R.I.P. Hayman was born July 29, 1951 at Sandia, New Mexico. He was raised traveling and remains a nomad at heart. His education is varied and continuing. He was no degrees, no prizes, or cavities.
He has wandered the ways of newspaper boy, gardener, minstrel, medical aide, social worker, political campaigner, construction worker, pipe organ renovator, census enumerator, audio engineer, law researcher, sleep researcher, peddler (ear plugs in the subways), cook, bartender and publican, (Ear Inn), editor (Ear Magazine), and sailor (Eark).
As a composer, he has worked with voice, flute, piano, organ, ensembles, orchestra, ocarinas, tape, electronics, bells, percussion, telephones, toys, words, dance, theater, kites, horses, sleep, the blind, dry ice, film, video, fire, and visual phenomena.
"My interest in music and performance is the exploration of acoustic social phenomena. The work is based in the awareness of sound, mingling meditation, mystery, humor, and human response. It is tangible spirit intended for live audience/participants. I seek the unheard... for people, who are the source of my life. It is done with love: caring, continuance, and ecstasy. I do this because it is the most real and imagined, detached and involved, earthy and ethereal way I can live and never know what will be. Hearing is believing!"
released April 21, 1980
Produced by Denis Thalson and Charlie Morrow
Performed by R.I.P. Hayman
Photo by John Puerner
AUDIOGRAPHICS was a New Wilderness Foundation project of the 1970s. AUDIOGRAPHICS offered a number of sound artists the
opportunity to record a variety of works - experimental and traditional music, poetry, storytelling and other sound and language art - in a professional recording studio. Now, you can stream these AUDIOGRAPHICS releases, here....more
supported by 20 fans who also own “7914A - Dreamsound, India Transformed”
“With Julius, he was based in repetition, but here was a spirit of openness and improvisation. His scores, if they were written out that way, were often like jazz scores. He loved multiplying instruments – four pianos, ten cellos – so there was a real feeling of the presence of the instrument, not just using an instrument in some kind of equation, as a means to an end.” ~ Mary Jane Leach
Enough said. pt