People Like Us Concert in Oviedo, Spain

PEOPLE LIKE US concert
Event: Noche Blanca
Date: Saturday, October 6th 2018
Venue: Teatro Filarmónica, Calle Mendizábal, 3, 33003
City: Oviedo, Spain
url: www.nocheblanca.es facebook: https://www.facebook.com/nocheblancaovd/ instagram: https://www.instagram.com/nocheblancaovd/
This audiovisual concert commemorates the 25th (well, at least!!) year of People Like Us publishing work, featuring highlighted excerpts from the previous four a/v performances of People Like Us.

Interview with Marta Barbón from LA NUEVA ESPAÑA (OVIEDO)

Translation: 

You were so young, only sixteen, when you got interested in “collage”. ¿What pushed you to get into that first experimentation?

I have always been inspired by music and moving image rather than non-time-based media.  The only education that I completed was a pre-degree art and design foundation course and I immediately was most interested in photography rather than drawing or sculpture, etc.  I was lucky enough to have a tutor there to lent me his books on performance art, conceptual art and photo collage, and through that I started working with footage and pictures as “found” objects rather than trying to capture something through a lens alone.

Are you aware that you get into cut&paste in a time and being part of a generation that wasn’t digital? In which ways could that circumstance have influenced your work?

What I do is folk art in the age of digital reproduction.  When I started it was in the age of analogue reproduction.  I couldn’t predict how fast things would develop around 2000 with the age of faster cheaper computing and broadband internet.  When I started it was still possible to do quite a lot with a cassette four track, hifi-based electronics and a scalpel and glue.  I couldn’t go back to that way of working now and I don’t romanticise it at all.  I always had a vision of what I am doing now but had to wait, and in some ways I’m still waiting.  For the past two years I’ve been making a 360 surround immerse audiovisual work called Gone, Gone Beyond.  This is only possible to do with the fast computer that I now have, but I still am looking ahead and forward, or rather my visions of what I could do next are. 

Do you think that for digital natives, collage, or the fragmentation of things, is something more natural, or there is no difference?

No, I think computers and also analogue copying (cassette, photocopier, printing press) are modelled around the human mind’s way of working.  We learn and improve ourselves by copying and improvising, by cutting and pasting in our own lives.  That is all that we have taught machines to do for us. 

Another fact that is related to your job, is that digital media caused an over documentation. Nowadays everything is filmed, photographed and saved. What implies for an artist that works with found footage?

That is true, but most of what is documented is pretty trivial, and the analogue version of that might be taking photos and leaving them in the wallet that you were given them in when they came back from the photo developers.  I think once again it’s to do with the way that we are, we like to document as a “witness” to us having been somewhere or done something.  This is why people used to like to photograph a landmark, or themselves in a landmark, it isn’t necessarily because they are going to ever look at that again but they want to take the snap shot to some how validate that they were there, possibly with the intention that they would share it in the future with someone, or just with themselves.  Although a lot of the time they never will.k

There are some authors that think that this over documentation cancel out, in some way, the “oblivion” and get us into “loop dynamics”, blocking progress or experimentation, especially in artistic languages. Do you agree with that? What do you think about it?

I agree that we all are in danger of repeating ourselves over and over again rather than being on a variable cycle of gradual/sudden change.  Although the latter happens naturally if we try and do the same thing over and over anyway.   

How much importance do you give to movements like Collaborative Art and DIY? Nowadays what role plays the authorship in contemporary art and what it means to be an artist?

I would rather that there were not “movements”, since they imply that something is in or out, or good and bad.  I understand the need to categorise in order to communicate faster but at the same time it can trivialise the subject matter then toss it onto the scrapheap once it’s been summed up.  DIY is very important, to learn through repetition is how we finally come up with something that makes sense to us, something that is more than the sum of the parts.  Authorship is limited once something is published.  You cannot put something out into the public and still have 100% control of it.

