Been thinking alot lately about drag and the applied (with a trowel) 'subjectivity of the feminine' by male drag queens.. gs its because I've been watching Ru Pauls Drag show on foxtell instead of doing phd.
good article here
DRAG ARTISTS & PERFORMERS CREATIVITY THRU TRANSGENDERIS
Female Drag Queens by Frederike De Jonge
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Excerpt from the DVD "Expanded Celluloid, Extended Phonograph" (Balloon and Needle, 2008)
by Lee Hangjun (Experimental Filmmaker) and Hong Chulki (Noise Improviser) from South Korea
Advance Praise for ECEP
It is in the spirit of an experience and experiment that Hang Jun Lee's "The Cracked Share" must be viewed. Seized in moments of visual detachment during periods of emotional contact, these images are oxidized residues of fixed light and chemical elements of transformed from living organisms. No plastic expression can ever be more than a residue of the experience and yet, the residue is the recognition of the experience, loss permeates the work and yet somehow the experience endures, recalling the event more or less clearly, like the undisturbed ashes of an object consumed by flames. The recognition of this object, so little representative and so fragile, speaks to us of this artist's isolation. "The Cracked Share" is quite wonderfully dense and visceral in nature ... it looks as though the work has been doubly manipulated organically and digitally, yet the work still retain its organic nature through its alchemical orientation...the sense of visual rhythm is well paced and the appropriated footage of the Astronauts / Pornographic actor /Horse in "The Cracked Share" is wonderfully imaginative and fluid...an ocular alkahest"
Carl E. Brown
I have been waiting for more than 20 years for those who create music and video just like Lee Hangjun and Hong Chulki. Sound and video are eventually mere data. It is impossible for me to believe in the piece of music or the visual work if it doesn't start from this harsh reality because the problem lies in its start. Accordingly, Lee Hangjun and Hong Chulki's work exposes this starting point as it is. They confront and challenge the problem at this point of departure in audio and video.
Otomo Yoshihide
Great blog Professor What If... finally good questions Click Here
"The purpose of theory...is not to provide a pat set of answers about what to do, but to guide us in sorting out options, and to keep us out of the 'any action/no action' bind. Theory...keeps us aware of the questions that need to be asked." --Charlotte Bunch
How many soundies does it take to change a light bulb?
1..2..3..1..2..3
I just joined She Writes ... and their Funny Woman 'room' and theres a link there to Rumpus.net and an article 'Women writing on McSweeny's site ... its a good list click here to read the whole lot ... the idea is to encouraging women to submit more humor to publishers!! do it gals
heres an extract...
“Why are men, taken on average and as a whole, funnier than women?” inquired Christopher Hitchens in “Why Women Aren’t Funny,” Vanity Fair, January 2007.
That’s a good question. And by that I mean, fuck you.
Since women are so hilarious all the time/everywhere (see: Margaret Cho, Janeane Garofalo, Starlee Kine, Katie Crouch, Kristen Schaal, etc.), I’d like to feature the women of McSweeney’s Internet Tendency, who are reliably hysterical, clever, and concise. Below is what I consider the best of what women have written for the site since the beginning of 2008.
My measures of judgment:
- A vagina. It’s not that I’m sexist, but sometimes it’s important to fight sexism with sexism.
- Timelessness. I can’t read another joke about the econolypse; everyone being poor and homeless just isn’t funny anymore, and it won’t be funny (or ironic in a good way) in ten years when everyone is rich and arrogant again. Further, I don’t care for faux math.
- Utilization of nontraditional narrative and syntactical deviations.
- Universal applicability. You were crapped on [in some way]? I was crapped on [in same way]!
- Discussion of men being emotionally AWOL.
- References to literature’s antiquity, David Lynch, The Wire, and sex phobias.
Other criteria:
- I laughed aloud.
- I was in some way offended.
- The term “manorexic” was used.
The list (out of hundreds and in no particular order):
extract ...'Outer-side the curled lip of reason, where the strait line of order slips, and falters, lisps and
stutters, and where causes pause, there exists multitudes of un-reasons muttering … twitching,
switching, bitching, forming foaming fallows as reason-ettes unformed meanings tunnelled as
off the more slight. These facet the sights of might bright assets deport’n themselves in infinite
play...'
a good read ... click here for more published at Bukker Tillibul
Bukker Tillibul Online Journal of Writing and Practice-led Research click here
Artist-as-Mother/Mother-as-Artist: A Metaphorical Resurrection
'When we talk about art now, especially radical or experimental art, we talk about war. The artwork achieves, or fails to achieve. It is revolutionary and breaks through barriers, or it falls flat. Postmodern art (of all genres) is valued for its ability to move us forward—to shock, to produce awe. Our zeitgeist is blitzkrieg. Notably, the term avant garde is a military one, and it is precisely this term that makes it difficult to imagine communication with the artist. Either you position yourself behind the vanguard, reaping the benefits of their sacrifice, or you stand opposing them, attempting to cut them down as they hurl their weapons into your culture. The soldiers (the artists) in these metaphors are necessarily silent—and their purpose violent.
