Some nice anonymous person just left me a link to Rotate the Completer's Music Space
here's some wonderful stuff about him... go listen to his stuff... song 10 is delish it makes my heart sing
quote from his site...'I do hope you are not scratching your heads in wonder and asking yourselves ‘Who is this Rotate the Completor?’ right now because it’s obvious isn’t it?....................... After all, he made it very clear in the lyrics of his album ‘Rotate the Completors: Completed Rotations of the….’ that he is the “…man with a Cabbage and an Antelope, a Cantaloupe who tried to steal (his) beer” and also that he has “…the biggest bunch of Salmon eating people that (he) calls his friends.” Not to mention the fact that he doesn’t “have 15 million friends or legs and that’s ok with (him)” or that he “just want(s) to be a house on the hillside.” ...................... Yeah, that Rotate the Completor!!! So you understand who he is now? ….Oh, you don’t? Well, to be honest neither do I really......................... RTC first appeared on the deserted back streets of inner city Tauranga, New Zealand as a geographically challenged busker in late December of 2008. However his foray into the world of busking was a brief one and he was not heard from again until September of 2009 when an audio cassette began to circulate among outsider music fans entitled; the aforementioned ‘Rotate the Completors: Completed Rotations of the….’. Reactions to the contents of this album have varied greatly, but while the mixture of negative and positive reviews have thus far been pretty even, all first time listeners can at least agree on one thing – it’s different and that’s for damn sure!!!....................... So could you be a potential RTC fan? Well that depends… Do you detest production values? Have a thing for silly voices? Especially when it’s obvious that they have only been affected in order to disguise a massive inability to sing in key? Like warped Guitars? Out of time drums? Like them even better when they are played at the same time? You do? Then you may also like your music started, stopped, sped up, slowed down, thrown around and shaken about? How about an eclectic mix of bluegrass, blues, carnival music, jazz, rock n’ roll, prog, folk and acid rock somehow mashed and blended together? Lyrics about personified Apples, Sea Monkeys, albino Hedgehogs, who also just happen to be deceased and an alcoholic mouse who can’t afford to buy his own drinks? Do you like you album artwork to feature these same characters and to have them drawn by someone with the artistic mindset of an 8 year old? Really,you dig? Well you just might make it as an RTC fan after all......................... So at this point if you have answered yes to any of the above questions you may be intrigued and longing to hear RTC for yourself, so scroll your way on up to the media player here at www.myspace.com/rotatethecompletorfanpage to stream and hear a few songs sampled from ‘RTC’s:Completed Rotations of the…’ . But before you do, there are some rules which Rotate the Completor wishes for you to adhere to................................ As per the inlay card of ‘Rotate the Completors: Completed Rotations of the…’:............................... 1.) Listen alone. 2.) Listen with head phones on. 3.) Listen only at night. 4.) Only permissible foods to be eaten when listening to ‘R.T.C’s: C.R of the…’ ;cruciferous vegetables, members of the allium genus......................... If you like these and the additional RTC information found in the blogs section then your next option is to contact Rotate the Completor at PO Box 2000, Tauranga, New Zealand but be aware thus far RTC has not responded to personal letters, nor has he sold his album for any monetary value, in fact the only way to receive this classic, five star, album is to send a stamped, self addressed envelope with a blank 90 minute audio cassette inside. Generally after 2-3 weeks you will receive your return package but now with a full album recorded on to it, along with one or two other pleasant surprises in most cases............................. And don’t expect to make a friend out of your new hero nor expect him to come to your home town playing sold out live shows any time soon because either due to misanthropy, introversion, mental illness, a good sense of mystery, laziness, lack of self confidence or a combination of all of the above he has made very little effort to self promote his work. In fact the majority of all publicity for RTC has been generated by rabid fans desperate to get exposure for him so that he may get over his personal issues and step forth to take his mantle as New Zealands greatest musician.......................... So now that you’ve heard it? What did you think? You loved it? Of course you did….so run along now and spread the word. Rotate the Completor is the new sheriff in town........................... '
24.4.10
fantastic outsider from NZ Rotate the Completer
19.4.10
My Ubiquitous Body- angel voices
The video of the Istallation "My Ubiquitous Body":
And another ...
