One day, your child will ask you why everyone in his family has their own turntable. A twinkling in your eye, you’ll pat him on the head and say, “Well kiddo, because audiovisual frontiersman like Structure went and changed the game! Additionally,” you’ll say, “a revival in traditional music production paired with a growing appreciation for the lifespan and tangibility of vinyl records created a marketplace conducive to the experimental interweaving of sonic and visual art!”
I’m talking, of course, about the fact that we live in a world where 33 rpm pieces of microgroove magic can now be pressed with vibrant images that morph and ungulate to the beat of the song. If you’re like me, this is big news, but zoetropic animation is by no means a new invention. Ancient forms of this rotation imagery can have viewers equally as dazzled as I know you will be once you see Structure’s latest sold-out picture disc spinning beneath the needle.
Plastic Infinite from Sculpture
Are your ears smoking yet? Can you feel it in your face?
People are doing amazing things with regular ol’ posters too. If you’re planning a trip to SXSW this year, do yourself a favor and spend time between performances at the trade shows happening down there, most importantly, Flatstock 43. (Even if you can’t make it to Austin, pretty much every music festival has something like this.)
Flatstock, if you want to know, was the 2002 brainchild of artists, fans and members of the relatively new American Poster Institute, a non-profit organization created to teach the world about poster design and printing as a legitimate, ever-evolving art form. Now having facilitated over forty exhibitions all over the world, Flatstock is a collective fist of fury thrust into the galaxy above hoards of art kids and independent musicians working to teach the rest of you the truth: The Power Is In Our Hands!
Written by Jerod Barker. Tune into the Midwest Coast every Friday from 8-10pm. Only on 90.7fm KJHK.