Under copyright Constraint(s) on Use: This work is protected by the U.S. Copyright Law (Title 17, U.S.C.). Use of this work beyond that allowed by "fair use" or any license applied to this work requires written permission of the copyright holder(s). Responsibility for obtaining permissions and any use and distribution of this work rests exclusively with the user and not the UC San Diego Library. Inquiries can be made to the UC San Diego Library program having custody of the work. Use: This work is available from the UC San Diego Library. This digital copy of the work is intended to support research, teaching, and private study.
Rights Holder and Contact
Ross, Karre
Description
Text by Samuel Beckett (with permission from the author) Music by Roger Reynolds Original 16mm film directed by Roger Reynolds Original 35mm text slides drawn and designed by Karen Reynolds Migration of analog media to digital formats by Ross Karre, Josef Kucera, Paul Hembree, Roger Reynolds, the UCSD Arts Library, and the Integra Project Performers: Rachel Beetz (flute), Paul Hembree (live electronics), Ross Karre (percussion and video), and Roger Reynolds (piano) Cinematography: Ross Karre and Monica Duncan Recording Engineer: Josef Kucera In 1968, Roger Reynolds collaborated with numerous important figures around the art world including Samuel Beckett, Sekiji Maro (butoh dancer), Kazuro Kato (cinematography), and Karen Reynolds (flute and typographical drawing and design) to create a new intermedia work called PING. It was premiered in Tokyo at Toru Takemitsu's Festival "Orchestral Space '68", and repeated in a Japanese-English version for a crowd of 3500 at the CROSS TALK INTERMEDIA Festival in Japan in 1969 alongside works by Robert Ashley, Salvatore Martirano, Gordon Mumma, Takemitsu, Joji Yuasa (now an emeritus UCSD Professor), and many others. After this, the piece was performed (while Reynolds was a Regent's Lecturer) at UCSD (as a part of a nation-wide tour) alongside works by then UC faculty Pauline Oliveros. Forty three years since the piece's creation, technology, performance practice, intermedia collaboration methods, and Reynolds' own aesthetic foundation have changed in fascinating ways. Some changes were so profound (such as the decay of the original 16mm film print) that they had prohibited the piece from performance. Now, the process of migrating the piece to open source digital platforms has not only given the piece a new life for the 21st century but has also opened doors to new additions which were previously planned but not realized. PING Migration reveals the binary of time's generative and degenerative effects. It is a technical process filled with complex logistical solutions but also a creative process which enables extemporaneous, collaborative artistry. UC San Diego Library, UC San Diego, La Jolla, 92093-0175 (https://library.ucsd.edu/dc/contact)
Type
moving image
Identifier
ark:/20775/bb6836457v
Language
English
Subject
Motion pictures Multimedia works Experimental films
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