Angel_F is a digital being whose body is built from the language formed by the interconnection of the expressions of thousands of internet users and websites. The AI behind Angel_ constantly reads thousands of sources among blogs, websites and social network feeds, assembling language through pattern recognition schemes, thus learning its digital language by observing recurring patterns in the languages used by humans on the net.
The projection shows a dynamic ever changing voyage inside the mind of the Artificial intelligence. Sentences are generated by traversing the linguistic graph created by the AI during its three years of life by browsing the web pages of thousands of internet users worldwide and on social networks. Sentences are pronounced in voice synthesis and the sound is generated according to the an evaluation algorithm deciding the “interestingness” of the sentences according to the AI’s point of view.
More info about the installation at this link
Angel-F Team
http://www.facebook.com/l/7689b;www.angel-f.it
http://www.facebook.com/l/7689b;www.artisopensource.net
http://www.facebook.com/l/7689b;www.nodefest.net/
3.4.10
scores- Iannis Xenakis
Great article from Art Critical:
Iannis Xenakis: Composer, Architect, Visionary at the Drawing Center
quote ... 'If writing about music is like dancing about architecture, consider the remarkable resemblance some musical scores bear to architectural drawings. The quintessential example of this phenomenon is composer Iannis Xenakis (1922-2001), whose complex ideas sprouted from a natural love of architecture and mathematics. In a tightly constructed show now at the Drawing Center curators Sharon Kanach and Carey Lovelace have created a heady glimpse of the visual side of Xenakis, the composer who worked for Le Corbusier'.
30.3.10
Girrrls and drag
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
Interview with Raven Snook, Female Drag Queen
To me drag is not gender-bound it is a state of mind. I have met several women (born gender female that is!) who are, in my terms, a drag queen, (including myself). Some male "drag queens" say women do no thave enough drama or glamour to be drag queens. I say - what abt the women so many drag queens impersonate? A few names come to mind: Diana Ross, Marlene Dietrich, Joan Crawford, Marilyn Monroe, Bette Midler, Cher, Joanna Lumley, Madonna to name but a few.
During my last visit to New York I met up with Raven Snook ("Designated Diva" drag performer) and Andy Freeze (make-up artist & self-proclaimed drag terrorist) for a photoshoot and some chit chat on the essence of drag.
Frederike: What makes Ravens "Designated Diva" a Drag Queen?
Andy: Raven has always been a girl with a little bit of flair....
27.3.10
feminist blogroll
Blogroll
* A Collage of Citations
* Abyss 2 Hope
* Against Rape
* All About My Vagina
* And Another Thing
* Arab Woman Progressive Voice
* Arbitrary Marks
* Asian Communities for Reproductive Justice
* Atoms Arranged
* Bangladesh From Our View
* Barbara Ehrenreich’s Blog
* Bideshi Blue
* Bitch PhD
* Bite-Sized Subversions
* Black Looks
* Blogging For America
* Border Thinking
* Broadsheet
* Carnival of Feminists
* Certain Doubts
* Collegium of Black Women Philosophers
* Condomologist
* Conservatory Girl
* Crooked Timber
* crooked timber
* Cruella Blog
* Diary of an Anxious Black Woman
* diversity@spp
* Dolly Mix
* Echidne of the Snakes
* Engage: Conversations in Philosophy
* Engender
* Experimental Philosophy
* F Watch
* F-Words
* Female Science Professor
* Feminist Aesthetics
* Feminist Allies
* Feminist Law Professors
* Feminist Mormon Housewives
* Feminist Response in Disability Activisim
* Feministe
* Feministing
* Feminocracy
* Fetch Me My Axe
* Florida Philosophy Student Blog
* Genius NZ
* Gone Public
* Halfie
* Hi My Name Is…
* I Blame The Patriarchy
* Irresponsibility
* Irshad Manji
* Jean Kazez
* Just Another Angry Black Muslim Woman?
