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The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
Wounded Man'yo 2/2000
Yasunao Tone
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Original: Wounded Man'yo 2/2000 | 4757 * 5979px | 81.4 MB
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Original: Wounded Man'yo 2/2000 | None | 31.3 MB
Original: Wounded Man'yo 2/2000 | None | 132.6 MB
Negotiating the limits of recording, meaning identical repetitions over and over etc., with analog and digital technology is one of the objectives of my pieces.Together with Dr. Fujinaga of Peabody Conservatory, as a software designer, I have been working on a CD-ROM project since 1997.
The CD-ROM, which is still a work-in-progress, has an interactive program that enables an audience to select 4,516 different pieces of music on one disc. Each of these is an exactly converted sound of the Chinese Characters of the 8th century Japanese anthology called Man’yoshu that contains the same number of poems.Thus the title of the piece is Man’yo 2/2000. As a single piece, though, there is no such a choice for the audience, so after I burned the piece on a disk, I prepared it with bits of scotch tape on the disk, a method I’ve been using since 1985.Then I performed the disk with my CD Player from 1984, and the Man’yo piece became far from the original and a completely new piece.
The CD-ROM, which is still a work-in-progress, has an interactive program that enables an audience to select 4,516 different pieces of music on one disc. Each of these is an exactly converted sound of the Chinese Characters of the 8th century Japanese anthology called Man’yoshu that contains the same number of poems.Thus the title of the piece is Man’yo 2/2000. As a single piece, though, there is no such a choice for the audience, so after I burned the piece on a disk, I prepared it with bits of scotch tape on the disk, a method I’ve been using since 1985.Then I performed the disk with my CD Player from 1984, and the Man’yo piece became far from the original and a completely new piece.
Yasunao Tone (J), born in Tokyo in 1935 and graduated from Chiba Japanese National University in 1957 with a major in Japanese literature. He co-founded the GROUP ONGAKU in 1960, and began participating in the FLUXUS movement in 1962. Since coming to the United States in 1972, he has composed scores, which utilize text and visual image as well as sound, for Merce Cunningham Dance Company, and has had solo concerts at the Kitchen, Experimental Intermedia Foundation, Roulette P.S.1 Guggenheim Museum SOHO, Chigaco Art Club and other places and has participated in numerous FLUXUS concerts.