"Make your travel plans now."

I'm not sure if there exists a phrase like that in English but I can't help saying it: if the following didn't exist, it should have been invented.

What the hell, you're asking, Dearreader?

Laurie Anderson as the voice of a planetarium. For real. Holy cr*p, this is so her. Me wants to go to Chicago, I mean, right now (hoping the show is still running). (No, of course it's not in the programme anymore.)

This video is a trailer for Time/Space, Adler Planetarium's animated show on the past and the future of the Cosmos, produced in 2005, narrated by Laurie Anderson:

(extra: a press release of the show from a previous version of Laurie's website)

The End of the Moon... Almost

Read Tom Gordon's breathtaking story about a Laurie Anderson gig's soundcheck turning into a disaster right before the show... Tension. Twist. Thrill. More tension. In a theater near, uh, Reno NV (snare, snare, hi-hat).

More on Krems, Austria

"[...] I was asked by an art museum in Austria to do an installation project. The museum was in this really little town called Krems, about an hour from Vienna. And so I went to check it out. Krems is this sort of a perfect little Austrian town on the Danube filled with medieval churches and these elegant onion-domed towers and spires. The Kunsthalle there is connected to a twelfth century church where they do a lot of their larger exhibitions now. This building was a church for about six hundred years and since then it's been used for like a variety of different things like a kind of a flop house for pilgrims and indigents, and then a convent and then it was an all purpose kind of cultural institution - it's this huge structure and very resonant acoustics with really really long delays. The museum wanted me to design something, some sort of sound installation, whatever I wanted, especially for this particular space with its resonance.

At first I was trying to figure out how to get the church to talk, to make something about language, about language that was going up... [...]

Every day I would walk around this little town, and the weird thing about this place was that right in the middle of town there was this huge maximum security prison - tall gray walls and these enormous guard towers... And it was really strange because mostly prisons are built out on heaths or in some uninhabited wild faraway area. So, I'm looking around the town and thinking about what to do and I climbed to the top of the belltower of this church to try to get a better view of the way the town was laid out, just a bigger picture. I was up there in the belfry and I suddenly realized that I could look directly over at the guy with a machine gun in the guardtower and then directly down into the prison yard from the belltower.

So, I proposed making this thing for the church - for the cultural institution - called Life. It would work like this: we'd make a three dimensional life-size cast of one of the prisoners and place it in the apse in this church. And then using a live video feed, the image of the prisoner would be projected from the prison to the church. So the video signal would travel in a straight line from the prison, up the guard tower, across the street to the church, down the bell tower into the apse, and finally mapping onto this three dimensional cast. So you could walk up to this three dimensional image and touch it and would be something that was kind of there and not there. (I suppose a one way system from that point of view.)

I wrote some things for the curators about why I wanted to do this, about my interest in telepresence and how cameras are changing different attitudes towards particularly the human body - incarceration vs. incarnation - and distinguish the prison and the church. And I said I thought it would raise some interesting questions about time, icons and cameras and the function of institutions. Now of course I was also pretty nervous about this idea as well. I mean it's one thing for a priest to deliver a sermon about evil incarnate in a church and it's really another thing to actually come in as a foreigner and teleport a prisoner into the apse.

Anyway, the curators at the Kunsthalle were enthusiastic about doing the project but a couple of weeks later they discovered that Austrian law forbids the representation of the prisoner's face, so once they're in prison they're like erased and that's part - a big part - of the punishment. I decided that without the face, the projection would be pointless, I mean, Life from the Collar down is just not that gripping. I mean, humans have (to have) eyes or, in a way, they aren't really there. So I dropped this idea. [...]"

(excerpt from a lecture given by Laurie Anderson at New School in 2005,
as heard in this video)

(FYI: this project was the predecessor of Laurie Anderson's Dal Vivo (Life) project)

Vapor. Lawyers. Calcium. Imbrication.

No idea what the heck those words in the title mean? They are part of a list of words that have never been used in a song lyrics so far. In that way, they are also part of Laurie Anderson's Music Therapy in which the therapee's task is to write lyrics using solely words that have never been used in a pop song lyrics before.

