Spatial Data Management (Original Score)
Ulla E. Straus, John Andrew Wilhite
31 min / audio / compact disc + 24 page color booklet housed in clear poly-case / ed. of 100.
$15 + $4s/h. in US (buy)
*orders fulfilled by Reading Group
**digital download available at readinggroupcompany.bandcamp.com
Ulla E. Straus, John Andrew Wilhite
31 min / audio / compact disc + 24 page color booklet housed in clear poly-case / ed. of 100.
$15 + $4s/h. in US (buy)
*orders fulfilled by Reading Group
**digital download available at readinggroupcompany.bandcamp.com
In 2021 our online magazine Missing Observer Studies released the short film Spatial Data Management by Philadelphia based artist, Greyory Blake. In collaboration with the New York based imprint Reading Group, Huner Francis is proud to present the original score to Blake’s film. Composed by Ulla E. Straus and John Andrew Wilhite, mastered by Reading Group’s Derek Baron, with contributions from Blake and Kalle Moberg, this release comes housed in a clear poly-case with a full color 24 page booklet featuring liner notes by Dorothy Howard.
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Instruments:
Greyory Blake,
Kalle Moberg,
Ulla E. Straus,
John Andrew Wilhite
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Mix: Ulla E. Straus
Master: Derek Baron
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Published and distributed by Huner Francis (HNR/F-14) & Reading Group (RG26), 2024.
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Characters originally voiced by J. Daniel Bickett & Kelsey Knotts.
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Typefaces:
Default Sans Book, Scott Vander Zee
Default Sans Book Mono, Scott Vander Zee
_
Instruments:
Greyory Blake,
Kalle Moberg,
Ulla E. Straus,
John Andrew Wilhite
_
Mix: Ulla E. Straus
Master: Derek Baron
_
Published and distributed by Huner Francis (HNR/F-14) & Reading Group (RG26), 2024.
_
Characters originally voiced by J. Daniel Bickett & Kelsey Knotts.
_
Typefaces:
Default Sans Book, Scott Vander Zee
Default Sans Book Mono, Scott Vander Zee
Dorothy Howard:
“The score to Spatial Data Management (2021) is a contemplative and referential ambient work. It provides the backdrop for the essay film’s exploration of how stolen value and the contemporary predicaments of AI technologies mirror problems wrestled with by Baroque thinkers.
Wilhite began the compositional process by compiling a series of excerpts from old tapes and sessions with accordionist Kalle Moberg. He blended their muffled recordings of Giovanni Battista Pergolesi’s Sabat Mater (1736), a devotion to Mary in medieval Latin, with droning soundscapes of birds, bees, and sirens, and didn’t whittle away atmospherics. François Couperin’s Les Barricades Mystérieuses (1717) for harpsichord wax and wane between organ and synthesizer as alternating translations of analog to digital. The movement calls to mind the film’s themes of how contemporary technologies change our relationship to what we think is natural, what we refer to as the source. Straus then mixed the fragments Wilhite assembled, focusing them through what might be described as acts of musical grace, knowing without stealing.”
“The score to Spatial Data Management (2021) is a contemplative and referential ambient work. It provides the backdrop for the essay film’s exploration of how stolen value and the contemporary predicaments of AI technologies mirror problems wrestled with by Baroque thinkers.
Wilhite began the compositional process by compiling a series of excerpts from old tapes and sessions with accordionist Kalle Moberg. He blended their muffled recordings of Giovanni Battista Pergolesi’s Sabat Mater (1736), a devotion to Mary in medieval Latin, with droning soundscapes of birds, bees, and sirens, and didn’t whittle away atmospherics. François Couperin’s Les Barricades Mystérieuses (1717) for harpsichord wax and wane between organ and synthesizer as alternating translations of analog to digital. The movement calls to mind the film’s themes of how contemporary technologies change our relationship to what we think is natural, what we refer to as the source. Straus then mixed the fragments Wilhite assembled, focusing them through what might be described as acts of musical grace, knowing without stealing.”
Spatial Data Management (Original Score)
©2024 /