BAround our world ‘data’ is generally pronounced in two basis ways – data with an ‘a’ sound on the first syllable, or an ‘ah’ sound on the first syllable – a little like the Gershwin 1937 hit ‘let’s call the whole thing off’.
You like tomato and I like tomahto
Using Macintosh speech I constructed this binary in 10 languages. Decibel, for their part, create a robotic presence as the world spins, playing like bites of data. As the cursor crosses the map of world population densities, a Major 7th C chord (with extensions) is heard.
Below is a podcast episode where cellist Tristen Parr talks to Jon Rose about his work and what he has been doing during COVID 19 Lockdowns.
Jon Rose (1951) is an Australian violinist and composer. For over 35 years, Rose has been at the sharp end of new, improvised, and experimental music and media. A polymath, he is as much at home creating large environmental multi-media works as he is playing the violin on a concert stage. Central to this practice has been ‘The Relative Violin’ project, a unique output, rich in content, realising almost everything on, with, and about the violin and string music in general.
Most celebrated is the worldwide Fence project; least known are the relative violins created specifically for and in Australia. He has appeared on over 60 albums, and worked with artists such as Kronos Quartet, Derek Bailey, Fred Frith, Shelley Hirsh, Chris Cutler, Otomo Yoshihide, KK Null, Alvin Curran, Evan Parker, Phil Minton, John Cage, Tony Oxley, Steve Beresford, Eugene Chadbourne, Bob Ostertag, Jim Denley, Elliott Sharp, George Lewis, Christian Marclay, Toshinori Kondo, Joelle Leandre, Frances-Marie Uitti, Barre Phillips, and John Zorn.
Decibel commissioned ‘The Auctioneer’ from Jon Rose to celebrate his 60th birthday, in a concert ‘Music on a String: Jon Rose was 60’ at PICA in 2012.