Ubu web's Sound by Visual Artists

 

Image by Chris Johansen

Audio By Visual Artists, TELLUS 21

1. Joseph Beuys - "Ja Ja Ja Ne Ne Ne", 1970, Mazzotta Editions, Milan, 33 rpm, 500 copies. (excerpt 2:00)  


2. Maurice Lemaître - "Lettre Rock", 1958. Interpreted by the author and Paul Thorel, accompanied by amateur jazz singers. "Maurice Lemaître Presents Le Lettrism", Columbia. (1:51)


3. Fillippo Tomasso Marinetti - "La Battaglia di Adrianopoli", 1926. Recorded by Marinetti in 1935, Voce del Padrone, Milano/EMI 1948-75, 33 rpm. (2:26)


4. Raoul Hausmann - "Poémes Phonetiques" (1919-1943) 45 rpm, Paris Ou Magazine, 25-26, 1966. (3:50)  


5. Antonio Russolo - "Corale", "Serenata", 1924, Musica Futurista, organized by Daniel Lombardi, Fonit Cetra. (2:31)  


6. Marcel Duchamp - Some texts from "A l'infinitif" (1912-20). Recorded by Aspen Magazine, November 1967, N.Y. (4:00)  


7. Kurt Schwitters - "Die Sonate in Urlauten" (1919-32). An Anna Blume - Die Sonate in Urlauten (1919-1932) 1958 Lords Gallery, London, 33 rpm, 100 copies. (excerpt 2:03)


8. Lawrence Weiner - "Having Been Done At / Having Been Done To, Essendo Stato Fatto A", 1973 Sperone-Fischer Edition, Roma 33 rpm. (excerpt 2:25)  


9. George Brecht - "Comb Music (Comb Event)" 1959-62. Performed by John Armleder August 23, 1988. Engineered by Brenda Hutchinson at Studio PASS, N.Y. (:05)  


10. Patrick Ireland - "Vowel Drawing", 1967. Recorded at Studio PASS, N.Y. Engineered by Connie Kieltyka, September, 1988. (1:07)  


11. Richard Huelsenbeck - "Four Poems from Phantastiche Gebete". 1916. Recorded by Aspen Magazine, November 1967, N.Y. (excerpt 2:00)  


12. Arrigo Lora-Totino and Fogliati - "Poesia Totale", 1968 Liquimoiono, Poesia Liquida, Scwettier, Milan (excerpt 1:34).  


13. Jean Dubuffet - "Musical Experiences", 1963, Atlantic Recording, NY 1973, 33 rpm. (excerpt 2:17)  


14. Mimmo Rotella - "Poemi Fonetici", 1949-75, Plura Edition, Milano, 1000 copies, 33 rpm. (excerpt :44)  


15. Joan Jonas - "The Anchor Stone", 1988. Engineered by Brenda Hutchinson at Studio PASS, N.Y. (2:30)  


16. Christian Boltanski - "Reconstruction de Chansons Qui Ont Et Chant" es Christian Boltanski (1944-46)", 1972 45 rpm. (excerpt 2:30)  


17. Ian Murray - "Keeping On Top of the Top Song", 1970, Performed by Arno Van Nieuwenhuise, 1984. A recording of the first ten seconds of the top 100 songs of the last ten years (1970). (excerpt 3:15)


18. Terry Fox - "The Labyrinth Scored for the Purrs of 11 Different Cats", 1976, on Airwaves 1977. (excerpt 3:00)  


19. Jonathan Borofsky - "The Standard Chant Pt. 2", 1983, recorded by J. Borofsky, Los Angeles, Ca. (1:33)  


20. Magdalena Abakanowicz - "Cough", 1986 Recorded by Magdalena Abakanowicz, Warsaw. Poland, (excerpt :35)  


21. Richard Prince with Bob Gober - "Tell Me Everything", 1988. Recorded May 18, 1988 at Studio PASS, N.Y. Engineered by Alex Gardner. (3:00)  