Walter Benjamin, in his essay, “The Task of the Translator,” writes:
The basic error of the translator is that he preserves the state in which his own language happens to be instead of allowing his language to be powerfully affected by the foreign tongue. Particularly when translating from a language very remote from his own he must go back to the primal elements of language itself and penetrate to the point where work, image, and tone converge. He must expand and deepen his language by means of the foreign language. It is not generally realized to what extent this is possible… (Benjamin 81)''
The most disturbing interloper in the field of reason is sound, - sounding within the language itself that delivers it ... it is the 'unsound'.
Not merely 'other 'it is so refused as to not even be ... It has no validity in terms of meaning or affect. In working with Gertrude Stein's text Two: Gertrude Stein and her Brother I am increasingly impressed by how multi-dimensional her project was and still is ... very worth a rethink in terms of She seems to have been able to critique the frames of reason through language itself ... but more than that through notions of relationship between words and notions. These are so'unexpected' that throw new possibilities into the mind- new arrangements for thinking and for being then in relatio to ones thinking and hearing thinking.
I 'm starting to read object-orientated philosophy and I like this notion ... 'Larvae are creatures in a process of becoming or development that have not yet actualized themselves in a specific form. And the notion of a physical space for the incubation of philosophical larvae that are yet without determinate positions or commitments but which are in a process of unfolding'... especially in relation to how I'm trying to shape an understanding of sound in Steins work .
See Laval Subjects for more on object-orientated philosophy. To say its good stuff is understating it.
Also Object-orientated Philosophy here
This is brilliant too on a.aaaarg
"Guerrilla Metaphysics: Phenomenology and the Carpentry of Things"
by Graham Harman.Its a follow up on his previous book Heidegger's Tools
http://a.aaaarg.org/text/11078/guerrilla-metaphysics-phenomenology-and-carpentry-things
The PhD's going well, slippery as all get out, but thats the nature of the untamed beast grrrrr.
The Art of Noise or The Art of Noises here
... "we want to score and regulate harmonically and rhythmically these most varied noises" (war noises). War was Russolo's original inspiration.
‘Sound is coming out of her. Sound has been coming out of her. Sound can come out of her.
Sound coming out of her is coming out of her and she has not been hearing not been hearing the sound that has been coming out of her. Sound has come out of her and she is listening and sound can come out of her.
Sound comes out of her. Sound coming out of her is expressing that thing, is saying something. Sound coming out of her is expressing something, is saying anything. Sound coming out of her is expressing everything, is saying everything. Sound is coming out of her. Sound has been coming out of her. Some sound comes out of her. Sound comes out of her.
If sound comes out of her it is a sound that expresses that thing expresses sound coming out of her. Sound does come out of her. Sound coming out of her does express this thing does express sound coming out of her.
