Thirteen Senses Vinyl

[Vella Massart]

ThirteenSenses are a post-Britpop band from Penzance, Cornwall. The group released the album The Invitation on 27 September 2004, along with several singles: "Thru the Glass", "Do No Wrong", "Into the Fire" and "The Salt Wound Routine", of which the first three reached the top 40 of the UK singles chart. Their second album, Contact, was released in April 2007. Thirteen Senses are the only Cornish band to have a top 20 single.[citation needed]

Thirteen Senses started out as Soul Magician, that began in school when Will South started writing songs which he showed Adam Wilson. He in turn liked the songs and left the other band he was in at the time. Soul Magician took off when South and Wilson met Tom Welham. The latter knew Brendon James and they all became friends.

In 2002 Soul Magician released an EP, Inside A Healing Mind, which was produced by Leon Phillips. It consisted of four tracks, one of which was later released as a B-side. "Attracting Submission" is found on the "Do No Wrong" 7" vinyl. After that came in 2002 the No Other Life Is Attractive EP: the first Thirteen Senses release, produced by Dare Mason. This had five tracks. Four of them have been released as B-sides, the exception being "Sound". They then issued in 2003, Falls in the Dark, a self-released and independent demo album.

At the beginning of 2004, and before The Invitation, Thirteen Senses released their first single, "Thru the Glass". This was released on both CD and 7" vinyl. The B-side was identical on both releases: "No Other Life Is Attractive". Later, the next single was "Do No Wrong" and it reached number 38 in the official UK singles chart.[1] To promote it, Thirteen Senses went on tour, including a homecoming gig at the Hall for Cornwall in Truro.

The third single from the band was "Into the Fire". This was also released on two CDs and vinyl "Into The Fire" was used on BBC One's Match of the Day. After this came a re-release of "Thru the Glass" which broke the group into the UK Top 20.[1]

The band spent much of the latter part of 2005 and early 2006 in the recording studio, working on their next album, Contact. It was released on 2 April 2007. It was originally planned to be released in February 2007 but after playing three pre-album gigs at The Luminaire in London (on the thirteenth of the months of October, November and December), the band produced new tracks. "Talking to Sirens", one of the new tracks from Contact, was only played at the last gig. Due to the new album release date, their UK tour was rescheduled for March.

On 16 March 2010 the band made their third album Crystal Sounds available to stream on their website, thirteensenses.com. A day later they announced this on their MySpace page and said the album would be available to stream "for a limited time". The physical version of Crystal Sounds was released on 21 February 2011 with four tracks not featured on the early release.

Video art exploits audio and visual technology using multiple formats of recorders, computers, video tapes, television sets, projectors, and newer digital equipment. Video art began in the 1960s with the advent of the old analog video recorders and tapes. Nam June Paik was considered the pioneer of the concept when in 1965, he made a recording and played it in a local caf. Previously, only 8 and 16mm film were available, and it had to be played on expensive, cumbersome equipment. Paik used new technology from SONY to easily record and play videos, the first step for ordinary consumers to afford video-recording technology. The inexpensive technology gave artists an experimental platform, challenging them. In the 1970s, artists and technicians combined elements like multiple television sets to display video images. Many artists used the camera to create and project personal or taboo images and videos onto displays, challenging the ideas of what was acceptable and shattering traditional art concepts. When confronted with this new technology outside the conventional description of art, museums were horrified at the concept of sounds, movement, unknown objects sitting in their white-walled spaces.

Technological abilities increased exponentially during the 1980s and 1990s; hardware became more sophisticated and smaller as software added more capabilities. Artists found it easier to create video installations with unknown innovations. Artists used the newer capabilities to develop installations, virtual reality, or performance art. Video art also allowed artists to express social concepts and political causes in methods common to how people received information. Social movements became dependent on video technology to define and expand their messages. The video capabilities allowed artists to mimic more traditional art forms, utilizing video signals' distortion and dissonance as the creative platform. By the 1990s, the museums finally accepted the new forms of artwork as the advance of technology propelled the art form into the mainstream. Video obtained the rank of the other art mediums, art schools offering video as a viable specialization.

