Tipper w/ Alex Grey & Allyson Grey, Ott, Quixotic, Android Jones and Johnathan Singer @ RED ROCKS AMPHITHEATRE Tipper (Dave Tipper) is a British producer and DJ specializing in nu skool breaks, electronica, and trip hop. Although mostly known in the breakbeat scene, Tipper's output includes strong hints of electro amongst other styles. He is known for his interest in extreme bass frequencies, with his releases often including lengthy sub bass test tones at the end. He, and like-minded people from his label Fuel Records, have also engaged in stunts like emptying a swimming pool, covering it with an acoustic canopy and enjoying the bass, or drowning out The Prodigy on the main stage of the V Festival with their car sound systems parked several miles away. Tipper also records under the pseudonym Crunch with Mike Wallis aka Psi Spy. Alex Grey is an American artist specializing in spiritual and psychedelic art (or visionary art) that is sometimes associated with the New Age movement. Grey is a Vajrayana practitioner. His body of work spans a variety of forms including performance art, process art, installation art, sculpture, visionary art, and painting. Grey is a member of the Integral Institute. He is also on the board of advisors for the Center for Cognitive Liberty and Ethics, and is the Chair of Wisdom University's Sacred Art Department. Grey's unique series of 21 life-sized paintings, the Sacred Mirrors, take the viewer on a journey toward their own divine nature by examining, in detail, the body, mind, and spirit. The Sacred Mirrors, present the physical and subtle anatomy of an individual in the context of cosmic, biological and technological evolution. Begun in 1979, the series took a period of ten years to complete. It was during this period that he developed his depictions of the human body that "x-ray" the multiple layers of reality, and reveal the interplay of anatomical and spiritual forces. After painting the Sacred Mirrors, he applied this multidimensional perspective to such archetypal human experiences as praying, meditation, kissing, copulating, pregnancy, birth, nursing and dying. Grey's recent work has explored the subject of consciousness from the perspective of "universal beings" whose bodies are grids of fire, eyes and infinite galactic swirls. In 1976 during an LSD trip with my husband, Alex, I experienced my body turning into infinite strands of light that were both a fountain and a drain. As I lay meditating next to Alex, I could see that he too had been revealed as a fountain and drain, individual and distinct but connected to my "energy unit". I realized that all beings and things were "blowing off" and "sucking in" pure energy in an infinite field of confluent effluences. The energy was love, the unifying force. This changed both of our artwork as we felt that we had witnessed to the most important thing: a revelation of the grid upon which the fabric of our material reality is draped. Sometime thereafter, I read a quote describing the Jewel Net of Indra. In the abode of Indra, the Hindu God of Space, there is a net that stretches infinitely in all directions. At every intersection of the net there is a jewel so highly polished and perfect that it reflects every other jewel in the net. This description related powerfully to the revelation that we had received while in our altered state. It has been my continuing intention to point to this experience in my artwork. Intending to create spiritual art, I feel naturally attracted to abstraction and to a written sacred language. Every known religion reveres its holy writing. Sacred writing of all faiths, however, come into conflict through human interpretation as the written word defines the differences of philosophy and traditions, when truely the basis of all religion is unity and infinite love. In 1975 I began writing automatically in an invented or transmitted language. I do not give meaning to the symbols in my art as it is meaning that separates experience from expression. The alphabet that I use points to the notion of a sacred language beyond meaning. Some of the works call to mind the experience of seeing an illuminated text in a foreign language and religion. In recent work, I combine the icons of perfection (the Jewel Net) with the secret language, and images of chaos. Chaos in my art is the entropy of the units of spectrally arranged squares using a system of "planned randomness", allowing every spectral unit to fall apart in a variety of ways -- squares falling off of a corner or the spectral unit exploding from the center, etc. The three elements used in my work, Chaos, Order and Secret Writing, are non-literal representations of the sacred. Born in 1952, I have been married to Alex Grey for 25 years. We met at the Boston Museum School where I received a Bachelors and a Masters Degree in Fine Arts. I've had one person shows at Stux Gallery and O.K. Harris Gallery in NYC, among others. Commissions of permanent public works include a 24 foot mural at the First Bank of Lowell, Massachusetts and my paintings have been collected by many corporations and individuals. I paint and collaborate with my very busy husband and adorable (and also very busy) actress daughter, Zena Lotus, in Brooklyn, New York. Ott was doomed to be a teenager in the cultural wasteland that was the mid-1980s provincial England. After a brief period wandering aimlessly through the hairsprayed deserts of New Romanticism and poodle-rock he found refuge in the warm, inviting sounds of Scientist, King Tubby, LKJ, and Prince Far-I and the effortless grace of European experimentalists Neu! and Kraftwerk. The end of the 1980s brought with it a cultural and musical revolution and Ott headed to London to immerse himself in the new energy. Initially unimpressed by the frantic, unmusical clatterings of acid house and rave he discovered a new wave of artists who apparently shared his love of organic dub and pristine electronics. Artists such as The Orb, Dub Syndicate, FSOL and African Head