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At the same time, he studied art sociology at the University of Utrecht. Following that, he was, successively, the director of the Fine Arts Academy in Leeuwarden; and a curator and head of education and public relations for the Den Haag City Museum and for the Van Abbe Museum in Eindhoven. In addition, he continued to paint and make collages. In 1965 he founded the artist group "De Bende van de Blauwe Hand." This group, which was closely related to Fluxus, presented exhibitions, environments and happenings in museums and galleries. Starting in 1965, he presented "situations" meant to involve the audience, and in 1968, he started the Maciunas Quartet, who are still making experimental music. In the early seventies, Panhuysen worked as an advisory artist with urban development teams and develo .dped systematic ordering systems and mathematical series that he has continued to use in his work as an artist. In addition, Panhuysen's work shows a predilection for found objects and the element of chance. To an increasing degree, Panhuysen has been concentrating on sound art, which has come to occupy an important place in his visual art work. He has presented his Long String Installations, which are played in concerts personally and in exhibitions as automats,worldwide since 1982: a.o. in Boston, Washington D.C., Dresden, Berlin, Hannover, Linz, Ferrara, Barcelona, Lodz, Warsaw, Moskow, Paris, New Yor .èk, San Francisco, Tokyo, Kobe, Kyoto, Lyon, Rome, Prague and Mexico-city. These installations are set-up in indoor or outdoor spaces for anywhere from 1 to 40 days. They utilize the site specific properties and architectural prospects of the location. " Singing the World of Existence " Musee d'art Contemporain, Lyon, France, 1998 Since 1989 Panhuysen developes artworks in which he confronts the audience with the creativity, intelligence and communicational skills of animals, especially of birds. In 1980, Panhuysen founded Het Apollohuis, and since then till 1997, he has been the director of this internationally oriented podium where artists from divergent disciplines can present their work. In 1996 he received the Cultural Award of Noord-Brabant and in1998 he became Companion of the Order of the Dutch Lion. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => raw-components [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:19 [post_modified_gmt] => 2015-01-09 16:03:19 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6515 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 504 [post_it] => 10 ) [1] => WP_Post Object ( [ID] => 6547 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Untitled [post_excerpt] => O'Rourke's performing career began as a member of The Elvis Messiahs in 1987 in Chicago. According to Please Join Us magazine, the band performed a noisy, theatrical style of free improvisation, playing live regularly and appeared with such noteables as Nicolas Collins and Jack Wright. In 1988, O'Rourke disbanded The Elvis Messiahs and began working with Dan Burke's post-industrial beat combo, Illusion of Safety. O'Rourke has been involved in several of the band's recordings, and on their recent CDs such as Probe and Historical, his influence is particularly noticeable. O'Rourke gained a degree in composition at DePaul University, a background that inevitably separates his work from the post-industrial groups with whom he's sometimes compared. He was over in London for a month in March, and I took the chance to ask him if this education had been important to him in introducing him to a wider variety of new music. O'Rourke's education would seem to have had little influence on his musical work, as for the most part it was based firmly in the post-serialist tradition; here, music is written according to a strict set of rules and a student's work can be judged according to its adherence to those rules. As O'Rourke tells me, "they don't have to deal with taste at all ... they were just trying to mould you into becoming professors. Which is one of the reasons I went for the labels like Extreme in the first place, because I thought 'you're crazy, you're not even in touch any more'". Of course, in the arts and humanities world, it's part and parcel of academia not to be in touch. O'Rourke isn't reactionary enough to suggest that this education was a waste of time, acknowledging that all the time spent learning techniques like counterpoint was relevant to his musical work. He even points out that a new piece he's been working on deals on one level with certain madrigal forms. But most importantly, he says that it gave him an opportunity to have to argue, to have to think about what it was he really wanted to do. He didn't just spend his time learning either, he taught some of the school's electronic music classes while he was there, and gave private guitar lessons. Most of O'Rourke's guitar recordings are documents of improvisations, and as a result he seems marginally more forgiving of them.Other