ps1 loop

3 December 2004


December 9, 2001 – January 27, 2002

Loop: a Panel/Performance

After the Loop: Post-Techno and the Logic of Repetition

Saturday, January 19th, 4:30pm

On the occasion of the exhibition Loop, currently on view at P.S.1
Contemporary Art Center (through January 27, 2002), this event extends the
show's scope to include music and sound. While the loop has long played a
key role in music - especially in electronic contexts - this event explores
how musicians are negotiating that relationship, experimenting with the
ways in which electronic music can move beyond the loop - by highlighting
the digital "glitch" or errors rather than the continuous beat.
This hybrid panel/performance features leading electronic musicians
discussing the relevance of the loop as a music-making strategy in
contemporary techno music and the alternatives to the loop found in the
"post-techno" aesthetic. Discussions will be interspersed with live laptop
sound performances by the panelists. The dialogue will focus around musical
debts to 60s minimalism, the fetishization of the error, alternate
temporalities (stasis, eternal return), the loop's technological
determination in sound software and hardware, the context of the
dance-floor, and the logic of repetition.

Panelists include: Philip Sherburne (The Wire,, XLR8R, CMJ New
Music Monthly), Taylor Deupree (12k/LINE Records), Jason Williams aka
Velocette (Parallel Records), Chris Sattinger aka Timeblind (Orthlorng
Musork), and Todd Hyman (Carpark Records).

Philip Sherburne, the event's moderator, is a writer, editor, photographer
and DJ. Since 1997 he has distinguished himself as a journalist of
experimental sound and popular music -- contributing over 300 features,
interviews and reviews to national and international publications. Past
subjects include Steve Reich, Carsten Nicolai, Chris Cunningham, Matthew
Herbert, Ursula Rucker, Kirk Degiorgio, Two Lone Swordsmen, Funkstorung,
Thomas Brinkmann, Stephan Matthieu, Blectum from Blechdom, Kit Clayton, and
Vikter Duplaix. His weekly column, "Needle Drops," appears every Friday at

Taylor Deupree is a Brooklyn-based musician, graphic designer,
photographer, and founder of the 12k music label. Over the last four years
Deupree and 12k's increasingly refined sonic mission has been to push the
boundaries of minimal, digital sound art and to bring a new level of
design-consciousness to music in America. Deupree and collaborator Richard
Chartier also launched LINE, a subdivision of 12k that explores new,
digital, conceptual, ultra-minimalist sound and the relationship between
sound, silence and the art of listening. In addition to 12k, Deupree
records for a number of other labels including Ritornell/Mille Plateaux,
Raster music (Germany), Fallt (Ireland), and (Netherlands),
Instinct Records, Caipirinha Music, Plastic City (USA), Disko b (Germany),
Dum (Finland), and kk records (Belgium) among others.

Jason Williams (aka Velocette) has been releasing music since 1994, first
with Reflective Records (San Francisco), and since 1997, with his own
label, Parallel Recordings. His music has been called "moody" and
"melodic," and two of his works were used in Iara Lee's recent film on
electronic music, "Modulations." He has collaborated with electronic
luminaries such as Jonah Sharp and Kit Clayton (as i-liner). His most
recent album - as Velocette - Changes in the Rhythm of Life was released on
Parallel Recordings in 2001.

Chris Sattinger has dwelled in the most loop obsessed genre, Minimal
Techno, since 1993. Releases on Probe, Communique, Synewave, Missile and
Kanzleramt explored the sonic mandala at excruciating volumes on sound
systems throughout the world. His new album, Rugged Redemption (Orthlorng
Musork) suggests a less repetitive sound. He is currently building a
software-based intelligent composition environment that does its best to
dissolve the loop into an attractor, loose and orbital.

Todd Hyman founded Carpark Records in the summer of 1999. The label's
output ranges from ambience to quirky techno and now boasts twelve
releases, including EP's, singles, and full-length CDs by New York's So
Takahashi, Minneapolis' Jake Mandell and providence, rhode island's

After the Loop is organized by Anthony Huberman with Philip Sherburne.
Loop is curated by P.S.1 Chief Curator Klaus Biesenbach and was made
possible, in part, by the Kunsthalle der Hypo-Kulturstiftung, Munich;
HypoVereinsbank, New York; The Mondriaan Foundation, Amsterdam; The
Contemporary Arts Council of the Museum of Modern Art; The Junior
Associates of the Museum of Modern Art; Goethe-Institut Inter Nationes;
Visual Word Systems, JVC; Lawton Fitt; and Gregor Medinger. Special thanks
to Gagosian Gallery, New York.

For more information, please call Anthony Huberman at 718.784.2084 ext.24

            Opening Sunday, December 9, Loop is a multi-media exhibition including film,<br />                                                        video, sculpture, photography, and performance by Francis Alÿs, Heike<br />                                                        Baranowsky, Ceal Floyer, Douglas Gordon, Rodney Graham, Carsten Höller,<br />                                                        Christoph Keller, Aernout Mik, Paul Pfeiffer, Susan Philipsz, John Pilson,<br />                                                        Santiago Sierra, Nedko Solakov, Yutaka Sone, and Marijke van Warmerdam.<br />                                                        Today, mankind is faced with a new and manifold concept of time—of linear<br />                                                        progress or historical circles, of lifespan, time spent at work, leisure time. On the<br />                                                        one hand we have decoded human DNA, bringing within reach the possibility to<br />                                                        prolong life indefinitely; on the other hand we have seen the transformation of<br />                                                        industrial countries into leisure societies and the simultaneous exploitation of the<br />                                                        Third World as a depot of cheap labor and manpower, where time is still a<br />                                                        negotiable commodity. With seemingly infinite freedom of choice, a recurring<br />                                                        action becomes a stabilizing factor for the people of the First World. Time<br />                                                        appears to be tangible and serviceable, a phenomenon capable of being<br />                                                        influenced, lengthened or repeated. This theme is reflected not only in the fine<br />                                                        arts, but also in the world of media: in pop culture, in techno music, in endlessly<br />                                                        repeated video clips, and in advertising.

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