Bernard Szajner (“ZANY-ner”) is a distinctive, Paris-based visual results musician and musician who has generated groundbreaking functions in multiple disciplines even though consistently striving to make and explore brand-new romantic relationships between light and audio. A self-described “dilettante in the real sense of the word,” Szajner was created in Grenoble, France, past due in the next World Battle, and hidden within a cave by his stressed Polish parents. Generally creative, he used painting at age 11, after that became fascinated with tales of Leonardo da Vinci and his grand spectacles merging music, stars, and mechanized results. Szajner abandoned color and clean to eagerly research the facts of Etienne Gaspard Robertson and his “Magic Lantern” phantasmagorias, Vaucanson and his mystical automatons, Oskar Schlemmer from the Bauhaus college, and additional great visual results performers and his profession path was created. He began focusing on light displays in the past due ’60s, and became fascinated with the potential of lasers. Steady are a stage developer and specialist with such organizations as Gong, Magma, Bachdenkel, and many more led him to be acknowledged as among the best light experts in France by the finish from the ’70s, of which stage he became a member of up with inventor Patrice Warrener and digital music innovator Tim Blake (who got just still left Daevid Allen’s Gong), to focus on a concept for a fresh sort of light present. Since 1972 Blake have been championing an idea known as the Crystal Machine, which needed managing lasers with synthesized music. As the Crystal Machine they staged some little laser displays on the Kinopanorama in Paris, and performed two week-long engagements at a big Paris nightclub in 1976 and 1977. Despite poor promotion the displays consistently sold-out and created a significant buzz, however the tremendous staging, as well as the monetary and technical troubles of the productions produced them unfeasible. Szajner remaining the Crystal Machine, and continuing to are a visual results director, doing laser beam light for music functions which range from the Who to Klaus Schulze and Jean-Michel Jarre. Still losing profits and sick and tired of coping with big personalities, Szajner made a decision to experiment with smaller sized displays, asking unknown performers to execute against the setting of his visuals. This as well proved annoying, as he cannot discover artists ready to compose music for his presentations; therefore, self-taught as ever, he lent a synthesizer and began teaching himself structure, in his terms “arbitrarily twisting knobs and pressing control keys until I loved what I noticed.” He published some pieces centered around Frank Herbert’s epic technology fiction masterwork Dune, enlisting assistance from a few of his musician close friends. In the beginning released on a little impartial French label, this debut documenting (released beneath the pseudonym Zed) is currently regarded as an electronica tour de pressure. 1979’s Visions of Dune is usually a synth-based recording presented a Zuehl electronica “all-star” group of music artists — Colin Swinburne (Bachdenkel), Clement Bailly (Magma, Gong), Hanny Rowe (Heldon), and vocalists Klaus Blasquiz (Magma) and Anannka Raghel. It had been badly received by critics in the digital music community in France, but was well-received publicly, offering 5,000 copies in the next 2 yrs. After accidentally conference an British music manager who was simply impressed by his documenting, Szajner quickly received a documenting agreement with French major-label Pathe Marconi. The re-released record was well received, extremely acclaimed with the United kingdom press because of its exclusive vision and design. Reissued by Spalax, using its split synths, unusual sequencers, distorted bass, and Fripp-ish guitars, Visions of Dune continues to be compared to functions by Heldon, Richard Pinhas, Hawkwind and Tangerine Fantasy, and remains among the great intensifying albums in French music. Visions of Dune captured the hearing of Amnesty International, who contacted Szajner and asked him to compose a brief 30-second piece about the loss of life penalty (after that still in place in France), in his “hard” and “anxious” design. The commission resulted in what many consider his get better at work, the important concept recording Some Deaths Consider Forever. Pursuing an imaginary prisoner in to the horrors of Loss of life Row, the recording uses hypnotic rhythms, bizarre acoustic guitar, sweeping Eno-styled synths, white sound percussion, radio static, and rock and roll acoustic guitar riffs to chilling impact. Some Deaths Consider Forever brought significant acclaim to Szajner, and was voted Disk from the Week aswell as you of Melody Maker’s TOP albums of the entire year. They have endured, being lately reissued on Compact disc and called superstar DJ Carl Craig’s preferred electronic record ever. Szajner after that produced a high-profile contribution to musical background when he designed the Laser beam Harp for the 1981 Concerts in China tour by French electronica musician Jean-Michel Jarre. It had been an easy task to rig synthesizer records to cause lasers, and Szajner backwards-engineered the idea. The original style, a laser sectioned off into 12 beams with a holographic series grating, produces a lover of light beams which look like plucked to be able to create seems: a binary result in is established in breaking