"I think failure is probably the thing that's taught me the most about what I want to do, so I really value the moments when things really completely fall apart."

(Laurie Anderson, 2005)

The citations above are from Youtube's latest video of Laurie Anderson (a truly epic one!) - a lecture she did as an artist-in-residence at the New School in New York City, 2005, originally aired as a webcast (hence the fragmented video stream). The lecture touched on subjects like the idea of space, using the right tools; rectangles, mental hospitals, different kinds of therapies for people who have been using too much technology, taboos like sleeping in public; night courts and the 'Institutional Dreams' series, the 'Life' project (where the live webcast image of a prisoner was projected into an art museum), the fake hologram and different points of view, Alexander the Great, turning points in Laurie Anderson's career, pieces of advice for beginner artists, separating art and politics, form and content; voyeurism, hiding in the spotlight on the stage, using the wrong sense, being an artist-in-residence at NASA, and so on.

(FYI: Contrary to the description of the video, it does not contain the screening of 'Hidden Inside Mountains', Laurie's HD movie made for the Japan EXPO.)

Inside John Peel's Record Box

"He gave it a chance for... a lot of people to hear it. And I would never get the chance in the United States. Never."

"It was a kind of national anthem, it was also a kind of weird warped lullaby."

"And to be one of the records in this small box, it makes me so happy, it almost makes me sad."

(Laurie Anderson on 'O Superman' being featured in legendary UK radio DJ John Peel's show in 1981

- as heard on 'John Peel's Record Box', a BBC documentary (2005))

UPDATE: listen to what radio DJ David Jensen, Feargal Sharkey, Laurie Anderson, Sir Elton John and others have to say about 'O Superman's emergence in the UK with the help of John Peel

• John Peel's Record Box: 'O Superman' by Laurie Anderson (audio length: 1 min 21 secs, file size: 1.86 MB)

Concert Photos: Nashville, 2005

'The End of the Moon', November 2005 in the Massey Concert Hall in Nashville, TN, as part of the 'Great Performances at Vanderbilt' series. Photo by John J. Brassil. Click here for more photos of the concert.

Then and Now #5: the Blocks of Ice

1975: 'Duets on Ice' in Genova, Italy. Laurie Anderson and two Italian men on different levels of sociability.

Photo by Bob Bielecki

2005: Laurie Anderson opens her exhibition 'The Record of Time' at the Irish Museum of Modern Art in Dublin, Ireland.

Photo source: Profimedia

"I love duets so I made a violin that plays by itself, so that I could play duets with it live. This combination of live and pre-recorded has been basic to my work for ever. This violin was played in five different places around New York. It was an endless cassette loop. Like many minimal pieces, it would start and yards and yards of material would go by and then it would stop, it didn't have a narrative structure typical to music, that's why it was minimalism."

"I used for this timing mechanism, for this endless piece of music a pair of ice-skates which I wore with their blades frozen into blocks of ice. I played this piece - endless loop - until the ice melted and I lost my balance and the concert was over. So, there I was, on this hot summer street of New York, wearing these ice-skates that were sort of gradually wobbling and then my ankles would splay out and the concert would be over and people were like "what's that?". But, for me, it had the social aspect of an audience which I really did enjoy as an artist because my question is always: who are you talking to? Who's your audience? Who are you making this for? History? Other artists? Critics? Your friends? General public? Box office? Who?"

(Laurie Anderson, on her Self-Playing Violin,

part of the MoMA's collection in New York)

If you go to the MoMA collection's website, you can listen to Laurie Anderson describe her Self-Playing Violin (1974) and 'Duets on Ice'.

Stare with Your Ears

...This could be an excerpt from a Laurie Anderson lyrics but it's the title of a documentary on Ken Nordine, le doyen of spoken word, created by Pakistani-Canadian film director Omar Majeed, featuring interview excerpts of - amongst others - Laurie Anderson.

Extra: a recording of the Meltdown Festival that is mentioned in the documentary (created by Laurie Anderson in London, 1997) can be listened to here.