»School of Velocity«, 1995, by Rodney Graham, combines the piano exercise of the same name with Galileo’s equation of the acceleration of falling objects. The result is the piano piece progressively slowing down, with longer and longer pauses between notes. Based on a few bars of music cobbled together out of the score of Wagner’s Parsifal by Engelburt Humperdinck, Wagner’s assistant, to compensate for a problem the opera company was experiencing in synching up its music and scenery. Graham adds a progression of repetitions, whose durations are determined by the prime numbers between 3 and 47, for each of the fourteen instrumental sections that would be playing Humperdinck’s interpolation. The result is an opera that doesn’t end until the year 38,969, 364,735.
»Trio« (2006) by Risa Horowitz.
»guitar solo threeway« (2006) by John Michael Boling.
»Melody Gin«, »The Rotary Ordinator« and the »The Astro-Space Organ«. Music instruments called Dewanatrons by Leon Dewan and Brian Dewan, a collaborative team who make hand-crafted, semi-automatic, electronic musical instruments.
»Virtuoso« (2000) by Christian Marclay.
“We are car” – Utilising a running motorbike engine as a musical instrument in order to record and subvert selected Rock classics, exploring parallels of emotional thrills induced by acceleration, speed and Rock. By David Muth in collaboration with Chris Lum.
Danius Kesminas exhibition »Vodka Sans Frontieres« derives from the 2004 discoveries of illegal underground pipelines pumping vodka into Lithuania. The centerpiece of the exhibition is a vodka pipeline organ. Made from plastic sewerage pipes, the organ resembles the Lithuanian folk instrument skudučiai, but it’s end product is not vodka, but music. Air is pumped into the pipes by a revolving barrel, which regulates the valves of the organ to play a traditional Lithuanian drinking song, Gerkit Gerkit, Broliukai (Drink Brothers, Drink).
“SunnO))) / (Repeater) Decay / Coma Mirror” and “Ghost” by Banks Violette.
Instrument consisting of 126, 1950′s bakelite telephones, on 11 channels of various alternating current, controlled by midi, approx. 11 minute composition, by James Beckett.
Untitled by Bruno Peinado.