Sound coming out of her comes out of her and is expressing sound coming out of her. Expressing sound coming out of her is something sound coming out of her is doing. Sound coming out of her is something. Sound is coming out of her. from Two: Gertrude Stein and her Brother
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quote...'As such it is necessary to distinguish the being of objects from the manifestation of objects. While objects are acts, these acts are not identical with their performance in either nature (events where no humans are about to perceive them) or with their performance for humans. Rather, the proper being of the object is not its performance or manifestation, but the generative mechanism that serves as the condition under which these performances or manifestations are possible. As Graham Harman will argue– though in a very different theoretical constellation –the being of objects is essentially withdrawn or hidden. No one has ever perceived a single object, but we do perceive all sorts of effects of objects. Traditional epistemology has confused these effects with the objects themselves. Fortunately we do occasionally manage to cognize objects through a sort of detective work that infers these generative mechanisms from their effects; without, for all this, ever exhausting the infinity of a single object. At any rate, if objects were not withdrawn in this way, the practice of experiment would be unintelligible'. click here for moooore
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....'At the University of London, Whitehead turned his attention to issues in the philosophy of science. Of particular note was his rejection of the idea that each object has a simple spatial or temporal location. Instead, Whitehead advocated the view that all objects should be understood as fields having both temporal and spatial extensions. For example, just as we cannot perceive a Euclidean point that has position but no magnitude, or a line that has length but no breadth, it is impossible, says Whitehead, to conceive of a simple spatial or temporal location. To think that we can do so involves what he called "The Fallacy of Misplaced Concreteness," the error of mistaking the abstract for the concrete.[2]
As Whitehead explains, it is his view "that among the primary elements of nature as apprehended in our immediate experience, there is no element whatever which possesses this character of simple location. … [Instead,] I hold that by a process of constructive abstraction we can arrive at abstractions which are the simply located bits of material, and at other abstractions which are the minds included in the scientific scheme."[3]
Whitehead's basic idea was that we obtain the abstract idea of a spatial point by considering the limit of a real-life series of volumes extending over each other, for example, a nested series of Russian dolls or a nested series of pots and pans. However, it would be a mistake to think of a spatial point as being anything more than an abstraction; instead, real positions involve the entire series of extended volumes. As Whitehead himself puts it, "In a certain sense, everything is everywhere at all times. For every location involves an aspect of itself in every other location. Thus every spatio-temporal standpoint mirrors the world."[4]
Further, according to Whitehead, every real-life object may be understood as a similarly constructed series of events and processes. It is this latter idea that Whitehead later systematically elaborates in his imposing Process and Reality (1929), going so far as to suggest that process, rather than substance, should be taken as the fundamental metaphysical constituent of the world. Underlying this work was also the basic idea that, if philosophy is to be successful, it must explain the connection between objective, scientific and logical descriptions of the world and the more everyday world of subjective experience.
While at London, Whitehead also became involved in many practical aspects of tertiary education, serving as Dean of the Faculty of Science and holding several other senior administrative posts. Many of the essays in his The Aims of Education and Other Essays (1929) date from this time. It was also during his time in London that Whitehead published several less well known books, including An Inquiry Concerning the Principles of Natural Knowledge (1919), The Concept of Nature (1920), and The Principle of Relativity (1922).' quote from Stanford Encyclopedia
I've been reading alot of things lately ph(bloody)d, but Graham Harman's Object-Orientated Philosophy and his Tool-Being see below, on Heidegger, is ringing my bells. His anti Kantian position in terms of the primacy of the subject ... is gooood. In an article on Object-Related theory he writes about Heidegger and Whitehead and the crossovers between their thinking re this 'hermeneutic model'.
Gertrude Stein who had read Whitehead and met with him, says he was the only other genius in the world. (besides Picasso and herself.) Stein had met with Whitehead just before and during the writing of Two: Gertrude Stein and her brother, that I'm basing my PhD research on. I'm thinking now Stein might be more influenced by Whitehead than I was originally thinking. In Two: Stein talks of sound as being an event almost of other sounding itself in multiples. It is a continual (becoming) being that... that well, that just is.
‘Sound is coming out of her. Sound has been coming out of her. Sound can come out of her.
Sound coming out of her is coming out of her and she has not been hearing not been hearing the sound that has been coming out of her. Sound has come out of her and she is listening and sound can come out of her.
Sound comes out of her. Sound coming out of her is expressing that thing, is saying something. Sound coming out of her is expressing something, is saying anything. Sound coming out of her is expressing everything, is saying everything. Sound is coming out of her. Sound has been coming out of her. Some sound comes out of her. Sound comes out of her.
If sound comes out of her it is a sound that expresses that thing expresses sound coming out of her. Sound does come out of her. Sound coming out of her does express this thing does express sound coming out of her.
Sound coming out of her comes out of her and is expressing sound coming out of her. Expressing sound coming out of her is something sound coming out of her is doing. Sound coming out of her is something. Sound is coming out of her.
Sound is coming out of her and that sound has been the sound that has been expressing that that sound is coming out of her. Sound coming out of her is something that has that meaning that has the meaning that that sound is coming out of her. Sound coming out of her is something that the sound coming out of her is not explaining. Sound coming out of her is something that the sound coming out of her is not suggesting. Sound coming out of her is something that is not relating to her having been one having had sound coming out of her. Sound coming out of her is something expressing that thing expressing that sound is coming out of her …’
Gertrude Stein, Two: Gertrude Stein and her Brother (p.8-9)
What does this thinking do for my work on sound?...
artist. track. cd title. source
andrea gibson. ashes. youtube.
astrid l’orange. love types. recent work. private recording
chad lietz. mighty seer my word amen. textsound journal.
coleman barks. i have five things to say. rumi: five things to say. maypop books
dylan thomas. in country sleep. dylan thomas collection. caedmon
F J Bergmann. uses of metaphor. private recording.
jane ormerod. wind dries; wooden beam. youtube.
kathleen fraser. coincidental. pennsound.
majena mafe. milk. that unsound.
paul squires. jazz gardens. gingatao.
robert frost. birches. random house. voice of the poet.
roger bonair agard. in the same breath. tarnish & masquerade. cypher books
Reminder - Furtherfield now on Resonance FM - A must listen!