Charge. These were people who were unafraid to combine bass-heavy rhythm, abstract soundscape and timeless melody into a huge, ever-shifting sonic universe which reflected perfectly the spirit of hope and positivity which prevailed. It was at this point that Ott found his first work as an engineer in several studios around North London. Working obsessively, 18 hours a day, seven days a week for the next ten years, Ott developed his engineer skills working with artists such as Brian Eno, The Orb, Youth, African Head Charge, Steve Hillage, and On-U-Sound. After mastering his studio skills, Ott celebrated the end of the 20th century and the beginning of the 21st by giving it all up and moving to a remote cottage in South West England to be alone with his cats and his studio. Here he embarked on a series of sonic experiments, drawing heavily on the classic dub sounds from Jamaica and hypnotic electronic pulse from Germany which had provided such a refuge during the 1980s. A period of intense creativity followed, during which a great many tracks were created and then stashed away on tapes. In the meantime, Ott hatched a plan to remix half a dozen or so classic Hallucinogen trance tracks and release them as dub mixes slower, fatter and more chillout friendly. In 2002 the album Hallucinogen in Dub was released via Twisted Records to universal acclaim. Buoyed by the success of Hallucinogen in Dub, the following years to come would see Ott gather together and release his sonic experiments on Twisted Record as the albums Blumenkraft and Skylon, as well as a whirl of gigs around the world, remixes for Shpongle, Entheogenic, Tripswitch, and collaborative projects like Umberloid (with Chris Barker) and Gargoyles (with Simon Posford). During this time, Ott travelled the word, got married, welcomed his daughter Daisy to the world and recorded his fourth album, which he self released in 2011, entitled Mir. 2012 saw the launch of Otts collaborative live band Ott & the All-Seeing I. After two North American tours and the release of a live DVD/Blu-Ray from a sold out show at Terminal West in Atlanta, the band has hit the studio to work on a release tentatively scheduled for late 2014. In the meantime, Ott has been putting the finishing touches on his fifth full length album, to be release September 2013, alongside an all new stage show featuring a live visual show. Worldwide touring is to be expected late 2013 and into 2014 to support the album. In addition to hundreds and hundreds of headline club dates, Ott has performed worldwide at acclaimed festivals such as Wakarusa, Camp Bisco, Rainbow Serpent, Glade, Sonic Bloom, Symbiosis, Lightning in a Bottle, Global Dance Festival at Red Rocks, Tree of Life Festival, Big Up Festival, and many many more. Quixotic, conceived by founder Anthony Magliano is an ensemble of artists from various disciplines including aerial acrobatics, dance, fashion, film, music and visual f-x. This inventive group of artists goes beyond the limits of any specific art form, challenging traditional perceptions and creating a total sensory experience unlike any other for its audience while exploring infinite possibilities of movement, sound and multimedia. Andrew Jones embarked on an artist's path at an early age. Following long years of drawing in isolation on an infinitely supportive family farm in Boulder (CO) at the age of 14 he enrolled in the Denver Figure Drawing League. 4 years later he went on to study under Elvie Davis at the Boulder Academy of Fine Arts, with a focus on traditional academic drawings and cast studies. He continued on to hi...gher education at the Ringling School of Art and Design in Sarasota (FL), where he pursued a bachelor in Fine Arts. At the faculty he was introduced to a wide array of creative digital possibilities and chose to dedicate his creative energies to the open horizons of digital art making. While in Florida, Andrew also attended the University of South Tampa Medical School, where he gained an ever greater appreciation for the rich complexity of the internal human form first hand at the end of a scalpel. After Florida, he traded in his scalpel for a Wacom pen and went on to envision and design creative worlds for companies such as Industrial Light and Magic and Nintendo. In 2003, Andrew was a co-founder in a revolutionary on-line art community called ConceptArt.Org that continues to support an active on-line social network of over 180,000 members around the world. Alongside an elite group of artists, in 2005 Andrew co-founded the studio Massive Black Inc. that has earned a reputation for being one of the most influential art and design resources for the entertainment industry with active offices in San Fransisco (CA) and Shanghai (China). Andrew was creative director of the company until mid 2007. Leveraging his digital art skills and integrating his knowledge of different softwares, Andrew gradually began to find a voice of his own by establishing a fluid relationship between his traditional fine art skills and the ever-expanding medium of progressive softwares. His original creative vocabulary was soon applied by diverse connections in the entertainment industry along the West Coast: in 2007 Andrew embarked on a new career working alongside electronic musicians as a live digital painter and expanding his art studio to encompass theater stages, corporate events, as well as music and art festivals around the world. Over the years Andrew has continued as a digital art evangelist and accomplished art educator through a series of events, workshops, and on-line video tutorials in order to inspire and contribute to an emerging new culture of digital artists throughout the galaxy. Andrew is currently an independent artist focused on an ongoing exploration of the highest potential that his chosen medium has to offer in order to inspire and benefit humanity's path toward the recognition of its inherently infinite creative potential.Save
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