What could we see in Oviedo on this trip trough 25 years of “People Like Us”?

I’ve been publishing work since 1991 (so it’s more than 25 years now, in fact!) and decided to make an audiovisual concert compiled from a number of different works.  So it’s a whirlwind rollercoaster ride!

The Mirror

Featured

We are pleased to announce a new audiovisual immersive cinema performance by People Like Us called The Mirror, performed (and screened in Theatrical form if in the US) from March 2018 worldwide.  

The Mirror is a live a/v performance which splices together movie snippets with unique sample-based music exploring the masks that we wear represented through the lens, using parallel narratives across the screen to depict an ever-changing stream, rather than a singular, fixed being, narrative or moment in time.

“A feat of research and craft, this new work is a spellbinding inquiry into editing and juxtaposition; a collage one can unthread allowing the viewer to discover hidden stories through familiar images. The soundtrack is performed live, made up from hundreds of preexisting songs, as well as particular sounds from the original film clips.” — Flatpack Film Festival

18 March 2018 – World Premiere: Athens Greek Film Archive Foundation (as part of Shadow Libraries: UbuWeb in Athens, organised and produced by the Onassis Cultural Centre-Athens) – tickets/info
13 April 2018 – UK Premiere: Liverpool FACT – tickets
17 April 2018 –
Belfast Film Festival at Crescent Arts Centre – tickets
20 April 2018 – London Cafe Oto – tickets
21 April 2018 –
Birmingham Flatpack Festival – tickets
12 May 2018 – London Splice Festival, at Rich Mix – tickets
11 July 2018 – London Cafe Oto, double bill with Carl Stone – tickets
19 July 2018 – Gijón LEV Arenas Movedizas – free entry
26 July 2018 – MACBA, Barcelona – tickets
17th September 2018 – Theatrical Screening (not live) – Bryce’s Show on WFMU
19th & 20th September 2018
– Theatrical Screening (not live) – Spectacle Theater, Brooklyn – tickets
20 October 2018 – 100 Years of Copyright Festival, Berlin HKW – tickets
2 November 2018 – Spill Festival, Ipswich – tickets
10 November 2018 – Kunstnernes Hus, Oslo Norway – tickets
15 November 2018 – Brighton “Cinecity” Film Festival at Fabrica – tickets
30 November 2018 – Theatrical Screening (not live, we do not perform in concerts in the US) Recombinant Festival, Gray Area, San Francisco – tickets
27 March 2019 – Musikbrauerei, Berlin – tickets

If you are a festival organiser with a budget and are interested in booking this, please get in touch by way of our Contact FormIf you are in a country requiring a work visa to perform we can in very special circumstances make this work into a stand alone movie, but generally this is only available as a performance with the artist present and you will need to gain necessary papers for us to agree.

Supporting works and articles (being added to over the coming months)

3 artist commissions : we have commissioned new works by artists responding to The Mirror:
Reflects by Dina Kelberman (December 2018)
Coming soon… Mark Gergis, Hearty White

The Mirror CD contains music from The Mirror, and tracks from Gone, Gone Beyond

Graham Duff – The Mirror a reflection upon the work and surrounding subject matter
Interview in The Wire Magazine in a phone conversation with Emily Bick of The Wire Magazine, Vicki Bennett reflects on The Mirror, Gone, Gone Beyond, and working with preexisting footage.

Shortcut url is http://peoplelikeus.org/themirror.html

People Like Us at MACBA, Barcelona
People Like Us at MACBA, Barcelona
PLU at Splice Festival 2018 – photo by Martyna Kubrak
PLU at Splice Festival 2018 – photo by Martyna Kubrak
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CITATION CITY

Update (2018) :
The soundtrack is now available for sale as a digital download:
https://peoplelikeus-vickibennett.bandcamp.com/album/citation-city-ost

citation city banner

Citation City is a 42 minute audiovisual performance work which sources, collages and edits 300 major feature films where content is either filmed or set in London – creating a story within a story, of the film world, living its life, through extraordinary times of change, to see what happens when these multiple narratives are combined… what will the story tell us that one story alone could never tell?

