John Hudak

from where i am

erational — 2001-11-21T05:00:00Z

A live broadcast (and computer manipulation) of sounds from contact and open-air microphones receiving input from where Hudak lives, on the Brooklyn-Heights promenade, over the Brooklyn-Queens expressway, facing the bottom of the east river, lower Manhattan, and the Brooklyn piers.

curtain

2000-11-30T05:00:00Z

each musician in tu M'p3 was invited to compose a "soundtrack for image" and to title the result, which is presented in flash format. For more information about tu m', please see :

http://www.tu-m.com/

Curriculum Vitae : John Hudak

2003-11-21T15:11:39Z

born 3 28 58 Framingham Massachusetts

26 Parkway Drive, Dobbs Ferry, NY 10522

914 674-3667

http://www.johnhudak.net

John Hudak has been interested in sound and music from the age of four when he began to play a variety of instruments. At the University of Delaware (BA, English 1981) and Naropa Institute for the Arts (1979), he studied video, photography, creative writing and dance. He then began to create taped soundtracks for his solo performance art pieces. In recent years, he has concentrated on sound, particularly natural sounds.

Hudak's current sound work focuses on the minimalism and repetition of sounds below the usual threshold of hearing, sounds that are filtered out or considered non-musical. These sounds are recorded, deconstructed and processed, their rhythms and textures being the basis for aural manipulations.

Selected Solo Recordings

(also see discography)

Selected Solo Recordings

old moon CDr (2 - 3 inch), 2003, kissy records (http://www.kissyrecords.com).

'old moon' consists of two separate pieces released on two 3 inch cdrs. both pieces were made from the same source material - the sound of snow melting on a contact microphone. 'old moon 1' is an active sound environment, like thousands of crickets and woodpeckers working together in a tiny room. 'old moon 2' is a slower, darker piece. imagine being able to listen to snow slowly melt under water.

may fifth CD, 2003, XZF.

solo piano piece granulated to achieve random pattern variations within a set group of pre-defined possibilities.

tall grasses CD, 2002, digital narcis ltd. (http://www.digitalnarcis.com/),

sensitive contact microphones buried in a field of grass on a windy day

figure 2, 2000, intransitive recordings (http://www.intransitiverecords.com).

The music on this disc was recorded at a live performance by John Hudak and Jason Lescalleet in the Lindsay Chapel at the First Church of Cambridge, MA, during the first blizzard of the season (2000). All sounds were taken from the space at the time of the performance...from the clunking of the hot water heaters, to the whispers of the audience.

highway CD, 2000, edition . . . (http://editionellipsis.hypermart.net/publications.html),

vibrations and sounds of cars and trucks driving on the Brooklyn-Queens expressway

my eye, my son's eye CD, 2000, generator sound art (http://www.generatorsoundart.org/),

live and studio recordings of individual notes of a child's music box

like seeing, and then again not 7" vinyl, 2000, liquish recordings.

collaboration with Jason Lescaleet

pond CD, 1998, meme recordings.

sounds of underwater insects recorded with hydrophones

brooklyn bridge CD, 1998, shirocoal recordings/soleilmoon recordings

vibrations and static sounds recorded on the Brooklyn Bridge with contact microphones

don't worry about anything, i'll talk to you tomorrow CD, 1999, alluvial recordings (http://www.manifoldrecords.com/alluvialmain.html),

an answering machine message of my mother repeating the title words, transformed into textures

natura, 7" vinyl, 1994, Apraxia

A side, fruit flies ; B side, frozen rain falling on snow triggering an ARP 2600 synthesizer

Selected Compilations (also see discography)

Helen Marie : Reinterpretations 2CDs, 2002, alluvial recordings (http://www.manifoldrecords.com/alluvialmain.html),

reinterpretations of source tracks from the solo CD "don't worry about anything, i'll talk to you tomorrow," with pieces by : Jason Lescalleet, M. Behrens, Sukora, Peter Duimelinks, Francisco Lopez, Eric Lanzillotta, Frans de Waard, Leif Elggren and John Hudak.