forthcoming releases include one with the Swiss group Voice Crack, and a collaboration with Keith Rowe recorded while both were visiting H.N.A.S.'s Christoph Heemann in Germany. While in London, O'Rourke recorded an improvised music session for BBC Radio Three's Mixing It programme, with Derek Bailey, Vanessa Mackness and Eddie Prévost. Even though O'Rourke's value judgement of the results didn't go much beyond saying "it was OK", he seemd pleased with how it had turned out. O'Rourke also took the opportunity to give a couple of live performances. A scheduled team-up with Conspiracy didn't take place, but he did guest with Put Put (who also feature the Jacques brothers from These Records), who on the night that I saw them delivered an intoxicated, mesmerising drone rock melange. Later in the month, he appeared on stage with Eddie Prévost and Michael Prime, the fill-in act separating a two-part set by Main. I imagine most of the audience had come to see the ex-indie rockers, but there's no doubt that it's the improv trio who got the most applause, mainly thanks to some inspired drumming by Prévost, aided by the sympathetic noise and drones from O'Rourke and Prime. One of the main purposes of O'Rourke's time in London was to make a recording with Main's Robert Hampson. This double CD-set is the companion to the final book reporting on the activities of Het Apollohuis. The recordings on these CDs give an idea of the music and the sound art presented in concerts at Het Apollohuis in the priod from 1980 through 1997. Out of a total of 500 performances I chose 38, from which exceprts of varying lenght have been included in this anthiology. These have been arranged in chronological order. The diversity of the selected pieces is characteristic of the programme of Het Apollohuis. Only limited number of composers and musicians who performed can be heard in brief fragments o these discs. Consequently a considerable number has been excluded. There simply was no way to include them all (this selection does not imply we value one above the other). The choice of the particular musicians has been my responsability (P: Panhuysen). liner notes: René van Peer sound selection: René Adriaans mastering: Frank Donkersgoed design: Tom Homburg, Marcel d'Anjou (Opera) [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => untitled-11 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:23 [post_modified_gmt] => 2015-01-09 16:03:23 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6547 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 537 [post_it] => 10 ) [2] => WP_Post Object ( [ID] => 6579 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Kantatos, performance [post_excerpt] => Dmitri Prigov (1940-2007, Moscow, Russia) – poet, essay writer, artist, performer. Started his creative literary and artistic activities in the late 1950s. He is the author of numerous publications in magazines, literary miscellanies, catalogues and anthologies of contemporary poetry, as well as poetry books, essays and prose, issued by Russian and foreign publishing houses, including such as: Text Publishers, New Literary Review (Moscow), Limbach Publishing House (St.Petersburg), Michigan University Press (Chicago), Indiana University Press (Bloomington), Penguin (London), Iron Press (Culler Coats), Reclam Verlag, Oberbaum Verlag, Literarische Colloquium (Berlin), Space Umano (Milan), Triptyque Poesie, LRS-AMGA (Paris) and others. Among the recent poetry books are the following ones: 50 Drops of Blood (Moscow: Argo-Risk, 1994), Emergence of verse after its death (Moscow: Text, 1995), Militiaman and Others (Moscow: Obscuri Viri, 1996), Der Milizionär und die Anderen (Leipzig: Reclam Verlag, 1992), Les flauves de la vie (Paris: Triptyque, LRS-AMGA, 1994), Soviet texts – 1979-84 (St.Petersburg: Limbach Publishing House, 1997), Written since 1990 till 1994 (Moscow: NLO, 1998). He conducted a number of solo exhibitions at the Struve Gallery (Chicago), Contemporary Art Center (Saint Louis, 1989), Krings-Ernst Gallerie (Cologne, 1991), DAAD Gallery (Berlin, 1991), Guelman Gallery (Moscow, 1994), Russian Museum (St.Petersburg, 1994), Luedwig Museum (Budapest, 1995), Krings-Ernst Gallerie (Cologne, 1995), Muelcheim Museum (Muelcheim-on-Ruhr, 1995) and others, he also conducted a number of poetry readings and lectures on contemporary Russian art and literature at Harvard, Stanford, Columbia Universities, also at Berkeley, Los Angeles, and Ohio University College and so on (USA), London and Cambridge University colleges (Great Britain), as well as at the Universities of Munich, Frankfurt, Bochum, Bremen, Heidelberg (Germany) and others. Since the midst 1980s Prigov has participated in various festivals of contemporary poetry both in Russia and abroad, including such as: Novostroyka Avant-garde Festival (London, 1988), Festival of Avant-garde Classical Music (Moscow, 1990), Milanopoesia (Milan, 1991), Brighton Art Festival (Bridgetown, 1992), Rotterdam Poetry Festival (Rotterdam, 1993) and so on. In 1984-87 he performed as a vocalist and saxophone player with the group “Middle Russian Hills,” recorded several musical albums and solo poetry readings (MC, CD-format). Since 1989 till 1993 he hosted a program on the radio “Deutsche Welle.” In 1989 a documentary film was made about the poet’s creative activities, it was called “Dmitri Prigov: Poet and Rebel” (Moscow). He acted in the feature films “Taxi Blues”(1990), “Khrustalyov, Get into the Car!”