“The result is a sweeping panorama of London, a London as represented through cinema – not the real city at all, but one that exists in the collective imagination of moviegoers throughout the decades.” Filmmaker Magazine

Please note: this is now retired.  However, we occasionally make edits available as stand-alone movies for cinema screening.

A time-travelling voyage through one city, assembled from hundreds of movie clips and inspired by the wanderings of Walter Benjamin. A patchwork of over 300 features either filmed or set in London, Citation City combines multiple narratives to create the story of one city in a period of enormous change. Pieced together by audiovisual artist Vicki Bennett (aka People Like Us), this beguiling, labyrinthine work takes its cue from Benjamin’s Arcades Project, an ambitious attempt to map out Paris in fragments which was cut short by the author’s death in 1940. Flatpack Film Festival

Interview with Kenneth Goldsmith in Found Footage magazine about Citation City

Interview with Peter Jaeger in filling Station Issue 63 featuring Citation City

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NOTATIONS – a film for live improvising musicians and artists


Notations performed by M.C. Schmidt, Jason Willett and People Like Us at Monty Hall, WFMU 2014

Part of the making of Gesture Piece

Part of the making of Notations

Notations UK Tour 2013 info here

ABOUT NOTATIONS

“Notations” is a film by Vicki Bennett for live performance by improvising musicians and artists.  It has been created using collected and edited found footage from hundreds of different films, where the content conceptually or literally portrays different kinds of ‘gestures’, ‘instructions’ and content that can then be interpreted by musicians and artists with unique audio accompaniments.  Notations contains edits of the movies and sounds from the source films, separated into ‘sketches’ or stories that segue into one another, and it exists with a list of instructions (score) on how artist(s) working with this choose to work with these particular elements.


Excerpt from “NOTATIONS” Live at Tectonics Festival 2013: “From A-B.”

Notations references the fact that it is very natural, even primordial for one to creatively respond to visual stimulus in an “improvised” (natural) way rather than all responses being directed, set in stone. Within human communication it is part of our hard circuitry that for instance we use hand gestures to articulate our speech, which is essentially graphically describing/enforcing audio or spoken discourse. Even when spoken language is not present, a whole series of hand and facial gestures are available to us to communicate expressions. By making a film that both contains human gestures (hands, facial, movement) as well as gestures made by natural and mechanical occurrences we are setting up the conditions for a dialogue between the graphical elements on the films and the improvisers, both with the film as well as with each other.


Documentation of Notations UK tour

Sections from Notations


Notations at InMute, Athens performed by Acte Vide

SCORE

When performed, the film is provided with a “score” (ie a list of instructions to be translated into sound) which consists of some basic instructions and a synopsis listing characteristics of the 9 different sketches featured in the film.  The sketches are as follows:

The film is made in 9 sketches with titles that roughly describe the content/concept/theme. The themes move and progress with many tangents, although there is continuity of concepts and the pace even and flowing. There is intermittent film sound throughout, and lots of silence. Hopefully the sound will be no more surprising than any other performer on the stage. The maximum audio volume should be set equal to each participant.

There will be no instructions to be found beyond what is in the film, no written score beyond this text. The film will be provided to the players at least 2 weeks before the performance date, and should be viewed several times well before performing. For each sketch different numbers and combinations of performers are recommended, either spontaneously or pre-determined. All players should meet to discuss this before performing, and rehearsals are at the discretion of the performers. 

