DJ Spooky: All of the Above | October/November 2012 Issue | Article by Shane McAdams.
Spooky is the rare artist that toggles between nerdy, technical indulgence, and sentient inventorying of the human condition. I’ve heard Spooky comment on several occasions, in regard to this eclecticism and reach, that it’s “all just one big record.” Which is funny, because it’s an omnivorous approach to art-making that sends me back to the Renaissance and Leonard’s flying machines, as much as it anticipates the next century, where the digital technology Spooky embraces will reign. So, one wonders: is Spooky a throwback, a contemporary, or an oracle?
In celebration of it’s new magazine, Whole Foods asked DJ Spooky to share his thoughts on contemporary art, design, and if course, music.
Done in conjunction with CultureHub/Seoul Institute of the Arts, Dj Spooky made a music video featuring traditional instruments like the gayageum and Piri. Featuring Michelle Joo on violin, Gamin on Piri, and Dj Spooky playing his DJ Mixer iPad App.
Directed by William Clark, Giorgio Arcelli, Leland Krane.
Music + Art Film Series
Curated and facilitated by Paul Miller, aka DJ Spooky, That Subliminal Kid
Sponsored by the School for Professional and Continuing Studies
DJ Spooky has contributed music and narrated the new App from The Smithsonian Museum traveling retrospective of Romare Bearden for iOS and Android operating systems.
Paul D. Miller is Executive Editor of Origin Magazine, a progressive Artist owned and operated periodical that comes out every two months.
Check us out!
An unprecedented Metropolitan Museum artist residency, The Met Reframed is a year-long multilayered artistic partnership. It launches in the 2012-13 season with Paul D. Miller aka DJ Spooky That Subliminal Kid, a composer, multimedia artist, writer, and DJ. His recorded output includes remixes of music ranging from Wu-Tang Clan, Metallica, and Bob Marley to classical/new music legends Steve Reich and the Kronos Quartet, and he has DJ’ed major festivals including Bonnaroo and Power to the Peaceful. His work as a media artist has been featured at the Whitney Biennial, Venice Biennial, and Miami/Art Basel; and his first collection of essays, Rhythm Science, was released by MIT Press in 2004, followed by Sound Unbound, an anthology of writings on electronic music and digital media (MIT Press, 2008).
“For me, it’s such an honor to work with the Met from the viewpoint of sampling,” says Paul D. Miller. “I want to make a vibrant reflection of this incredible collection of materials from all over the world. My residency will be a fun festival of ideas. From the South Pacific to Asia, from the Civil War to 3D photography, from Antarctica to environmental activism, I want to show that music and art are always in dialogue.”
By DJ Spooky in The Nation
Antonino D’Ambrosio guest edited the January 28, 2013 issue of The Nation and asked me to write about my Antarctica Terra Nova project. The theme of the issue was “creative-response,” which is the focus of his documentary film “Let Fury Have the Hour.”
Other writers and artists included in the issue were Billy Bragg, Edwidge Danticat, Hari Kunzru, Eugene Hutz, Staceyann Chin and others from his film.
Artist Shepard Fairey created the cover art inspired by Antonino’s cover story “We Own the Future: How Creative-Response Transforms Our World.”
November/December 2012 issue
Art Papers asked Sarah Workneh, Director of Skowhegan Art Foundation to guest edit the magazine. She asked me, and a host of other contemporary African American and diverse artists to come up with some article ideas about post Afro-Futurism.
I wrote about my Antarctic Terra Nova project.