(1995). Prigov participated in more than a hundred group exhibitions both in Russia and abroad. He was a laureate of various prizes, rewards and awards, including the Pushkin Prize for literature (Topfer-Foundation and Russian PEN Club, 1994), German Academy of Art Award (1991), also First Prize winner at the Paper Biennial (Duren, 1994) [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => kantatos-performance [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:26 [post_modified_gmt] => 2015-01-09 16:03:26 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6579 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 569 [post_it] => 10 ) [3] => WP_Post Object ( [ID] => 6611 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => ma che bello [post_excerpt] => Gianluca Codeghini Nato a Milano il 02.09.1968 Diplomato all’Accademia di Brera Milano al corso di Pittura. Frequenta i corsi di Musica Elettronica e di Semiotica a Bologna e Milano. Le sue prime esperienze artistiche indagano nell’ambito della ricerca sonora e di una modalità per archivia-re e rigenerare il rumore a queste affianca performance e installazioni in ambiti urbani e in spazi espositivi, nel 1992 fonda laciecamateria edizioni. Alcune linee teoriche del suo lavoro vertono temi come il rumore, la luce e la cecità, la polvere, il gioco, l’intervallo, i sottofondi, svariate sono le collaborazioni. Espone in Italia e all’estero dal 1990 in spazi pubblici, musei, gallerie e spazi vir-tuali, in questo ultimo anno: “Lo sguardo ostinato” a cura di E. Grazioli, MAN Museo d’Arte Provincia di Nuoro; prosegue la ricerca sul suono e presenta “Noi se” a Milano presso A+M Bookstore e a Roma all’interno del progetto “InsideOUT”, a cura di M. Allicata e F. Ventrella presso la Red Bull Music Accademy; realizza la colonna sonora del video “Ada Negri” di Dario Bellini; è pubblicato in “La polvere nell’Arte” a cura di E. Grazioli, Bruno Mondadori; “Il gioco epistemico” conversazione con P. Braione in “La cultura politecnica” a cura di M. Bartoldini, Bruno Mondadori; prende forma il progetto “Warburghiana”. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => ma-che-bello [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:03:30 [post_modified_gmt] => 2015-01-09 16:03:30 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6611 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 602 [post_it] => 10 ) [4] => WP_Post Object ( [ID] => 6643 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Purple Spandex Pants [post_excerpt] => Chris Bors was born in Ithaca, New York in 1971. He lives and works in Harlem in New York City. He received his BA from University at Albany in 1993 and his MFA from School of Visual Arts in 1998. He also studied at Rhode Island School of Design in 1995. His solo exhibitions in New York include Quest for Herb at Here Art and Beat Down at PS 122 Galley. His art has also been shown at PS1 MoMA, White Columns, and Ten in One Gallery in New York, and in Berlin, Cyprus, the Netherlands, and Zurich. His work has been reviewed in The New York Times, Time Out New York, Newsday and PAJ, A Journal of Performance and Art, as well as being featured in Razor and zingmagazine. He has curated exhibitions at Here Art in New York and Vox Populi in Philadelphia and written criticism for artnet.com. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => purple-spandex-pants [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:05:24 [post_modified_gmt] => 2015-01-09 16:05:24 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6643 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 634 [post_it] => 10 ) [5] => WP_Post Object ( [ID] => 6675 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => The Shape of Things to Come (1-7) [post_excerpt] => "ghost.dances/ on the event horizon": following up her retrospective anthology "Thank You For Flying American", visual, performance, and media artist, and audio-composer/producer Jacki Apple's second CD release is a sonic evocation of the clash between nature and culture in the modern world. It contains works from six major pieces that explore environmental issues - The Amazon (from "The Amazon, The Mekong, The Missouri and The Nile"), an excerpt from "Aviary of the Lost" plus "Flame to Moth & Fish Gotta Swim" and "Ghost Dancers for Birdland" from "The Culture of Disappearance", the full-length "One World at a Time" set in outer space, inner space, and cyber sapce, and "Fluctuations of the Fields" based on the writings of physicist avid Bohm. It includes music from Bruce Fowler, Ruben Garcia, and Kira