* Knowledge and Experience
* Language Log
* Law and Letters
* Lemmings
* Lilith Attack
* London Feminists
* Mad Melancholic Feminista
* Majikthise
* Mind the Gap
* Miss Crip Chick
* Ms Magazine Blog
* Ms Magazine Online
* Multiplicative Identity
* Muslimah Media Watch
* Natalia Antonova
* Nine Pearls
* No Cookies For Me
* No Snow Here
* Objectify This
* Oh No a WoC PhD
* Packaging Girlhood
* Pandagon
* Pandemian
* Pea Soup
* PennyRed
* Philobiblon
* Philosophy, Etc
* Pinko Feminist Hellcat
* Power and Stilettos
* Public Reason
* Rachel’s Musings
* Racialicious
* Red Jenny
* RH Reality Check
* SAFER
* Semantics Etc
* Sex In The Public Square
* SGRP The Blog
* Shakesville
* Sheffield Fems
* Siris
* Sister Song
* Slap Upside the Head
* SM Feminists
* Social Justice Feminist
* Staff of Ra
* Symposia on Gender, Race, And Philosophy
* Text and the world
* The Brooks Blog
* The Curvature
* The F Word
* This is what a feminist blogs like
* Thought, Interrupted By Typos
* Thoughts Arguments and Rants
* Thus Spake Zuska
* Ultra Violet
* Unapologetically Female
* Unapologetically Female
* Viva La Feminista
* Wages of Ignorance
* What Sorts of People
* Women Count
* Women of Color Blog
* Women Philosophers
* XY
25.3.10
Metaphysics of Sound by Lee Hangjun(Flims)/Hong Chulki(Turnt
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
24.3.10
The Good Questions- Professor What If... get your feminism here
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
23.3.10
sound jokes unsound - more posibilities
How many soundies does it take to change a light bulb?
1..2..3..1..2..3
Rumpus call for more Funny women found via She Writes
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):
22.3.10
17.3.10
(INSIDE ALICE'S FACETS) Figuring the Unstable World of Perceptual Meaning (meanings and unmeanings) ...in the word of a lit up face by majena mafe
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
Via Error: 48 Variations of Dante in time, variations by majena mafe
16.3.10
delirious hem: Kirsten Kaschock - quote from article
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)''
for whats said next and the full text click here...
delirious hem: Kirsten Kaschock 2
The disturbing interloper into reason - Gertrude Stein's sound and object-orientated philosophy
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.
15.3.10
Russolo's inspiration from The Art of Noises next to Stein's Two:
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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14.3.10
11.3.10
1,000,000 Laval Subjects Objects
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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Whitehead and the object as an event
....'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
speculative realism and the sound sounding asoundingly
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)
This, I think, is a new object for philosophy...
An article in Frieze magazine re the ’Speculative Realism and Speculative Materialism’ conference in Bristol last year outlines some interesting positions in relation to sound. I quote...
'Speculative realism has certainly revivified philosophy, inspiring a fervour of concept-production far beyond the traditional (but now largely moribund) academic spaces with which philosophy is usually associated: in the para-academic journal Collapse, for example, as well as in an efflorescence of blogs such as Speculative Heresy, Accursed Share, Planomenology and Naught Thought. The original Goldsmiths event brought together four philosophers – Harman, Ray Brassier, Iain Hamilton Grant and Quentin Meillassoux – who were united by an antipathy towards the dominant consensus in continental philosophy.
Is ’realism’ the right term? And what is the relationship between ‘realism’ and ‘materialism? Materialism is a label which is almost universally claimed by a continental philosophy which also prides itself on its hostility to realism. Harman (one of the speakers) (good interview here) wanted to reverse this valuation, holding on to realism while rejecting materialism. The tendency in materialism, Harman claimed, is always to dissolve specific objects, reducing them either to smaller physical entities or, as in the case of Grant’s philosophy, seeing them as ephemeral products of an underlying monist hyper-nature. Brassier, by contrast, pointed out that in the philosophy of someone like Slavoj Žižek the material seems to connote only a blockage, the point where thought fails – by this definition, the material cannot be thought. The problem was to return to matter without assuming a pre-established harmony between our conceptual apparatus and the world. Brassier also questioned the equation of materialism with practice: why is praxis material?'
What does this thinking do for my work on sound?...
9.3.10
WORD SALAD good for you & me
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
??everybody not- reading AAARG
that no single definition can function timelessly –
this may well be the case with many terms, but one of
the arguments of this essay is that noise is that which
always fails to come into definition. Generally speaking,
noise is taken to be a problem: unwanted sound, unorganised sound, excessively loud sound...'
