buster buster & friends’ d’da is the moniker of a fuzzy-edged non-organization. Established (if that’s the word for it) in 1992, whether it’s furniture or card games, buster & friends’ d’da is dedicated to constructing, engineering and performing loosely idiomatic, on occasion experimental, mostly open, always (already) traditional improvisations.
Please note that a lot of stuff, perhaps because of its (lack of) scale, is not represented here: the small, the intimate, the informal and the ad-hoc do not always survive documentation.
Also, please check to see what performances are scheduled (we always appreciate an audience).
| io 0.0.1 beta++ | Semi-autonomous, interactive musical automaton that, in coalition with its humyn partners, performs a deliberately amplified staging of a socio-technical network; a network in which the primary protocol is improvisation. |
| Mathilde 253 | Real-time musical meetings between Charles Hayward (drums, percussion and melodica), Han-earl Park (guitar) and trumpeter Ian Smith (trumpet and flugelhorn). |
| duets between guitar & guitarist | Open, and not so open, studies in the tactics and strategies of small-scale improvisative performance (AKA solo guitar improvisations). |
| Jitney Trio | small-scale, real-time, improvised music ‘chamber’ ensemble with Marian Murray (violin), Neil O’Loghlen (double bass) and Han-earl Park. |
| The Church of Sonology | The very best in faith-service delivery! The Church of Sonology is a growing, evolving, non-theist faith-organization devoted to the exploration of the liberating properties of sound. |
| HZ | Experiments in machine improvisation, specifically exploring possibilities of generating interesting rhythms. |
| AMM™ 0.0.0 alpha | The Automatic Morricone Machine™ is a low-tech, audio-visual, algorithmic etude based on Humanity by Ennio Morricone from John Carpenter’s The Thing (1982). All delivered in an attractive sci-fi B-movie package. |
| Stet Lab | A monthly improvised music event based in Cork, Ireland, Stet Lab is a space in which improvisers of varying backgrounds (novice, veteran; student, teacher; part- or full-timer; amateur, professional; local or visitor) can meet and play. |
Han-earl Park (박한얼)
Photo by John Hough (click for more images…)
Just to be clear about this: I may be common denominator in all of this, but the stuff collected here is the result of the labor of several actors (some humyn, some not). However, in case you’re interested….
16 words (official, public biography)
Han-earl Park (박한얼) has been using the same bio for four and a half years.
50 words (wordier, less-interesting bio)
Han-earl Park (박한얼) works from/within/around traditions of fuzzily idiomatic, on occasion experimental, mostly open improvised musics, sometimes engineering theater, sometimes inventing ritual. He feels the gravitational pull of collaborative, multi-authored contexts, and has performed in clubs, theaters, art galleries and concert halls in Europe and America.
150 words (conventional program note edition—short)
Improviser, guitarist and constructor Han-earl Park (박한얼) works from/within/around traditions of fuzzily idiomatic, on occasion experimental, mostly open improvised musics, sometimes engineering theater, sometimes inventing ritual. He feels the gravitational pull of collaborative, multi-authored contexts, and has performed in clubs, theaters, art galleries and concert halls in Denmark, England, Ireland, The Netherlands, Scotland and the USA.
He is involved in ongoing collaborations with Bruce Coates, and with Franziska Schroeder, long-standing associations with Alex Fiennes and Murray Campbell. Recent performances include Mathilde 253 (Park, Charles Hayward and Ian Smith) with Lol Coxhill, a duo concert with Paul Dunmall, a trio with Kato Hideki and Katie O’Looney, and the performance of Pauline Oliveros’ ‘Droniphonia’ alongside the composer. He has appeared at festivals including Sonic Acts (Amsterdam), the Center for Experiments in Art, Information and Technology Festival (California), dialogues festival (Edinburgh), Sonorities (Belfast) and VAIN Live Art (Oxford).
188 words (program note—long)
Improviser, guitarist and constructor Han-earl Park (박한얼) works from/within/around traditions of fuzzily idiomatic, on occasion experimental, mostly open improvised musics, sometimes engineering theater, sometimes inventing ritual. He feels the gravitational pull of collaborative, multi-authored contexts, and has performed in clubs, theaters, art galleries, concert halls, and (ad-hoc) alternative spaces in Denmark, England, Ireland, The Netherlands, Scotland and the USA.
He is involved in ongoing collaborations with Bruce Coates, and with Franziska Schroeder, fifteen year long associations with Alex Fiennes and Murray Campbell. Recent performances include ensemble Mathilde 253 (Park, Charles Hayward and Ian Smith) with Lol Coxhill, a duo concert with Paul Dunmall, a trio with Kato Hideki and Katie O’Looney, an improvisative meeting with Thomas Buckner and Jesse Ronneau, and the performance of Pauline Oliveros’ ‘Droniphonia’ alongside the composer. He has appeared at festivals including Sonic Acts (Amsterdam), the Center for Experiments in Art, Information and Technology Festival (California), dialogues festival (Edinburgh), Sonorities (Belfast) and VAIN Live Art (Oxford).
Park founded and curates Stet Lab, a monthly improvised music space in Cork, Ireland, and teaches improvisation at the UCC School of Music.
247 words (verbose)
Improviser, guitarist and constructor Han-earl Park (박한얼) works from/within/around traditions of fuzzily idiomatic, on occasion experimental, mostly open improvised musics, sometimes engineering theater, sometimes inventing ritual. He feels the gravitational pull of collaborative, multi-authored contexts, and has worked with animators, film makers, poets, theater and mime performers, dancers and installation artists. He has performed in clubs, theaters, art galleries, concert halls, and (ad-hoc) alternative spaces in Denmark, England, Ireland, The Netherlands, Scotland and the USA.
As a constructor of low- and mid-tech electronic and software devices, and as an occasional score-maker, he is interested in partial, and partially frustrating, context-specific artifacts; artifacts that amplify social relationships and, in some instances, objects that obscure the location of the author.
He is involved in ongoing collaborations with Bruce Coates, and with Franziska Schroeder, fifteen year long associations with Alex Fiennes and Murray Campbell. Recent performances include ensemble Mathilde 253 (Park, Charles Hayward and Ian Smith) with Lol Coxhill, a concert with Paul Dunmall, with Kato Hideki and Katie O’Looney, an improvisative meeting with Thomas Buckner and Jesse Ronneau, and the performance of Pauline Oliveros’ ‘Droniphonia’ alongside the composer. He has appeared at festivals including Sonic Acts (Amsterdam), the Center for Experiments in Art, Information and Technology Festival (California), dialogues festival (Edinburgh), Sonorities (Belfast) and VAIN Live Art (Oxford).
Park founded and curates Stet Lab, a monthly improvised music space in Cork, Ireland, and teaches improvisation at the UCC School of Music.
440 words…
440 word, full, serial-name-dropping version for grant applications, promoters, etc.…
And, by the way…
…if you’re based around Cork, Ireland, I offer the occasional guitar and improvisation lesson.
copyright
Unless otherwise noted, and except for quotations and excerpts of other copyrighted material, this work is licensed under a Creative Commons Attribution-Share Alike 3.0 License.
Please note that some of the audio and video media files are exception to this. Personally, I’d consider many of these recordings covered under the Creative Commons Attribution-Noncommercial-Share Alike License. However, due to the collaborative production of much of this material, a participant may contest that claim. Additionally, the copyright on the films, 35 on 16 and Lines, and all corresponding visual materials, are held by the respective film makers.