Vollman & Joseph Berardi, as well as Apple's sound compositions and vocals. A Cactus Foundation/ Chronic Interactive production [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => the-shape-of-things-to-come-1-7 [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:05:27 [post_modified_gmt] => 2015-01-09 16:05:27 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6675 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 666 [post_it] => 10 ) [6] => WP_Post Object ( [ID] => 6735 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => 000 001 e rays [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => 000-001-e-rays [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:05:33 [post_modified_gmt] => 2015-01-09 16:05:33 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6735 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 726 [post_it] => 10 ) [7] => WP_Post Object ( [ID] => 6767 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Faintly mixed [post_excerpt] => Linda O’ Keeffe (b. 1975) In 2004 O’ Keeffe received an MA in Fine Art Virtual Realties, She has shown in Sweden, London, China and Canada and Ireland. Her work is predominantly sound art placed within the context of virtual spaces, O’ Keeffe looks to recreate the physical memory of experience of place and time through sound. O’ Keeffe was commissioned this year to create sound and music for the Dance Theatre Of Ireland for a performance, Watermark, which toured around Ireland in October. Her sound has been published to CD for the Deepwireless festival in Toronto and she is a freelance writer for Musicworks magazine in Toronto. In June 2006 she will start a residency in the CAMAC centre for art for three months. There she hopes to work with scientists and technologists to build work based on dead and new languages. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => faintly-mixed [to_ping] => [pinged] => [post_modified] => 2019-08-08 14:08:26 [post_modified_gmt] => 2019-08-08 12:08:26 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6767 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 759 [post_it] => 10 ) [8] => WP_Post Object ( [ID] => 6821 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Narciso violento [post_excerpt] => Studia chitarra brasiliana e chitarra flamenco. Dopo il diploma al liceo classico studia architetura alla Sapienza e pianoforte classico con il maestro Emilio Rabaglino. Quindi frequenta la scuola popolare di musica di testaccio (composizione e pianoforte jazz), e partecipa ai seminari estivi della Berklee ad Umbria Jazz e a quelli di Siena Jazz. Suona a Jeddah (Arabia Saudita) per uno scambio culturale, sia come solista che come accompagnatore. Compone una sonorizzazione per una performance teatrale di Filippo Garrone. Suona con la Moinor Funk Orchestra diretta da Angelo Schiavi. Nel 1998 si trasferisce a New York dove studia alla Mannes Jazz School of Music ed all'Istitute of Audio Research diplomandosi in ingegneria del suono. In questo periodo suona in diversi locali di NY e NJ. Compone la colonna sonora per il cortometraggio "taken..." di Bartek Rainski (vincitore al RIFF come miglior corto straniero), scrive e co-produce con lo stesso Rainski il cortometraggio "CONFINI". Nel 2002 lavora a Ouagadougou in Burkina Faso per l'avviamento di uno studio di registrazione (basato sul sistema digitale Soundscape), insegnando ad uno stagista Burkinabé le tecniche di regisrtazione e post produzione, e registrando diversi gruppi locali (verranno prodotti due dischi). Tornato in Italia, finisce insieme a Bartek Rainski la post-produzione del cortometraggio "Confini", e ne compone la colonna sonora. Composizione/sonorizzazzione per la performance video/teatrale "Narciso violento" e "Evian" di Caroline Freddi. Compone musiche per pubblicità, cartoni animati e programmi tv. In questo periodo lavora anche ad una raccolta di brani di carattere minimalista per pianoforte solo intitolata 'gocce', registrata poi nel Giugno 2005 e pubblicata in Ottobre. Insegna pianoforte moderno alla scuola "Officine Musicali". [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => narciso-violento [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:06:51 [post_modified_gmt] => 2015-01-09 16:06:51 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6821 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 814 [post_it] => 10 ) [9] => WP_Post Object ( [ID] => 6853 [post_author] => 2 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => The Liverpool Song Lines. From U to Z [post_excerpt] => Benjamin (Ben) Patterson (born 1934 in Pittsburgh, PA.) graduated 1956, University of Michigan, Bachelor of Music. According to an old biography he was "proficient on the double-bass, knowledgeable in music theory and history and acquainted with the crafts of composition and conducting." After a brief career as a double-bassist with symphony orchestras in Canada he settled in Cologne in 1960. There, he was active in the contemporary music scene, performing in festivals in