State Music project since 2018. I realised that being in that room with that silent machine felt like achieving something. My understanding of electronic music history is much deeper. The links between early synthesizers and the military industry are now much clearer to me. State music? Corporate music? I don't know and it doesn't matter.
Here's an anecdote from The Enabling Instrument: Milton Babbitt and the RCA Synthesizer" a paper by Martin Brody.
When the Mark-I appeared in 1955, it was listed in the RCA Acoustics Laboratory inventory with a proud comparison: The synthesiser was 'second only to the Typhoon rocket simulator as the largest single assembly to come out of the David Sarnoff Research Center'. [Although the Mark-I was built to recreate a peaceful expression of human subjectivity rather than to obliterate a hostile and remote man-machine, its input/output components were as indifferent to the workings of the psyche as an anti-aircraft predictor.As Harry Olson recalled, to test their new machine, Olson and Belar followed Seashore's playbook of analysing past performances. The goal was not to expose the musical mind, but to simulate the sounds of acoustic instruments and human performers with the utmost precision.
I would like to thank Seth Cluett, Anna Meadors, Jace Clayton and Nick Patterson for their help.
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Richard Wright: 'Southeast Corner of Things', Text by Mark Hamilton, Richard Wright, and Thomas Lawson, Locus+, Newcastle upon Tyne, and Milton Keynes Gallery, Milton Keynes, 2000
(on the way of Art Books & Ephemera)
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