Ultimately, whatever the film content suggests is what all should react to. – Vicki Bennett, May 2013

1. A Nod to Previous Players.
Majority of footage sourced from old avant-garde and comedy films featuring people playing cards and chess, also doing things at tables. Very little sound added to the film soundtrack.
2. From A-B.
Transport, trains, cars, carriages and things that move fast.  Some typewriting and conducting too.  This one is fast and also noisy in places!
3. Spin.
Lots of spinning, vertigo, circles and targets. Zooming into eyes. Camera shutters. Not too much incidental sound on the film apart from towards the end with a piano.
4. At Home.
Mainly footage shot in domestic environments – pans through people’s rooms, people eating and chopping food, ringing doorbells, broken appliances and acts of domestic destruction. Reel to reel tape recorders and record players. Fairly quiet, some incidental sounds with a few louder bursts at the end when woman finds a monster in her fridge.
5. Several Directions at Once.
Part 1 A conductor conducts traffic lights and traffic. Incidental sound from traffic, but not conductor’s music. Radio dial turns.  Hands waving, pointing and conjuring. Quiet to start with then bursts of sound around the time of the radio dial being turned.
Part 2 Lots of punching, slapping and violence with incidental sound, cut in with a little conducting and hand gestures, bending and stretching. Quite noisy. Ends with car crash and bowing conjuror.
6. Dark.
Hand movements signifying quiet/listening. Record player and film leaders flicker black and white. People in the dark with candles, thunder and lightning, lights on and off. Disconnection of power, suspense and fear. Incidental sound of storm.  People walking on wooden steps in the dark. Radio tuner and typewriters/printing machines. Quiet incidental sound apart from necessary bursts of weather/explosions.
7. Ups and Downs.
Record players, panning through people’s living rooms. Leisure – card playing and knitting. More panning and record playing.  Walking legs/feet through many films. Very quiet. Desert scene, people run down hill making a noise, there follow many scenes from westerns, woman stops train, buzzers pressed, men with bells, all incidental sounds for this section. More walking, people waiting behind doors, quiet, suspense, just footsteps and door handles. Door lock gets shot (very loud) and then follows a lot of scenes of people struggling in train/horse carriages, to the sound of a carriage then train stopping. Ends with car sinking into mud.
8. The Suspense is Killing Me.
Predator/victims leaning over/backing away or trapped. Retaliation, shooting. Walking. Snooker and more predators.  Opening of doors to different scary people, hiding. Child making horrible noise with a pencil on chalkboard. Doors and wall banging intercut with silence and suspense, listening at walls. More doors opening and suspense, hiding and running. Screaming and fear, silhouettes with bright lights. Power cuts, darkness intercut with conductor and man stuck in phone booth. More power cuts and screaming, general misery. Sleeping woman, man walks up the stairs away from her, looks around, she looks up. He walks away.
9. Nothing Happens.
Man walks down wooden stairs to men playing cards at a table. Intercut with other people staring at the screen or each other, no one does anything, they are just looking. Walking around wooden flooring, woman slams door, sits in silence, kicks floor and three people faint. LP rolls across floor, car runs over accordion. Birds fly up and down, mixed with dancing swimmers. Man sits and writes at a table, silently turning blank pages from different movies. Lots of panning over paper and big tables, mainly silent, man screams at faceless man. Lots more staring at one another, suspense, waiting. Nothing happens. Door opens to man in fez, everyone screams. More staring and suspense. Still nothing happens. Gust of wind, Harpo plays flute through window and scares all the ladies. More predators with weapons, people run away, roll credits.

(The 30-minute version of the film excludes parts 7 & 9)

Download a pdf of the score here:
Full-NOTATIONS-score-by-Vicki-Bennett
NOTATIONS-score-30min-by-Vicki-Bennett


Notations at Cafe Oto performed by Jaap Blonk and Philip Jeck

_______________________________

TECTONICS - Performers: Skúli Sverrisson, Davíð Þór Jónsson, Kristín Þóra Haraldsdóttir, Hlynur Aðils.

TECTONICS, REYKJAVIK – Performers: Skúli Sverrisson, Davíð Þór Jónsson, Kristín Þóra Haraldsdóttir, Hlynur Aðils.