"Noise threshold: Merzbow and ! the end of natural sound"
by Paul Hegarty
http://a.aaaarg.org/text/10807/noise-threshold-merzbow-and-end-natural-sound
Organised Sound 7(1): 193–200, 2002
on A.AAARG the generous sharing space of ideas !!
Furtherfield on Resonance fm radio tonight....must listen
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
WTF music 'in' the radio- better than dry stuff
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.
7.3.10
Mattin -- Noise and Capitalism mmmmmmmm...
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
defy(n)ing sound
UNSOUND', a.
| Unsound (unsound) | |
|---|---|
| a. | (?) |
| Un*sound" | |
- Not sound; not whole; not solid; defective; infirm; diseased.
--
Un*sound"ly ,adv. --Un*sound"ness ,n.
27.2.10
Platonic Love (A poem by Curt Anderson)
Platonic Love
(A poem by Curt Anderson)
We dine at Adorno and return to my Beauvoir.
She compliments me on my Bachelard pad.
I pop in a Santayana CD and Saussure back to the couch.
On my way, I pull out two fine Kristeva wine glasses.
I pour some Merleau-Ponty and return the Aristotle to Descartes.
After pausing an Unamuno, I wrap my arm around her Hegel.
Her hair smells of wild Lukacs and Labriola.
Our small talk expands to include Dewey, Moore and Kant.
I confess to her what's in my Eckhart. We Locke.
By this point, we're totally Blavatsky.
We stretch out on the Schopenhauer.
She slips out of her Lyotard and I fumble with my Levi-Strauss.
She unhooks her Buber and I pull off my Spinoza.
I run my finger along her Heraclitus as she fondles my Bacon.
She stops to ask me if I brought any Kierkegaard. I nod.
We Foucault.
She lights a cigarette and compares Foucault to Lacan.
I roll over and Derrida.
posted on Shunya's Notes
4.2.10
Simon Biggs 'Utter' and the problems of uttering digital events
Utter.
well done Simon
Simon Biggs Little Pigs network
a treasure, and inspiration, I too am going spare with text to sound software trying to score sounded-language
3.2.10
The recorded voice of Virginia Woolf and the sound of words & WORDS
This is the only surviving recording of Virginia Woolf's voice. It is part of a BBC radio broadcast from April 29th, 1937. The talk was called "Craftsmanship" and was part of a series entitled "Words Fail Me".
The audio is accompanied by a slideshow of photographs of Virginia Woolf.
The text was published as an essay in "The Death of the Moth and Other Essays" (1942), and its transcribed, the recorded portion, here:
http://atthisnow.blogspot.com/2009/06...
Transcript:
…Words, English words, are full of echoes, of memories, of associations. They have been out and about, on people's lips, in their houses, in the streets, in the fields, for so many centuries. And that is one of the chief difficulties in writing them today – that they are stored with other meanings, with other memories, and they have contracted so many famous marriages in the past. The splendid word "incarnadine," for example – who can use that without remembering "multitudinous seas"? In the old days, of course, when English was a new language, writers could invent new words and use them. Nowadays it is easy enough to invent new words – they spring to the lips whenever we see a new sight or feel a new sensation – but we cannot use them because the English language is old. You cannot use a brand new word in an old language because of the very obvious yet always mysterious fact that a word is not a single and separate entity, but part of other words. Indeed it is not a word until it is part of a sentence. Words belong to each other, although, of course, only a great poet knows that the word "incarnadine" belongs to "multitudinous seas." To combine new words with old words is fatal to the constitution of the sentence. In order to use new words properly you would have to invent a whole new language; and that, though no doubt we shall come to it, is not at the moment our business. Our business is to see what we can do with the old English language as it is. How can we combine the old words in new orders so that they survive, so that they create beauty, so that they tell the truth? That is the question.
