The raw material to make vinyl records comes in vinyl pellets, lentil-sized bits of petroleum product that are easily transportable before they get melted and stamped with grooves of sound. The pellets were loaded on a scale until it reached 180 grams, which is the weight of audiophile vinyl (as opposed to 120 grams which is the standard weight of records). One by one the pellets will be either sold, gifted, or placed in a public space. Each transaction will be documented and paired with a photograph of the pellets arranged in the form of a 12″ record which will be correspondingly diminished by one (see images below). The record will have been released when the last pellet will have been sold, gifted, or placed. In the meantime, it is simply in the process of releasing.
An individual can only receive one pellet as a gift but may purchase more than one. In general, purchasers may not reserve particular numbers, they will simply have the next number in the sequence. The person receiving the pellet may remain anonymous or use initials if that is their preference.
Each person receives an info card and a certificate of ownership along with each pellet that is received or purchased, see bottom of this page for images of the cards.
Unplayable vinyl pellet with certificate of ownership and info card.
|VINYL PELLET – Free|
Christof Migone is an artist, curator and writer. He works with language, voice, bodies, performance, intimacy, complicity and endurance. He co-edited the book and CD Writing Aloud: The Sonics of Language (Los Angeles: Errant Bodies Press, 2001) and his writings have been published in Aural Cultures, S:ON, Experimental Sound & Radio, Musicworks, Radio Rethink, Semiotext(e), Angelaki, Esse, Inter, Performance Research, etc. He obtained an MFA from NSCAD in 1996 and a PhD from the Department of Performance Studies at the Tisch School of the Arts of New York University in 2007. He has released nine solo audio cds on various labels (Avatar, ND, Alien 8, Locust, Oral). He has curated a number of events: Touch that Dial (1990), Radio Contortions (1991), Rappel (1994), Double Site (1998),stuttermouthface (2002), Disquiet (2005), START (2007),STOP.(2008), and Should I Stay or Should I Go (Nuit Blanche 2010 – Zone C), and numerous others for the Blackwood Gallery between 2008 and 2013. He has performed at Beyond Music Sound Festival (Los Angeles), kaaistudios (Brussels), Resonance FM (London), Nouvelles Scènes (Dijon), On the Air (Innsbruck), Ménagerie de Verre (Paris), Experimental Intermedia (NYC), Méduse (Québec), Images Festival (Toronto), Send+Receive (Winnipeg), Kill Your Timid Notion (Dundee), Mutek, Victoriaville Festival, Oboro, Casa del Popolo, Théâtre La Chapelle, DHCArt, CAFKA, Museum Leuven, Whitney Museum, etc. His installations have been exhibited at the Banff Center, Rotterdam Film Festival, Gallery 101, Art Lab, eyelevelgallery, Forest City Gallery, Studio 5 Beekman, Mercer Union, CCS Bard, Optica. He has collaborated with Lynda Gaudreau, Martin Tétreault, Tammy Forsythe, Alexandre St-Onge, Michel F. Côté, Gregory Whitehead, Set Fire To Flames, and Fly Pan Am. A monograph on his work, Sound Voice Perform, was published in 2005. In 2006, the Galerie de l’UQAM in Montreal presented a mid-career survey of his work accompanied by a catalog and a DVD entitled Trou. A book compiling his writings on sound art,Sonic Somatic: Performances of the Unsound Body was published in 2012 by Errant Bodies Press. He has been the recipient of commissions from the Tate Modern, Dazibao, Kunstradio, Centre for Art Tapes, New Adventures in Sound Art, Radio Canada, New American Radio. He is a founding member of Avatar (Québec City). He currently lives in Toronto and is an Assistant Professor in the Department of Visual Arts at Western University in London, Ontario.