22. Martin Kippenberger - "Bang, Bang", 1987, POP IN. forum Stadtpark Graz. (3:11)


23. Jack Goldstein - "The Weep", 1978. (excerpt 2:21)


24. John Armleder - "16 Great Turn-Ons". 1988, performed and directed by Christian Marclay at Studio Pass, N. Y Engineered by B. Hutchinson. edited-by C. S Russell. (1:10)


25. Terry Allen - "Home On The Range", 1988, Terry Allen and the Panhandle Mystery Band, Greenshoes Publishers 1988. Vocal and piano: Terry Allen; acoustic guitar: Lloyd lvlaines; mandolin: Richard Bowden; percussion: Davis McLarty; harmony vocal: Joe Ely. Produced by Allen and Maines, recorded at Caldwell Studios, Lubbock, Texas. Engineered by Caldwell and Maines. (3:13)


26. Gretchen Bender - "Artificial Treatment" 1988, Recorded at Studio PASS, N.Y. by B. Hutchinson. (2:44)  

27. Y Pants - "Magnetic Attraction", 1980, Gail Vachon: ukulele; Barbara Ess: bass; Verge Piersol. drums, Vocals: all. (3:11)  


28. Ed Tomney - "Aquatic Chronicle", 1988, Spotless Music. (3:07)


29. Susan Hiller - "Magic Lantern", 1987, Edited by B. Hutchinson with Tim Guest at Studio PASS, N.Y. (Abridged version 5:03)  


30. Ian Murray - o.p. cit. (1: 12)



This issue of TELLUS explores audio work produced by visual artists from the Futurist Movement to the present. Luigi Russolo presented his theories on the use of noise in a musical context in 1913 with the "Art of Noise". Russolo destroyed the barrier which separated the works of precise harmonic sounds from that of indeterminate noise. With this manifesto, he proclaimed: "Ancient life was all silence. In the 19th century, with the invention of machines, Noise was born." His Futurist Orchestra of "families of noises" argued that the voice and sounds such as rumbles, explosions, whistles, snorts, screams, laughs and machines were to be regarded as musical instruments. With this in mind, I have touched on subsequent movements or events, defined by artists: Dada, Letterism, Art Brut, Fluxus, Conceptual Art and artists working with media appropriation that have been instrumental to audio and its history The two faces of this tape document different approaches to audio recording - sound and phonetic poetry, music concrete, storytelling, electronics, artists' bands and the sequential repetition of a sound, noise or word(s). With eighty-eight years of audio history passing through sixty minutes of time, TELLUS #21 accounts for less than one second of work produced by artists in this century.
-Claudia Gould
Engineered by Brenda Hutchinson at Studio PASS. NYC, 1988. Editors: Claudia Gould, Joseph Nechvatal, Carol Parkinson. Assistant Editor: Debbie McBride. Assistant: Charles S. Russell. Editor for this issue: Claudia Gould.

NMATAPES

Free downloads of Chris Mann and other Australian experimental music artists of that vintage here
Brilliant Stuff!!!

