Tag Archives: critter and guitari

Critter & Guitari on F.A.T. Gold Public Access at Eyebeam

Critter and Guitari at Eyebeam with Bennett Williamson

Chris Kucinski, Bennett Williamson, and Owen Osborn at Eyebeam.

As part of Eyebeam’s current exhibition, F.A.T. Gold: Five Years of Free Art & Technology curated by Lindsay Howard and on view through April 20th, Critter & Guitari was asked to host a jam session for Public Access organized by Bennett Williamson.

In true Critter & Guitari fashion, Chris Kucinski and Owen Osborn invited their friends Devin Flynn, Ross Goldstein, Raphael Griswold, and even me to collaborate and make some new sounds. (Bennett would have also jammed with us like he did at the Experimental Television Center, but he had to operate the AV equipment.) The hour-long jam incorporated the sounds of the Pocket Piano family (including the first prototype), the Kaleidoloop family, and the Bolsa Bass along with a variety of analog instruments.

Click here to see the full live-streamed video of the jam.

All in all, the jam showed the collaborative and fun nature of the instruments and the cooperative generation in which they were created.

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Critter & Guitari: ONOMONO Party at Cristin Tierney

On Saturday night, Critter & Guitari hosted a party, pop-up exhibition, and concert at the Cristin Tierney Gallery in New York City.

Critter Guitari Onomono Party

The ONOMONO Party has begun with installations by Ali Osborn, Raphael Griswold, Teddy O'Connor and Alois Kronschlaeger.

IMG

Chris and Owen introduce the lineup of talented acts performing

Orit Ben-Shitrit ONOMONO

Orit Ben-Shitrit presents ONOMONO

Erika Spring Melanie Moser

Erika Spring and Melanie Moser perform

Pat Noecker

Patrick Noecker also known as RAFT performs

Critter Guitari ONOMONO Finale

The final performance of the evening

All in all, it was an awesome party to culminate an exciting year. Thanks to Cristin Tierney, Main Drag Music, The Original Moonshine, Orit Ben-Shitrit, Ross Goldstein, Joe Grillo, Raphael Griswold, Melanie Moser, Patrick Noecker, Teddy O’Connor, Ali Osborn, Tonito Santos, and Erika Spring. Special thanks to Alois Kronschlaeger for my beautiful gift. Extra special thanks to everyone who wore sequins!

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Upcoming: Critter & Guitari’s ONOMONO_Party

Critter & Guitari is hosting a party on Saturday, December 17th. With live musical performances and art installations, it’s going to be a fun and festive jam.

Plus check out this video featuring the new Pocket Piano MIDI.

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Physical vs. Analog: The Experimental Television Center

Experimental Television CenterAlthough I had heard about the Experimental Television Center for a couple years and seen some of the work that was created there, I really had no idea what it was, and so when I got the invitation to spend a couple days there, I jumped at the chance to see what it was really all about.

The Experimental Television Center (ETC) was founded in 1971 with the intention of supporting the creation of work using new electronic media technologies and providing space and time to artists for personal, self-directed creative investigations. Chris Kucinski (my brother) and Owen Osborn of Critter and Guitari had been in residence at ETC three times when they found out that it was closing. When given one last chance to use the tools and freedom to create, they decided to invite some close friends to share the experience with. Those friends included George Langford and Tom van Buskirk of the band Javelin, Bennett Williamson aka Bennett 4 Senate, and Owen’s brother, Ali Osborn.

ETC Entrance

Ali Osborn and the unassuming entrance to the Experimental Television Center

To my surprise, the Experimental Television Center was not a modern building in the forest of upstate New York – no, it was located in a brick building above an antique store downtown in the village of Owego, NY. It was also just one big room overlooking the Susquehanna River that happened to have image processing equipment. The equipment is a “hybrid tool set, permitting the artist to create interactive relationships between older historically important analog instruments and new digital technologies.” Chris and Owen additionally supplied a color video camera, a projector, and instruments including drums, guitars, Pocket Pianos, and Kaleidoloops.

It didn’t take long for the other guys to get settled in, setting up their drum machines, synthesizers, electronic kazoo, and Xaphoon. Bennett also brought a Title Maker and an old school drawing pad that he hooked up to the video equipment. With all the pieces in place, everyone was psyched to create.

Chris Kucinski on the image processing machines

Chris Kucinski on the image processing machines

The guys started making music and twiddling around the video equipment. There was no right or wrong way, there was no “stop” or “hold on” – it all just happened organically and without any rules. What happened happened and it was all recorded. For most of my stay there, I oversaw the visual aspect of the performance (as the self-appointed “creative director”), making sure that we were capturing optimal visuals and a sharp aesthetic however strange the outcome.

George Langford on the Pocket Piano

Geoge Langford on the Pocket Piano

Having no prior video training, the most important thing I learned is that there is a difference from “physical” vs. analog. What they had at the Experimental Television Center was a physical machine made of hundreds of patches that you physically had to plug and unplug. The equipment was created and maintained by an engineer who lives in Owego, so recreating the equipment would be possible, but very difficult to do.

My directorial debut

I designed and directed this set with Owen and Chris

All in all, my stay at the Experimental Television Center was filled with endless sonic and visual possibilities created by very intelligent and talented people.

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