the beam, initializing designed events utilizing a micro-controller to transform the optical data to analogue. Detractors originally stated the Laser beam Harp was a sham, as Jarre would visibly play different records on a single beam; this is explained on foot switches which enable shifting between different scales. Putting on asbestos gloves, Jarre offers continued to utilize the Laser beam Harp in his concerts, while significant technological advancement (most particularly in the regions of wider range beliefs and control data) provides improved these devices. Although criticism of its legitimacy being a musical instrument proceeds, the laser beam harp remains a distinctive synthesizer elaboration. In 1981 Szajner teamed up with Karel Beverage to create The (Hypothetical) Prophets, crafting a distinctive group of synth pop recordings ultimately released as some 12″ singles and one extremely collectible concept recording, All over the world using the (Hypothetical) Prophets. Both Szajner and Ale utilized pseudonyms (Norman D. Getting and Joe Veil) and had been always photographed using their encounters protected. The sound was minimal chilly influx synth with some digital experimentation, with original vocals alternating in French and British aswell as male and feminine voices. The “solitary” was “Individual to individual,” having a male and a lady reading personal advertisements from various magazines, uncovering a pathetic report on sexual wishes and ambitions, finishing with “Appears are not essential, it’s your spirit I’d like.” The group was short-lived, as well as the information are difficult to acquire, although the inquisitive might be able to discover two tracks, “Wallenberg” and “Individual to individual,” around the out of printing 2004 compilation Therefore Young But Therefore Chilly: Underground French Music 1977-1983. Also in 1981, Szajner released his most sparse of LPs, Superficial Music, the name of which displays the contrary of what it says. Put together from your tapes from the Visions of Dune classes, albeit performed backwards at half-speed, it pressured Szajner to produce just by blending and adding results. An intellectual work (rather than reissued as of this writing), it really is a sensitive, sensitive test in musique concrète, using pitch-change responses, electronic percussion, gradual drones, and various other such results. In 1983 Szajner have been thinking about adding genuine literary prose to his function, and was drawn to Magazine’s vocalist Howard DeVoto due to the firmness of his tone of voice and his twisted feeling of poetry. Collectively they collaborated around the recording Brute Cause, a dissonant pop/rock and roll recording completely different from his earlier functions. With creative creation and arrangements much beyond 1983 requirements, Brute Reason is certainly a mixed handbag of epic digital rock and roll with impeccable electric guitar parts and sweeping synthesizers offering a thoroughly fulfilling counterpoint to DeVoto’s typically obtuse lyricism. French critics produced an abrupt about-face: in 1985 Bernard Szajner was called Knight from the Purchase of Arts with the Minister of Lifestyle of France, and in 1986 he received a Lifestyle and Technologies award from that same ministry. Szajner released some more singles, after that stopped documenting music in 1986 to pursue a profession as a higher technology theatrical and event developer, media composer, and robotic designer. Some highlights consist of “Beispiel” designed for the Electronic Arts Event at Rennes; “Brute Cause,” a creation for the Lyrical Theatre of London; “The Hunting from the Snark” for the Printemps de Bourges; “Spirit from the Revolution” designed for the Bicentennial Objective, a landmark function in neuro-scientific robotic artwork, building two interactive theatrical computer-controlled automata moments “La Chouette et le Automatic robot” (“The Owl as well as the Automatic robot”) and “Petit Nicolas” in the 1986-1991 Zoo des Robots set up (where Szajner was today acknowledged as an animatronics developer); the 1994 eight-minute audiovisual display Vaucanson’s Wish, a show merging real items — a lathe, a loom, Vaucanson devices — with digital images, to motivate viewers to think about artificial beings. He’s currently concurrently creating destinations for carnivals, creating museum exhibitions, and creating his sculptures of light; in 2007 he installed his latest set up “L’Absurdite, Moins une Seconde!” to significant acclaim. After 16 years from music, Szajner offers once again started to generate recordings, having combined and created four albums’ worthy of of material within the last five years: Shameless Clichés, Darkness Boxing Thieves, Loss of life and Other Little Illusions, and Bizarre Items for Grand Piano and Unseen Pianist, the second option was composed completely with digital pencil and piano examples, with Szajner independently modeling the strength, velocity, length of time, reverberation, and various other components of each be aware. He is searching for representation and an archive label release a these recordings. Szajner’s description of himself being a dilettante, an admirer or fan from the arts, could very well be true, given the number of his passions and “amateur” method of creation. Still, his apparent contributions to digital music and explorations from the connection of light and audio make it essential to credit him as both designer and innovator aswell.