Thomas Bey William Bailey – EEUU (July 2011)
Working with a number of different communications media, TBWB aims to construct a body of work that interrogates notions of utopia, anthropocentrism, and “the extreme”, while refusing to reject any unpopular cultural manifestation as invalid until its parameters have been fully mapped out, and its more nuanced aspects brought to light.
An admitted autodidact, TBWB draws upon the work of a diverse body of 20th and 21st Century thinkers to aid him in a personal quest for “serious playfulness”. Johan Huizinga, John Gray (Straw Dogs), Friedrich Kittler, Paul Virilo, Gilles Deleuze, Gregory Bateson and numerous others all contribute to TBW’s jargon-free, non-specialist writings on creative life.
As a sound enthusiast and artist, he takes his cues from composers such as Iannis Xenakis and the new contingente of computer-aided- “psycho- acoustic” artists: those with no fear of using the full spectrum of audible sound to produce rapturous, ecstatic moments of deep personal inquiry.
His writings have been published in multiple languages, and in newsstand magazines (The Whire, HiS Voice, A2 Cultural Weekly) as well as the weblogs and online presences of arts and culture institutions (Rhizome.org, Vague Terrain, etc.). The thematic concerns mentioned above are most fully investigated in his first book (Micro Bionic, Creation Books, 2009) and his forthcoming volumen (Unofficial Release: Handmade And Self-Released Music In Post-Industrial Society).
He has also hosted a program on London’s Resonance FM treating 21st Century Electronic composition, and worked as an educador in Japan and Central Europ
PROPOSED RESEARCH: EXPERIMENTAL SOUND AND REUNIFICATION OF THE SENSES
Thomas’ proposed research for future residencies involves the concept of “sensory fusion”: its history, present sate, and future possibilities. Is a “fused” human sensorium a natural state that is “grown out of” as we age (and if so, why)? Does our acknowledgement of correspondences between sensory stimuli (e.g. between sight and sound) help us to appreciate more “experimental” or non-linear forms of music?
Although there is a growing literature dealing with composers’ attempts to make sight and sound communicate in tandem, what about attempts to make sound correspond in a “1:1” ratio with tastes, smells and tactile stimuli? Finally, is “pure” sound possible in the present age, and would it be more effective with or without such correspondences? With these questions in mind, Thomas hopes to build a unique, comprehensive project detailing how myriad forms of “experimental” (particularly “noisy”) music have occupied the entire “realm of the senses”.
+ info: www.tbwb.net
contact: firstname.lastname@example.org / +001 (918) 852 4508
For some other relevant text samples, sees: www.vagueterrain.net
Interview with Don Campau from California: http://web.me.com/doncampau/doncampau.com/thomas_bailey.html