Inflation CD, 2002, p+c mu-label, http://www.mu-label.com

Ringtones CD, 2002, Touch Recordings England, http://www.touchmusic.org.uk/

Cyberarts 2001 CD, 2001, ORF/Prix Ars Electronica, Linz, Austria, companion to the Prix Ars Electronica

Total Electric Living CD, 2001, Queens Museum of Art, Queens, NY, companion to the Crossing The Line exhibition, "June 24-October 7, 2001

BitStreams CD, 2001, JDK productions, Amsterdam, The Netherlands, http://www.jdkproductions.com, companion to the BitStreams exhibition, Whitney Museum of American Art, March 22 - June 10, 2001

State of the Union CD, 2001, Electronic Music Foundation Recordings, http://www.cdemusic.org/emf/emfmedia

variious CD, 2000, intransitive recordings (www.intransitiverecordings.com)

effe/sukora 001 CD, 2000, effe,

scatter CD, 1997, Ash International, http://www.kcw70.dial.pipex.com/html/releases/ash3.5.html

a fault in the nothing CD, 1996, Ash International, http://www.kcw70.dial.pipex.com/html/releases/ash2.6.html

New Media In soundtracks for images, sound for flash collaboration with tu m', curtain

In turbulence, an online gallery, http://www.turbulence.org

artifact artifactual sounds and images collected from the web

short haiku-like phrases presented in a natural environment

itravel interactive sounds and images in varying juxtapositions

In nomads http://www.nomadnet.org/still-life/index.htm

still-life every three minutes, a new picture of Hudak's dining room, colorized with the palette of Van Gogh's Starry Night, and translated into an audio signal

manray project in collaboration with Steve Bradley, http://www.slack.net/ jhbk an ongoing collection of experimental web-based artwork

Installations and Performances

rabbit in a cage

office ops, Brooklyn, NY, http://www.officeops.org, August 3, 2003. With Bruce Tovsky, video. Resonator guitar played in a repeating pattern based on a recording of the BaBenzale Pygmies of Central Africa. See http://www.antiopic.org/

shifting limbs

Museum of Contemporary Art, Lyon, France, http://www.moca-lyon.org/new/navig/navig.htm (under "Expositions"), March 6 - May 18, 2002. A live image of tree limbs will be input to a computer thorugh a surveillance camera. A constant sound, derived from a live picture of the limbs (through video to audio conversion software) will be produced at a low volume, with movement of the limbs triggering subtle changes in the pitch and quality of the sound.

The image of the tree limbs will be presented on a small monitor placed inside an old wooden view camera. The viewer will look into the lens and see the live black and white video image of the trees inside the camera (on a small video monitor). The lens will magnify the image and distort it a bit, giving it the quality of a past image (when in reality, if the windows are nearby, you can see the trees themselves). See a drawing of the installation.

modification 3 : a digital feedback system

Experimental Intermedia Foundation, New York, NY, http://www.experimentalintermedia.org, December 19, 2001. With Bruce Tovsky (video). A feedback system where the visual (live video of my hand moving) modifications are controlled by the audio whose modifications in turn are based on the video.

from where I am

WKCR - 89.9 FM, New York, November 2, 2001. A live broadcast (and computer manipulation) of sounds from contact and open-air microphones receiving input from where Hudak lives, on the Brooklyn-Heights promenade, over the Brooklyn-Queens expressway, facing the bottom of the east river, lower Manhattan, and the Brooklyn piers.

tall grasses

Diapason Gallery, New York, July 28, 2001. http://www.diapasongallery.com/archive/01_07_28.html. An all-day installation of a full wall video projection of grass blowing in the wind, with accompanying sound derived from contact microphones placed in the soil

pinwheels

Performance with Stephen Vitiello, part of the performance series, June Bugs, curated by Kyle Lapidus, on the rooftop of 306 Dean Street. Brooklyn, New York, June 3, 2001. Six children's pinwheels were attached to the rooftop, amplified with contact microphones, then sampled and processed live with an Apple G3 powerbook and hardware sampler.

fun with sandpaper

Solo performance, AC Project Room, New York, April 21, 2001, part of Soundoff : A Series of New Sound Performances, curated by Neil Benezra. Sandpaper is the only sound source, amplified with contact microphones. The sound is layered and granulated live with a n Apple G3 powerbook. The sandpaper and the sanding hand are projected on the wall before the audience

BitStreams

Group show, Whitney Museum of American Art, New York, March-June 2001, http://www.whitney.org/bitstreams Sound installation featuring pond (see solo recordings)

Facade

California College of Arts and Crafts, Oakland. September-October, 2000, Multi-media installation. On a gallery wall, a continually changing image of the building housing the gallery (from an external computer quickcam) is projected, accompanied by an audio signal extracted from the image. As the day progresses to evening, the image changes as does the sound

VOLUME : Bed of Sound

Group show, P.S. 1, Long Island City. July-September, 2000. Featuring don't worry about anything, i'll talk to you tomorrow

