Rome Prize and Berlin Prize winner Ken Ueno is a composer, vocalist and sound artist. Ueno’s collaborators include the Hilliard Ensemble, Kim Kashkashian and Robyn Schulkowsky, Steve Schick and SFCMP, and Frances-Marie Uitti. As a vocalist, he has performed his concerto with orchestras in Boston, New York, Poland, Lithuania, Thailand, North Carolina, and California. Ueno is currently a Professor in Music at UC Berkeley, where he holds the Jerry and Evelyn Hemmings Chambers Distinguished Professorship in Music. His bio appears in The Grove Dictionary of American Music.
I was invited to participate on a panel for a media arts festival in 2021. Each artist participan... more I was invited to participate on a panel for a media arts festival in 2021. Each artist participant was asked to submit a one-minute video to represent their work. It occurred to me that the one-minute limit imposed upon us was indicative of values just beneath the surface of the logistical parameters. The time limit was ostensibly designed to facilitate presentations by a quorum of artists the festival needed to host, but I was frustrated with the imposed impediment to satisfactorily representing my work. The time limit began to feel like a cultural bias.
Blues in Philosophy for Everyone: Thinking Deep About Feeling Low, 2012
The authenticity of a thing is the essence of all that is transmissible from its beginning, rangi... more The authenticity of a thing is the essence of all that is transmissible from its beginning, ranging from its substantive duration to its testimony to the history which it has experienced. Since the historical testimony rests on the authenticity, the former, too, is jeopardized by reproduction when substantive duration ceases to matter. And what is really jeopardized when the historical testimony is affected is the authority of the object.
One might subsume the eliminated element in the term “aura” and go on to say: that which withers in the age of mechanical reproduction is the aura of the work of art. - Walter Benjamin
I was invited to participate on a panel for a media arts festival in 2021. Each artist participan... more I was invited to participate on a panel for a media arts festival in 2021. Each artist participant was asked to submit a one-minute video to represent their work. It occurred to me that the one-minute limit imposed upon us was indicative of values just beneath the surface of the logistical parameters. The time limit was ostensibly designed to facilitate presentations by a quorum of artists the festival needed to host, but I was frustrated with the imposed impediment to satisfactorily representing my work. The time limit began to feel like a cultural bias.
Blues in Philosophy for Everyone: Thinking Deep About Feeling Low, 2012
The authenticity of a thing is the essence of all that is transmissible from its beginning, rangi... more The authenticity of a thing is the essence of all that is transmissible from its beginning, ranging from its substantive duration to its testimony to the history which it has experienced. Since the historical testimony rests on the authenticity, the former, too, is jeopardized by reproduction when substantive duration ceases to matter. And what is really jeopardized when the historical testimony is affected is the authority of the object.
One might subsume the eliminated element in the term “aura” and go on to say: that which withers in the age of mechanical reproduction is the aura of the work of art. - Walter Benjamin
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One might subsume the eliminated element in the term “aura” and go on to say: that which withers in the age of mechanical reproduction is the aura of the work of art. - Walter Benjamin
One might subsume the eliminated element in the term “aura” and go on to say: that which withers in the age of mechanical reproduction is the aura of the work of art. - Walter Benjamin