I’ve collated material on io 0.0.1 beta++ (including audio and visual material, source code, and written pieces), and created a selective index of documentation on the construction of, and performance of and with, this machine musician:
io 0.0.1 beta++ is an interactive, semiautonomous technological artifact that, in partnership with its human associates, performs a deliberately amplified staging of a socio-technical network—a network in which the primary protocol is improvisation. Together the cyborg ensemble explores the performance of identities, hybrids and relationships, and highlights the social agency of artifacts, and the social dimension of improvisation. Engineered by Han-earl Park, io 0.0.1 beta++ is a descendant, and significant re-construction, of his previous machine musicians, and it builds upon the work done with, and address some of the musical and practical problems of, these previous artifacts.
Standing as tall as a person, io 0.0.1 beta++ whimsically evokes a 1950s B-movie robot, constructed from ad-hoc components including plumbing, kitchenware and missile switches. It celebrates the material and corporeal; embracing the localized and embodied aspects of sociality, performance and improvisation.
busterandfriends.com gets a redesign. The previous design lasted almost seven years (and just to think I thought that revamp was overdue 😉 ). Some content (especially layouts of pages) will need renovation, and I’ll roll these out in the course of the coming weeks.
As with previous iterations, I expect the usual bugs and glitches. I’d greatly appreciate comments and error reports.
btw, I apologize for the paucity of updates in recent weeks. There are a few things brewing behind-the-scenes, however, so I’ll be back in touch with updates…
The Eris 136199 tour was made possible through the support from Jazz North East, Jvtlandt, Jazz Club Loco, OUT FRONT!, Xposed Club, Verband für aktuelle Musik Hamburg, and MS Stubnitz, and the awe-inspiring generosity of the backers of our Kickstarter project:
Cath Roberts, Franziska Schroeder, Owen Green, Han-Ter Park, Richard Hollis, Tom Duff, Jan Langedijk, Thomas Buckner, Liam Nagle, Andrew Raffo Dewar, Randy McKean, Anton Hunter, Marte van der Loop, Ian Boswell, Nancy Meli Walker, David M. Morris, Nicholas Croft, Eva Zelig, Bart Mallio, Jeremy Clarke, Martin Pyne, Josh Sinton, Moon Soon Han, Eun-He Moon, Yoon-Mi Cho, 고항심, Katie O’Looney, Jamie Smith, Phil Burk, Andrea Wolper, Kyoko Kitamura, DIDI, Caroline Pugh, Edozie Edoga, Yu Seon Hee, Danny McCarthy, Richard Barrett, Leejiyoung, Ed Bennett, Young-Shin Park, Ga Hyun Noh, Inkyung Kim, Keith Stonell, Peter O’Doherty, Viv Corringham, Korhan Erel, Tony O’Connor, Vikram Kapur and Maneesha Chawala, and our anonymous backers.
Thoughts and questions in response to Translating Improvisation’s symposium back in May from the POV of an institutionally unaffiliated, sometimes teacher, amateur scholar and anthropologist [previous twitter transcripts…]. Below the fold is an unedited twitter transcript of my observations from Just Improvisation. My original observations came in the form of tweets (some written ‘live’, most posted subsequently) via @hanearlpark that spanned the first panel discussions, Ellen Waterman’s keynote presentation, concert performances by Okkyung Lee and Maria Chavez, the Deep Listening Workshop with Pauline Oliveros, and the workshop-performance which forms the main subject of my discussions.
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I don’t expect to be sending updates more than a few time a year (busterandfriends.com will remain the most up-to-date source for my activities), so signing up to the newsletter shouldn’t contribute heavily to your inbox detritus. Also, possibly more importantly, unsubscribing to these updates should be significantly easier than in the past.
I’ll be the first to admit this is long overdue, but with performances coming up in Cork, Manchester, Cambridge, London, Belfast and elsewhere (sorry, I didn’t get this up and running in time for Berlin), this seemed like a good time for a kick-off.
05–15-18: update the small print. 07–22-19: update anticipated number of posts.
Apologies for the paucity of updates. I’m working on several things behind-the-scenes, and will be back shortly with news of performances coming up in Berlin, Manchester, Belfast and elsewhere; updates on Anomic Aphasia (SLAMCD 559); and news of a new amplifier. Be right back….
If you’ve seen the recent news of changes to EU tax law, you may be wondering how this affects you as an artist or label selling on Bandcamp. The good news is that for digital sales, there is no need for you to register for VAT, submit quarterly reports, and so on. We will take care of all of that for you. [Read the rest…]
Seriously, Bandcamp, you guys rock something awesome!
Although nowhere near a big a revision as the last major update, I’ve made some significant changes to my bio. Below is the new verbose, everything-but-the-kitchen-sink, 472 word version [shorter versions…].
Improviser, guitarist and constructor Han-earl Park (박한얼) (www.busterandfriends.com) has been crossing borders and performing fuzzily idiomatic, on occasion experimental, always traditional, open improvised musics for twenty years. He has performed in clubs, theaters, art galleries, concert halls, and (ad-hoc) alternative spaces in Austria, Denmark, Germany, England, Ireland, The Netherlands, Scotland and the USA.
Park engages a radical, liminal, cyborg virtuosity in which mind, body and artifact collide. He is driven by the social and revolutionary potential of real-time interactive performance in which tradition and practice become creative problematics. As a constructor of musical automata, he is interested in partial, and partially frustrating, context-specific artifacts; artifacts that amplify social relations and corporeal identities and agencies.
Park taught improvisation at University College Cork (2006–2011), and founded and curated (2007–2011) Stet Lab, a space for improvised music in Cork. He is a recipient of grants from the Arts Council of Ireland (2007, 2008 and 2009) and Music Network (2009 and 2010), and of the Ahmanson Foundation Scholarship (1999) and the CalArts Scholarship (1999 and 1999–2000).