Woolworth : A Building

Studio Five Beekman, New York. February, 2000, http://www.diapasongallery.com/hudak.html. Multi-media installation featuring live, digitally modified images of the Woolworth building, visible from the window of the gallery, projected on a video screen accompanied by sound digitally extracted from the image

transmissions 002

Sound Festival, Carborro, North Carolina, May, 1999, http://www.transmit.org/1999/schedule/bios/hudak.html. Live performance of My Eye, My Son's Eye (see solo recordings), with a video projection of my eye, which by blinking, triggers samples of a child's music box

Blue and Red

Greenwich House Music School, New York, 1995, part of the Stormy Mondays New Music Series. Sounds of grounding hum, produced with a home-made hum-maker that controls the hum through four different speakers ; and the sound of eight battery-operated clock motors, that moves around a quadraphonic amplification system, creating cross-rhythms

Dendrites

Rotterdam Museum of Art, Rotterdam, The Netherlands, 1995, part of Klangpark'Sound Festival. The amplified sound of tree limbs and leaves blowing in the wind, broadcast on loudspeakers in the museum park

Natural Selection

Franklin Institute, Philadelphia, PA, 1994. Sound and video performance with Steve Bradley, part of the Small Computers and the Arts Symposium. Video manipulations of the images of fruit flies with accompanying sound derived from the fruit flies

Time Tunnel

Philadelphia Artist's Cooperative, Philadelphia, PA, 1992. A black and white spiral mounted on a fan turns while a performer completely wrapped in white cloth runs toward and into the spiral with strobe light and sound

The Toiling Eye

Upstairs Gallery, Philadelphia, PA 1992. A performer lies on the ground facing away from the audience with a video camera aimed at one of his eyes. On the other eye, is a contact microphone. The sound of the blink coordinates with its video image on a monitor in the middle of the stage

The Struggle of the Magicians

Community Education Center, Philadelphia, PA, 1992, part of Performance in an Informal Space. One performer kneels with his naked back to the audience, arms outstretched, and pulls metal cables kept taut by two assistants. The wires are amplified, the sound changing with varying degrees of tension. Another performer in white face walks extremely slowly across the back of the room

Siren

Painted Bride Arts Center, Philadelphia, PA 1991 at the Philadelphia Dada Festival. Three seated performers with music stands holding sheet music prepare to play the following instruments : a clarinet, a saxophone, and a trumpet. As soon as the performers begin to play, a siren is turned on and stays on for the length of the performance

Yellow Sheet

Logos Foundation, Ghent, Belgium, 1990. The performer lays beneath a yellow sheet with a contact microphone amplifying his heartbeat, and an airplane pilot's throat microphone amplifies sounds of breathing. One of the performer's hands is exposed to the audience, and members of the audience are invited to touch the hand in order to manipulate the sound

Wooden Sections

Gallery 455, San Francisco, CA, July, 1988. The amplified sounds of logs being played with thick tree branches in a steady rhythm, and of leaves in a large amplified wooden box being rustled, with variations in rhythm using a mixer and two digital delay units

Marble

Gallery 455, San Francisco, CA, August 1987 and Dionysus Gallery, Rotterdam, The Netherlands, 1990. Marbles are rolled for 30 minutes in a round metal tub amplfied with a contact microphone.

Traveling

Private performance, San Diego, CA and Philadelphia, PA, July 1987 Friends were asked to meet for a short period of time at the airport in Philadelphia. At the appointed time, I stood at the edge of the ocean on the opposite coast in San Diego, letting the water create the feeling of pushing me backward to the other coast

Dissection of Limbo

The Lab, San Francisco, CA, October 1986, and Community Education Center, Philadelphia, PA, June 1986. Performer dressed in white lab coat, with surgical gloves and scalpel, dissects a paper-mache head filled with garbage, narrating the significance of each piece of garbage

There Are Two Lives

Group Motion Studios, Philadelphia, PA, March, 1986, Theatre Jarry, Washington, DC, March 1986, and Alchemical Theatre, New York, NY, February, 1986. The performer, wrapped in bandages head to toe, slowly moves around the performance space to the accompaniment of static chords played on an accordion. Eventually the performer reaches into the bandages covering the chest area and finds there is a mackerel (fish) that has been wrapped there for the entire performance. The performer holds the fish and offers it a glass of milk

Desire

Group Motion Studios, Philadelphia, PA, December 1985. Dressed as a woman, the performer moves in an extreme slow motion dance to the sound of five radios tuned to different stations