Australias Chris Mann from Penn Sound

http://www.lovely.com/soundfiles/452953091_1.mp3

http://www.rainerlinz.net/NMA/22CAC/mann.html

http://www.lovely.com/bios/mannc.html

http://writing.upenn.edu/pennsound/x/Mann.html

http://www.cdemusic.org/artists/mann.html

http://emfinstitute.emf.org/articles/aldrich03/mann.html

http://ca.geocities.com/alterra@rogers.com/mann.htm

and The Plato Songs at SUNY-Buffalo

1. Double Standard (19:44): MP3 , Text

2. An A (17:46): MP3 , Text

3. The Plato Songs (19:34): MP3 , Text

Christof Mignon- Phonic Gaps and Gasps review by Allen S Weiss

reviewing Christof Migone...
http://www.christofmigone.com/html/main.html

“Skull partitas, glottal toccatas, ear arias, bone blues,
heart sonatas, nerve operas, blood symphonies – the
audio inventions of Christof Migone evoke the disrupted
and degenerate inner voice that so disquietingly haunts
our thought and our speech. Through the piercing and
obsessive acoustics of Hole in the Head, the possibilities
of audio montage permit vocal organisms and electronic
circuits to intersect, reflect and infect each other. These
works therefore exist in a highly charged state of
paradox and contradiction: they are impish and lyrical,
nightmarish and enlightening, abrasive and soothing.
Here, creativity occurs at that threshold where language
disintegrates and electronics peaks outs; where codes
are transgressed and nonsense elaborated; where
sonorous distortions, interferences and noises establish
a delirious, crazed, schizophonic art. The analysis of
such works demands a teratology of the voice, whose
monsters arise by means of liberating all those vocal
“accidents” that hitherto blemished the pure sounds of
bel canto and belles lettres: moans, screams, sighs,
cries, chokes, roars, gasps, mumbles, whistles, yelps,
slurps, groans, chortles, snorts, pops, clicks, wheezes,
babbles, hisses, hums, whimpers, hoots, whines, puffs,
drones, stutters, lisps, rattles, and countless other
imperfections.
As Roman Jakobson suggests in his celebrated
psycholinguistic studies on the relations between
aphasia and linguistic structure, the pathological
breakdown of quotidian speech – culminating in either
the incoherent jumble of word salad, the inarticulate simplicity
of one-word sentences, or the utter silence of aphasia universalis
– proffers new modes of poetic form." Weiss

jigg for too hollar by majena mafe

dave miko , artist and performer and SOUNDS

http://www.myspace.com/davemiko

Dave Miko artist and performer is making some very interesting sound/voice pieces at his My Space

judy fox

artist judy fox ceramic figures

oh paul...say it again

Paul McCarthy (b. 1945)

From the LP:
High Performance, 1983

Excess and the 'she-deep you' posted by Laura Moriarty on Tonalist Notes

quote"
COME WITH THE BOATMAN
a madness
--forbidden—
inside you the she-deep you

Beneath a dress
you’ll brandish the sickle

anchor my tide will devour

You can see there is a lot to do in this piece – many levels, dictions, intimations, myths, addresses, an actual dress, madness, a sickle. The line or phrase from the poem with which I started is one of those just plain good lines that you get to read every once in a while and Jen’s translation of it into English is stupendous. Why I find the presence of a sickle under a dress hopeful I don’t quite know but in this context I do. I think it has something to do with openness."

The above is an excerpt from a review of sexoPUROsexoVELOZ and SEPTIEMBRE
A bilingual edition of books two and three of Dolores Dorantes
by Dolores Dorantes
translated by Jen Hofer featured on Tonalist Notes

Thinking about sickles under dresses...I've been thinking a lot about excess in language, cacophonies and the unsound in language but particularly as it manifests in voice. And wait for it the cutting off of it. Reading 'Opera and the Undoing of Women' by Catherine Clement and 'Erotic Faculties' by Joanna Frueh (hot writing ), and I'm retouched by my own experience of opera and the many cut offs. First hand Opera for me has been heard first through the movies, one removed damn it. Once sitting with a dear friend who ready to weep at la Traviata burst into tears as soon as the lights went down, lots of others were fits of stifled giggles about the silliness of don giovani and other pounces, I thought, and then more recently a better experience a small chapel in Rome la bohem again and the audience squashed up close almost to the mouthes of the performers of the lovers of the pain.. that was better... with excess rippling in us all, but the excess the ripping the leaping of this 'other' of the leading feme closed/sickled her demise after? during her ecstasy, hinted for me at things that i am now understanding and hearing played out again and again in language especially featuring voice of gals and that there excess again and again and again. Back to the book...more research. looking for recordings of Stein's operas if anyone knows of them?

image Pondick

Tony Oursler, at Magasin 3

"Caricature", 2002.
Plastic, paint, video projector, DVD-player, performance by Constance DeJong. Exhibited at Magasin 3 Stockholm Konsthall Sep-Dec, 2002