Cologne, Paris, Venice, Vienna and elsewhere. During this pre-Fluxus period he created and performed some of his early seminal works: - "Paper Piece", "Lemons" and "Variations for Double-Bass". Late in 1961 Patterson moved to Paris, where he collaborated with Robert Filliou ("puzzle poems") and where he published his "Methods and Processes". Commuting between Paris and West Germany, Patterson assisted George Maciunas in organizing the historic 1962 Fluxus Festival in Wiesbaden. His interview with Emmett Williams - for the opening of this festival - became the first article ever about Fluxus. Similarly, the first film documentation of Fluxus - news coverage by German Television - featured Patterson's performance of his "Variations for Double-Bass." After Wiesbaden Patterson and his works continued to be an important presence at Fluxus events around the world. In 1963 Patterson moved to New York, where he participated in Fluxus manifestations until the late 1960's - when he returned to pursue "an ordinary life". During the next two decades he successfully pursued a career in arts administration - managing a variety of music, theater and dance companies and serving as administrator or consultant to municipal, state and federal arts funding agencies. Although he remained outside the Fluxus scene during this period, he did occasionally surface with performances and new works for such events as the 20th Anniversary Fluxus Festival in Wiesbaden in 1982 and the 1983 Bienal de Sao Paulo, Brazil, and has been well represented in the various exhibitions throughout the USA of the Silverman Collection. In September 1988 Patterson returned from retirement with a solo exhibition of new assemblages and constructions at the Emily Harvey Gallery in New York. Since then, he has exhibited or performed widely in major or minor venues from Brisbane, Australia, to Prague, Czechoslovakia and from Winnipeg, Canada to Tusa, Sicily. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => the-liverpool-song-lines-from-u-to-z [to_ping] => [pinged] => [post_modified] => 2015-01-09 17:06:54 [post_modified_gmt] => 2015-01-09 16:06:54 [post_content_filtered] => [post_parent] => 0 [guid] => http://orangepixel.it/zerynthia/?post_type=sounds&p=6853 [menu_order] => 0 [post_type] => sounds [post_mime_type] => [comment_count] => 0 [filter] => raw [old_id] => 846 [post_it] => 10 ) ) [post_count] => 10 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 6515 [post_author] => 1 [post_date] => 2014-08-22 10:38:39 [post_date_gmt] => 2014-08-22 08:38:39 [post_content] => [post_title] => Raw Components [post_excerpt] => Paul Panhuysen (1934, Borgharen) studied painting and monumental design at the Jan van Eyck Academy in Maastricht from 1954 till 1959. At the same time, he studied art sociology at the University of Utrecht. Following that, he was, successively, the director of the Fine Arts Academy in Leeuwarden; and a curator and head of education and public relations for the Den Haag City Museum and for the Van Abbe Museum in Eindhoven. In addition, he continued to paint and make collages. In 1965 he founded the artist group "De Bende van de Blauwe Hand." This group, which was closely related to Fluxus, presented exhibitions, environments and happenings in museums and galleries. Starting in 1965, he presented "situations" meant to involve the audience, and in 1968, he started the Maciunas Quartet, who are still making experimental music. In the early seventies, Panhuysen worked as an advisory artist with urban development teams and develo .dped systematic ordering systems and mathematical series that he has continued to use in his work as an artist. In addition, Panhuysen's work shows a predilection for found objects and the element of chance. To an increasing degree, Panhuysen has been concentrating on sound art, which has come to occupy an important place in his visual art work. He has presented his Long String Installations, which are played in concerts personally and in exhibitions as automats,worldwide since 1982: a.o. in Boston, Washington D.C., Dresden, Berlin, Hannover, Linz, Ferrara, Barcelona, Lodz, Warsaw, Moskow, Paris, New Yor .èk, San Francisco, Tokyo, Kobe, Kyoto, Lyon, Rome, Prague and Mexico-city. These installations are set-up in indoor or outdoor spaces for anywhere from 1 to 40 days. They utilize the site specific properties and architectural prospects of the location. " Singing the World of Existence " Musee d'art Contemporain, Lyon, France, 1998 Since 1989 Panhuysen developes artworks in which he confronts the audience with the creativity, intelligence and communicational skills of animals, especially of birds. In 1980, Panhuysen founded Het Apollohuis, and since then till 1997, he has been the director of this internationally oriented podium where artists from divergent disciplines can present their work. In 1996 he received the Cultural Award of Noord-Brabant and in1998 he became Companion of the Order of the Dutch Lion. 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