And the person who could answer that question would deserve whatever crown of glory the world has to offer. Think what it would mean if you could teach, or if you could learn the art of writing. Why, every book, every newspaper you'd pick up, would tell the truth, or create beauty. But there is, it would appear, some obstacle in the way, some hindrance to the teaching of words. For though at this moment at least a hundred professors are lecturing on the literature of the past, at least a thousand critics are reviewing the literature of the present, and hundreds upon hundreds of young men and women are passing examinations in English literature with the utmost credit, still – do we write better, do we read better than we read and wrote four hundred years ago when we were un-lectured, un-criticized, untaught? Is our modern Georgian literature a patch on the Elizabethan? Well, where then are we to lay the blame? Not on our professors; not on our reviewers; not on our writers; but on words. It is words that are to blame. They are the wildest, freest, most irresponsible, most un-teachable of all things. Of course, you can catch them and sort them and place them in alphabetical order in dictionaries. But words do not live in dictionaries; they live in the mind. If you want proof of this, consider how often in moments of emotion when we most need words we find none. Yet there is the dictionary; there at our disposal are some half-a-million words all in alphabetical order. But can we use them? No, because words do not live in dictionaries, they live in the mind. Look once more at the dictionary. There beyond a doubt lie plays more splendid than Antony and Cleopatra; poems lovelier than the Ode to a Nightingale; novels beside which Pride and Prejudice or David Copperfield are the crude bunglings of amateurs. It is only a question of finding the right words and putting them in the right order. But we cannot do it because they do not live in dictionaries; they live in the mind. And how do they live in the mind? Variously and strangely, much as human beings live, ranging hither and thither, falling in love, and mating together. It is true that they are much less bound by ceremony and convention than we are. Royal words mate with commoners. English words marry French words, German words, Indian words, Negro words, if they have a fancy. Indeed, the less we enquire into the past of our dear Mother English the better it will be for that lady's reputation. For she has gone a-roving, a-roving fair maid.
Thus to lay down any laws for such irreclaimable vagabonds is worse than useless. A few trifling rules of grammar and spelling is all the constraint we can put on them. All we can say about them, as we peer at them over the edge of that deep, dark and only fitfully illuminated cavern in which they live – the mind – all we can say about them is that they seem to like people to think before they use them, and to feel before they use them, but to think and feel not about them, but about something different. They are highly sensitive, easily made self-conscious. They do not like to have their purity or their impurity discussed. If you start a Society for Pure English, they will show their resentment by starting another for impure English – hence the unnatural violence of much modern speech; it is a protest against the puritans. They are highly democratic, too; they believe that one word is as good as another; uneducated words are as good as educated words, uncultivated words as good as cultivated words, there are no ranks or titles in their society. Nor do they like being lifted out on the point of a pen and examined separately. They hang together, in sentences, paragraphs, sometimes for whole pages at a time. They hate being useful; they hate making money; they hate being lectured about in public. In short, they hate anything that stamps them with one meaning or confines them to one attitude, for it is their nature to change.
Perhaps that is their most striking peculiarity – their need of change. It is because the truth they try to catch is many-sided, and they convey it by being many-sided, flashing first this way, then that. Thus they mean one thing to one person, another thing to another person; they are unintelligible to one generation, plain as a pikestaff to the next. And it is because of this complexity, this power to mean different things to different people, that they survive. Perhaps then one reason why we have no great poet, novelist or critic writing today is that we refuse to allow words their liberty. We pin them down to one meaning, their useful meaning, the meaning which makes us catch the train, the meaning which makes us pass the examination…
21.1.10
maryann amacher and the third ear stopped listening Oct 2009
The subtitle of her first Tzadik Records album Sound Characters (Making the Third Ear) references these "ear tones".
"When played at the right sound level, which is quite high and exciting, the tones in this music will cause your ears to act as neurophonic instruments that emit sounds that will seem to be issuing directly from your head ... (my audiences) discover they are producing a tonal dimension of the music which interacts melodically, rhythmically, and spatially with the tones in the room. Tones 'dance' in the immediate space of their body, around them like a sonic wrap, cascade inside ears, and out to space in front of their eyes ... Do not be alarmed! Your ears are not behaving strange or being damaged! ... these virtual tones are a natural and very real physical aspect of auditory perception, similar to the fusing of two images resulting in a third three dimensional image in binocular perception ... I want to release this music which is produced by the listener ..."
SITE
for her ....
good article in the WIRE
New Music Box interview
If you want more, you can watch "day trip maryanne". It's 30 minute collaborative film/video project between Kim gordon, Thurston Moore and Andrew Kesin, filmed in nov 2003, exploring the work of several important women in experimental music. >>www.ecstaticpeace.com<<
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