Nam June Paik (1932-2006) was born in Seoul, Korea; his father owned a large textile company. He was the youngest of five children and trained as a pianist as a child. During the Korean war, the family fled to Hong Kong and then Japan, where, in 1956, he received a BA from the University of Tokyo in aesthetics. Paik went to West Germany to further study music and became part of a new experimental art group. When he moved to the United States in the early 1960s, Paik started to experiment with synthesizers and how to manipulate musical sounds. He first used a Sony recorder until 1967 when Sony introduced a new portable video-tape-recorder giving Paik the platform he needed, creating a new direction in art. Paik's first exhibition was based on thirteen television sets. He continued to use TV sets for experiments, spanning the capabilities of technology and art. By 1974, he proposed the electronic information superhighway, connecting cities and people with satellites, coaxial cables, and fiber optics. Paik wanted to distribute videos freely, flowing through the information highway. His optimism and forward-thinking forecasted the future and is internationally considered the Father of Video Art. Paik also began to make installations from old televisions sets and video monitors to display different images on closed circuits across the installation. He used televisions sets to make robots adding wire, metal, and miscellaneous parts. Paik understood the future capabilities of imagery and used file and video as multi textual art forms.

Paik used television sets to create the American flag; in this installation, Video Flag (7.4.1), seventy sets are primarily programmed to red, white, and blue images. He used magnets to manipulate the signals and synthesizers, video feedback, and various technologies to create different colors and shapes. Paik made several other installations of flags in a variety of sizes. In this flag, he projected on a continuous loop, 24 hours a day, different images of political images. Technology has a finite ability to continue working, and all of Paik's flag installations have been undergoing conservation efforts, using new technology and wiring to preserve the mechanisms.

In 1964, when Paik first came to America, the interstate highway system, established under Eisenhower's presidency, was only nine years old. The highway ran from coast to coast, linking the states of the country. At the time, detailed maps guided the drivers from state to state. Restaurants and motels were constructed across the country, their neon nights burning brightly, different states presenting different cultures. The entire country also embraced the use of the television set, linking the news and days events with the homes of America. Paik recognized how to use video media to connect people and how it would transform everyone's life. He created Electronic Superhighway (7.4.2), a massive installation of 336 television sets, 50 DVD players, 3,750 feet of cable, and 575 feet of multicolored neon tubing. [2] On the different monitors, he plays images to represent each state surrounded by flashing tubes of neon light. Paik wanted to display his vision of how technology and communication would advance in the future.

Megatron Matrix (7.4.3) was an installation of 215 monitors. Paik played different clips in sections, some based on his images from his home country of South Korea and others different ideas of entertainment and culture of the United States. All of Paik's installations were prophetic of the world's future information age.

From Cincinnati, Ohio, Alan Rath (1959-2020) graduated from the Massachusetts Institute of Technology with his degree in electrical engineering. Rath was always captivated by machinery when he was young. He worked for a short while as an engineer before moving to California to study visual arts, incorporating his knowledge of machinery and sculptures. Rath created his electronics and wrote the software to run his sculptures, even changing the presentations of the sculptures over the years. Most of his works featured computer-generated independent body parts; a moving eye or a twitching nose. Rath wanted to reflect the correlation between technological systems and humanity. He primarily featured eyes in many of his works, sometimes staring at viewers, blinking, or jumping around the screen. Rath made sculptures somewhat alien, using fiberglass, polypropylene, aluminum, custom electronics, and partridge feathers because of their fluidity.[3] Rath used motion sensors and heat detectors, the viewers themselves causing motion.

Clock II (7.4.4) was one of his early creations. At this time, the industry was in transition, moving from electrical to computational. Rath's work used cathode ray tubes (CRT), the precursor to current liquid crystal displays (LCD). In this installation, he has two screens, each with a hand, the extended fingers moving. The sculpture needed large boxes with multiple large cables to make the images move. Throughout his career, Rath added different sculptures of his Eyeris series.

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