Fire

Alchemical Theatre, New York, November 1985. Solo dance exploring soundless emotion

Imaging

Community Education Center, Philadelphia, PA, October 1985. The performer plays static sawing notes on a violin while walking around the audience, stopping to utter random images that come to mind

The Poetics of Self-Effacement

Community Education Center, Philadelphia, PA, June 1984. One performer is seated with eyes closed. Two other performers draw cards which tell them to drink coffee, think of a word, or close their eyes. One sustained pitch rises in volume throughout the length of the 20 minute performance, while colored dye is dripped by eye dropper into a bowl of water sitting on an overhead projector. The spreading color is projected on the performers, dressed in white

Portraits on Newspaper

ARTCORE Gallery, Berlin, West Germany, 1985. Exhibition of India ink portraits done on full open sheets of the New York Times

Other Projects and Honors

Prix Ars Electronica, Honorable Mention

Linz, Austria, 2001, http://prixars.aec.at/2001/prix.as

For : highway (see solo recordings)

[The Sound of the New]

The Kitchen, New York, April 18, 2001, part of the series Digital Happy Hour.

A compositional demonstration, followed by a discussion moderated by Carl Goodman, curator of American Museum of the Moving Image. Co-featuring Ben Rubin and Morton Subotnik

Prix Ars Electronica, Honorable Mention

Linz, Austria, 1999, http://prixars.aec.at/history/music/index_e.asp

For : the ant moves/the black & yellow carcass/a little closer

Collaborative sound work with Bernhard Gunter

The Universe

Sound design and engineering for the play, written and directed by Richard Foreman, The Ontological/Hysteric Theatre, New York, 1996

Henri Chopin - les 9 saintes-phonies : a retrospective

Staalplaat Recordings, Amsterdam, 1994

Produced and edited the CD retrospective of the seminal sound poet's work, with companion monograph containing an interview of Henri Chopin by John Hudak and essays by contemporary sound poets

Artist in Residence, Harvestworks Digital Media Arts Center

New York, 1994

Silent Meeting Club

1994-1994. A group of people, organized by Hudak, have meetings on a regular basis at various pre-determined sites in Philadelphia. They meet for an undetermined amount of time without speaking

Homage to Beuys Mail Art Show

Abandoned and condemned building at 46th and Walnut St, Philadelphia, PA, 1986. International mail art exhibition organized by Hudak to commemorate the death of Joseph Beuys. Solicited mail art was displayed on the walls while an accordion played sustained notes and a small tape player played tiny metallic sounds. The participants were arrested and detained by the Philadelphia police for trespassing in a city-owned building. The "Beuys 10" became a cause celebre in the Philadephia papers and were eventually granted a mayoral pardon

Selected Bibliography

Marks, Laura, "Immanence Online" The Haptic Critic : Sensuous Theory and Artists, Media , 2001

Haynes, Jim. "Outer Limits." The Wire, Adventures in Modern Music, 207(May 2001), p. 77

Breslin, Ramsey Bell. "Child's Play." East Bay Express, October 13-19, 2000

Akins, Robert. "Some Notable Sites." Art in America, 87(April 1999), p. 91.

O'Reilly, David. "A Club, So To Speak." The Philadelphia Inquirer, Tuesday June 2, 1992

Credits

erational — 2003-11-28T13:33:12Z

all the website materials are under John Hudak copyright

Discography

2005-07-12T10:04:39Z

CS = cassette
CD = compact disk

2008

on and on | CD | 2008 | Presto !? Recordings

miss dove, mr. dove | CD | 2008 | afe recordings

2006

sotto voce | CD | 2006 | con-v recordings

2005

sand or stars | CD | 2005 | and-oar recordings

2003

Room with Sky | CD | 2003 | Chaba Recordings

Old Moon | 2 x 3" CD | 2003 | kissy records

2002

Tall Grasses | CD | 2002 | Digital Narcis Ltd.

May Fifth | CD | 2002 | XZF

2000

Highway | CD | 2000 | Editions...