LIVE PERFORMANCES SO FAR

20 April 2013 (with the working title of Gesture Piece*) Tectonics Festival, Reykjavik, Iceland
Performers: Skúli Sverrisson, Davíð Þór Jónsson, Kristín Þóra Haraldsdóttir, Hlynur Aðils.
8 June 2013 (with the working title of Gesture Piece*) Tectonics Festival, Tel Aviv
Performers: Alex Drool, Assif Tsahar, Robbie Avenaim, Christoph Heemann, Eyvind Kang and Jessika Kenney.
10 June 2013 (with the working title of Gesture Piece*) Uganda, Jerusalem
Performers: Eyvind Kang, Jessika Kenney, Robbie Avenaim, Christoph Heemann and special guests
November 2013 Various locations in the UK, produced by Tusk and commissioned by Sound and Musichttp://peoplelikeus.org/2013/notations-tour/
Here is a travelogue from the UK Tour, November 2013
September 2014 WFMU Monty Hall, NJ, performed by M.C.Schmidt and Jason Willett
September 2014 High Zero, Baltimore, performed by Bob Wagner (drums), LaDonna Smith (violin), Jenny Gräf (electronics, guitar)
October 2014 In Mute Festival, Athens Onassis Cultural Centre performed by the duo Acte Vide.

NOTATIONS UK Tour 2013 Travelogue

* Please note – Gesture Piece is now a separate project, an online film with 7 artist soundtracks.  We needed to change the name as the project split into two parts.

Eyvind Kang, Jessika Kenney, Robbie Avenaim and Christoph Heemann perform Gesture Piece

Eyvind Kang, Jessika Kenney, Robbie Avenaim and Christoph Heemann perform Notations

HISTORY OF GESTURE AND CARD-BASED WORKS

There is a tradition in experimental music of musicians responding to graphic scores and non-conductor-led direction.  John Cage wrote scores that both directed the performer on what elements/structures needed to be used/responded to, but at the same time introduced chance elements based around personal interpretation and the use of random prediction techniques like the iChing.  In the past 25 years some contemporary artist-composers have used prompts as guidelines for musical interpretations, following John Cage’s tradition.

Examples of alternative methods of conducting:

John Oswald “Rien Ne Va Plus” uses a roulette and coloured cards to prompt an orchestra to play certain tunes.  Christian Marclay’s “Shuffle” uses a pack of cards containing his own photographs of various depictions of musical scores which improvising musicians then respond to live.  In Marclay’s “Zoom Zoom”, the performer interprets his projected images of everyday objects with graphics contained within them.  John Zorn index card/file-card composition pieces include “Cobra” and “The Big Gundown”: combining composition and improvisation in which Zorn would write down a description of what he wanted on file-cards and arrange them to form the piece.  Zorn compiled his various thoughts regarding his subject on index cards, and then arranged those into a working roadmap for his band of improvisers.  He described the process in 2003: “I write in moments, in disparate sound blocks, so I find it convenient to store these events on filing cards so they can be sorted and ordered with minimum effort. Pacing is essential. If you move too fast, people tend to stop hearing the individual moments as complete in themselves and more as elements of a sort of cloud effect…”.

TECTONICS, REYKJAVIK – Performers: Skúli Sverrisson, Davíð Þór Jónsson, Kristín Þóra Haraldsdóttir, Hlynur Aðils.

Matmos and People Like Us double bill at XOYO, London

Tuesday 19 March 2013
XOYO, 32-37 Cowper Street, Old Street, EC2A 4AW 

£10 | 8pm

People Like Us will play the UK debut of our new live a/v performance “Consequences (One Thing Leads To Another)” in support of our good friends Matmos at London’s XOYO.

Buy tickets now: http://xoyo.co.uk/2013/02/19/upset-the-rhythm-matmos-people-like-us/