Join us tonight on Resonance 104.4FM - 8-9pm Tuesday 9th March 2010.
http://www.furtherfield.org/resonancefm.php
http://resonancefm.com
Furtherfield's first programme on Resonance FM is a live, jam-packed,
hour-long review of contemporary media arts culture. This week, Marc
Garrett and Charlotte Frost will interview Douglas Dodds, Senior Curator
at the V&A and Mztek founders, Sophie Macdonald & Sally Northmore. Other
features include interviews with artists and curators recorded during
the Crumb symposium, as part of this week's AV Festival, in Newcastle.
Noise-collages, soundscapes and exploratory music, will also be featured.
More information about featured guests:
Douglas Dodds is co-curator of the exhibition 'Digital Pioneers' at the
Victoria and Albert Museum (V&A). This is part of the Computer Art &
Technocultures project, an Arts and Humanities Research project studying
the history of computer-generated art. The project is based jointly at
Birkbeck and the Victoria and Albert Museum. This is exhibited in
parallel with Decode: Digital Design Sensations
http://www.vam.ac.uk/exhibitions/future_exhibs/Digital%20Pioneers/index.html
Sophie Macdonald and Sally Northmore are co-founders of Mztek. A non-
profit collective with the aim of encouraging women artists to pick up
technical skills in the fields of new media, computer arts, and
technology. Based in London and supported by Hackney arts institution [
space ], hosting a range of women only workshops, talks, and
self-initiated tinker sessions. http://www.mztek.org
About Furtherfield.org
Furtherfield.org believes that through creative and critical engagement
with practices in art and technology people are inspired and enabled to
become active co-creators of their cultures and societies.
Furtherfield.org provides platforms for creating, viewing, discussing
and learning about experimental practices at the intersections of art,
technology and social change. Furtherfield.org also runs HTTP Gallery in
North London.
http://www.furtherfield.org
http://www.http.uk.net/
About ResonanceFM
ResonanceFM is "a laboratory for experimentation, that by virtue of its
uniqueness brings into being a new audience of listeners and creators.
All this and more, Resonance104.4fm aims to make London's airwaves
available to the widest possible range of practitioners of contemporary
art."
Resonance 104.4FM
http://www.resonancefm.com
... quote from Marc Garrett from NetBehavior digest
WTFMusic.org
is full of goodies. WTFMusic.org - A community for the enjoyment, promotion, creation, and discussion of fucked up music. They invite anyone to post their music, or simply listen, rate and comment on the music in the radio.
Theses on Noise
I
What the fuck is Noise?
Precisely because of its indeterminacy noise is the most sensuous human activity / practice. To try to fix it or to make it a genre is as fucked up as believing in democracy.
II
If you make noise it is likely that somebody else is going to hear you, this means Noise is a social activity.
III
The capacity to make Noise is available to all, but its revolutionary potential comes from those who want to disturb the commodification of Noise - as M.A.N point out in their website www.mothersagainstnoise.us.
IV
To say “this is good Noise� or “that is bad Noise� is to miss the point.
V
Noise without meaning nor finality is revolutionary as long as it does not support anything or anybody.
VI
This is not to say that Noise under capitalism can be an autonomous activity. But if neither language nor bombs help you to destroy our reality, Noise helps us to get rid of our anxiety.
VII
It is more important to fuck the minds of the audience than to fuck your ears - and vice versa.
VIII
The identity process that occurs as people are making Noise must be constantly rejected. To be a “Noisician� is even more pathetic than to be a “musician�.
IX
Factory workers in the previous centuries have indirectly been the most sustained and brutal players of Noise. Recognition of our past should always be present.
X
Economic exploitation still occurs, even if now the production of Noise does not produce an object. The process of Noise making has in itself become the object of financial and symbolic market value.
XI
The old conception of noise was to believe in freedom, the new conception of Noise is to achieve freedom.
by Mattin www.mattin.org
25th May 2006, London
Anti-Copyright
UNSOUND', a.
| Unsound (unsound) | |
|---|---|
| a. | (?) |
| Un*sound" | |
--
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