My Eye, My Son's Eye | CD | 2000 | Generator Sound Art

1999

don't worry about anything, i'll talk to you tomorrow | CD | 1999 | Alluvial

1998

Pond | CD | 1998 | Meme

Brooklyn Bridge | CD | 1998 | Shirocoal

Tick Tock | CS | 1997 | Banned Productions

Tall Grasses | CS | 1994 | Apraxia

Natura | 7" Record | 1994 | Apraxia

Dream Kit | CS 1994 | Apraxia | released w/o deluxe packaging as Artless Simplicity or Sleep

Momentumless Identity | CS 1991 | SSS

The Clockmaker | CS | 1990 | New Flesh

Slumberous Breathing | CS | 1990 | Banned Productions

Dweller in the Gulf | CS | 1990 | Big Body Parts

For Ivan Who is Not Ivan | CS | 1989 | New Flesh

Emerald Tablets of Hermes Trismegistus | CS | 1989 | LowLife Cassettes

Brain Box | 2 x CS | Korm Plastics | re-released 1992 | 2 x CD

Wind Rain & Cloud To Human Being | CS | 1988 | Sound of Pig

Tomorrow Rings | CS | 1988 | Epitapes

Think | CS | 1988 | Sound of Pig

Mover Head | CS | 1988 | Sound of Pig

Hindustani and Remorse | CS | 1988 | Nihilistic Recordings

Haunt | CS| 1987 | Epitapes/Nihilistic Recordings

Bee Collection | CS | 1987 | Epitapes

Andrei Tarkovsky | CS | 1987 | New Flesh

KPFA - FM, San Francisco, CA | CS Recorded Interview | 4 August 1987 | UBCO audio

455 Gallery | CS Live Recording | 15 August 1987 | UBCO audio

Tentative Voices | CS | 1986 | Epitapes

Significant Building | CS | 1986 | Audiofile

Halls | CS | 1986 | Audiofile

Blackening | CS | 1986 | Sound of Pig

There Only Confusion is True | CS | 1985

No Basis for Reason | CS | 1985

Haus | CS | 1985

COMPILATIONS

heat | chaleur | 12" Record Compilation | 2001 |Gmbh Recordings

Asphalt | The Architecture of the Incidental | CD Compilation | 1999 | GD Stereo

Walk in the Winter Field | Links Outta Here | CD Compilation | 1997 | Generator Sound Art)

Uluk Reconsitution | America Salutes Merzbow | CD Compilation | 1997 | Vinyl Communications

sketch of a field | Scatter | CD Compilation | 1997 | Ash International

Anmiotic Suspension | Psychogeographical Dip | CD Compilation | 1997 | GD Stereo

E.White | Anciestra | CS Compilation | 1988 | Big Body Parts/Apraxia

garbage air | Nice Noise | CS Compilation Volume 1 | 1988 | Nihilistic

cricket machine, interloper, counting, contemporary favorite, ice cream man, theremon | Idealistic Idiot | CS Compilation/Volumes 2, 6, 8, 9| 1987 | Nihilistic

drunkards rigadoon | Nice Noise Volume 2 | CS Compilation | 1987 | Nihilistic

COLLABORATIONS

Figure 2 | w/ Jason Lescalleet | CD Collaboration | 2001 |Intransitive Recordings

Azoic Zone | w/ Francisco Lopez | CD Collaboration | 1994 | Geometrik/Asellus

ImaGottaDaVoltage | w/ Nomuzic | CS Collaboration | 1992 | Audiofile

The Time Stream | w/ Merzbow | CS Collaboration | 1989 | Sound of Pig

there and then | w/ Jeph Jerman as Domaine Poetique | CS Collaboration | 1989 | Sound of Pig

Widening Lain | w/ Larry Wendt | CS Collaboration | 1988 | Audiofile

hilarious picture | w/ Jeph Jerman as Domaine Poetique | CS Collaboration | 1988 | SJ Organization

they are sent | w/ Jeph Jerman as Domaine Poetique | CS Collaboration | 1988 | Big Body Parts

tenant farmer | w/ Jeph Jerman as Domaine Poetique | CS Collaboration | 1988 | Big Body Parts

KPFA - FM | w/ the Haters | CS Live Recording/Collaboration | 4 August 1987 | UBCO audio

Relapse In Ninety-Two | w/ Zan Hoffman | CS Collaboration | 1987 | Masters Of the Ungentlemanly Art

need not be | w/ Jeph Jerman as Domaine Poetique | CS Collaboration | 1987 | Big Body Parts

great many | w/ Jeph Jerman as Domaine Poetique | CS Collaboration | 1987 | Sound of Pig

exhale slowly | w/ Jeph Jerman as Domaine Poetique | CS Collaboration | 1987 | Sound of Pig

don't worry about anything, i'll talk to you tomorrow

1998-11-30T05:00:00Z

CD | 1999 | Alluvial Recordings

Completed in 1998, this is only the third full length composition from NY composer John Hudak to appear on CD. His work is primarily built on repetition and alteration, usually from single sound sources. With this composition, he has manipulated an answering machine recording of his mother's voice. The piece is shifting and complex. It is smooth and relaxed with the contradiction of extremely high, piercing frequencies. It is undoubtedly one of his most complex works to date. In an edition of 1,000. [Alluvial Press Release]

performance announcement : sea inside the skin +

erational — 2003-10-30T05:00:00Z

Thursday 30 October 2003
@ free103 Gallery, Second Floor, 97 S. 6th St. btw Bedford + Berry, Southside, Williamsburg, New York 8 p.m.

Daniel Menche : First east coast U.S. show ever. John Hudak + Bruce Tovsky : the sea inside the skin_ guitars + processing Sickness Viodre Carlos Giffoni Michael Przytarski DJ Tom Roe

The Performances will be broadcast live via the internet at :
http://www.free103point9.org

new cd : room with sky

2003-12-03T05:00:00Z

http://www.johnhudak.net/room_with_sky/
an audio excerpt will begin playing with the loading of the page.
have a cup of coffee.

group exhibition : rock's role - 24 april to 26 june, 2004

John Hudak — 2004-05-28T04:00:00Z

rock's role (after ryoanji) ; a garden of sound works

reviewed in the New York Times :

Friday, May 21, 2004 - Weekend section - page E29

art in general | 79 Walker Street | New York, NY 10013 | Tel 212 219-0473

Gallery Hours :

Tues-Sat 12pm to 6pm

After Ryoanji is to be a group exhibition of sound works conceived as a "garden" where pieces sound environmentally, are allowed to overlap and interpenetrate, and, hopefully, create a renewed sense of place. Sound and the absence of sound - can intensify ones sense of place, while headphones can insulate us from those same places. Group exhibitions of sound works presented through an array of headphones allow variety without mutual interference. But they also present those pieces inside a cocoon of insulation that undermines the sense of a shared place. After Ryoanji seeks to restore to sound its sense of place.

The exhibition title recalls the series of pieces by John Cage collectively entitled Ryoanji. These pieces are musical transliterations of the famed Zen rock garden of the same name. That garden consists of 15 boulders of different sizes placed in a field of raked pebbles. Cages view of the garden was that the specific arrangement of boulders was not as important as the way in which the emptiness of the garden intensifies the specificity of the constituent boulders. In Ryoanji, a separation of continuous and discrete aspects of sound is enacted that creates a similar intensification of our experience of sound. Continuous sound is rendered as solos consisting of glissandi derived from tracing of 15 different stones he had collected. Discrete sound is enacted as a part for any collection of instruments of limited resonance (exceeding one in number) that takes the form of a long, irregular pulse. The pulse is described as the "raked sand" of the garden, while each solo is termed a "garden" of sound.

Rock's Role is curated by Ron Kuivila and includes sound works by : DJ B, Gabriel Burian-Mohr, Damian Catera, Rilo Chmielorz, Bernhard Gal, David Galbraith, Mike Hallenbeck, Barbara Held, John Hudak, Brenda Hutchinson, David Matorin, Andrew Neuman, Maggi Payne, Michael Schumacher, Masahiko Sunami, Ed Tomney, Stephen Vitiello, and Lauren Weinger.

Rock's Role is part of The Buddhism Project Consortium.

cd compilation : Another Kind of Language

John Hudak — 2003-12-22T16:30:41Z

.Another Kind Of Language :dedicated to Andrei Tarkovsky .Various Artists

a double disc release packaged in a double DVD case.

http://www.and-oar.org/

aritsts :

cd1 : Magali Babin, Yannick Dauby, duul_drv, John Hudak, Dale Lloyd, logoplasm

cd2 : Kiyoshi Mizutani, mnortham, Phillp Pietruschka, rsundin, Josh Russell, sawako, Jon Tulchin, v. v. (Ven Voisey)

Fourteen sound artists created pieces inspired by one of the seven feature length films by Russian director Andrei Tarkovsky. They were given carte blanche as to how they would pay homage to one of the director's films. Some pieces are less direct than others, and were created with the intent to also pay homage to the director's work as a whole or to certain aspects thereof. This project was first initiated in August of 2002.

Liner note text by Kim Cascone and Trond Trondsen (of the Nostalghia.com website)

http://www.acs.ucalgary.ca/ tstronds/nostalghia.com/