19.6.10
Rotate the Completor makes a record... Breaking news from his Fan club!!!!!
Read more: http://blogs.myspace.com/index.cfm?fuseaction=blog.view&friendId=521672182&blogId=536039754#ixzz0rKTBKhPg
18.6.10
a philosophy of voice expression by Cavarero - go girrrl
Great book, I've been reading it on Google Books- I'll have to buy it, fills in lots of gaps
'For more than one voice: toward a philosophy of vocal expression' by Adriana Cavarero
First Sentence:
'The primacy of the voice with respect to speech that is, the inarticulate voice lies at the origins of many cultures that, in various ways, trace the beginning of the acoustic sphere to a divine presence'.
Description
The human voice does not deceive. The one who is speaking is inevitably revealed by the singular sound of her voice, no matter “what” she says. We take this fact for granted—for example, every time someone asks, over the telephone, “Who is speaking?” and receives as a reply the familiar utterance, “It’s me.” Starting from the given uniqueness of every voice, Cavarero rereads the history of philosophy through its peculiar evasion of this embodied uniqueness. She shows how this history—along with the fields it comprehends, such as linguistics, musicology, political theory, and studies in orality—might be grasped as the “devocalization of Logos,” as the invariable privileging of semantike over phone, mind over body. Female figures—from the Sirens to the Muses, from Echo to opera singers—provide a crucial counterhistory, one in which the embodied voice triumphs over the immaterial semantic. Reconstructing this counterhistory, Cavarero proposes a “politics of the voice” wherein the ancient bond between Logos and politics is reconfigured, and wherein what matters is not the communicative content of a given discourse, but rather who is speaking.
google books click here
Listening to Noise and Silence: Towards a Philosophy of Sound Art
for my London readers...
Listening to Noise and Silence: Towards a Philosophy of Sound Art
| Date: | Tuesday, June 22, 2010 |
| Time: | 6:00pm - 8:00pm |
| Location: | London College of Communication, Elephant and Castle, London. SE1 6SB. |
Description
‘Listening to Noise and Silence: Towards a Philosophy of Sound Art’
by Salomé Voegelin
The events will be held in the Podium Lecture Theatre, London College of Communication,18:00-20:00
22 June: “Towards a Philosophy of Sound Art”; Angus Carlyle and Salomé Voegelin debate the relationship between philosophy, sound and art. This conversation considers the ways in which the book seeks to develop a critique of sound art on its own terms – rather than according to any abstract themes. This will be followed by a drinks reception in the Eckersley Gallery.
29 June: “Sonic Approaches to Place”; Jennie Savage, Peter Cusack and Salomé Voegelin debate the spatio-temporal circumstance of sound and the sonic-subject; a discussion of place recorded, rendered and produced in sound.
6 July: “Listening”; Brandon LaBelle, Francisco Lopez and Salomé Voegelin debate listening as an activity and an interactivity that shapes the production and perception of the sound artwork as well as of the listening subject.
Preview the book at http://tinyurl.com/2wazpev
London College of Communication, Elephant and Castle, London. SE1 6SB. For more info email e.pitkin@lcc.arts.ac.uk
Swoonrocket- notes for talk at the panel "Why Is Gertrude Stein So Important?" at the ALA.
But what is Stein? I want to tell several stories about the Stein that we deserve.
One is the Stein that appears in the publication context of her time. And as example here I want to talk some about the 150 or so pages of Stein were published in the various issues of the journal Transition. Transition was edited mainly by Eugene Jolas while he lived in Paris and it came out monthly from 1927 until 1932 (after 1932 it came out less regularly, first from the Hague and then from New York, until 1938). So it interestingly, although not uniquely, charts the development of avant garde modernism before World War II. When Jolas reprints Tender Buttons in his journal Transition, he doesn’t just put it in the journal on its own. He puts it in a larger context, in a section titled “America,” which includes not only work by other American avant gardists such as A. Lincoln Gillespie but also work from a diverse range of genres and cultures such as fairy tales of the Aztec and Inca periods, a Mexican statue, a Columbian figure, and a Peruvian bowl.
The Stein that appears in Transition is one that is in dialogue with the wide variety of arts that are new to Europe as a result of imperialism. The editorials and reviews and essays of Transition make an argument that avant garde modernism’s forms are reflective of a Europe changed by imperialism, a Europe suddenly very much aware of how different cultures and their arts and their languages are entering and shaping European centers, over and over. Jolas does not really use the words “imperialism” or “colonialism,” he does again and again relate the avant garde to economic and political changes. Again and again he argues that this writing, a writing that at moments he calls a declaration of linguistic independence and at other moments the revolution of the word, was indebted to the disruption of the center'.
for more click here
13.6.10
Gotto get these speakers- got to make em'
Munny doll speakers from Mark Pascua
Ever wanted a cute set of speakers for your office desk? Well, check out the Munny Speakers “mod” from Fungus Amungus at Instructables. You’ll need a pair of Munny dolls ($25 via KidRobot) and 3″ drivers like these bamboo drivers ($22 each). Simply cut a 3″ circle off of the doll’s head with a Xacto knife to fit in the speakers. The Munny dolls are made of vinyl so you might want to use a blow dryer to warm up the doll’s face to soften it before cutting. After cutting off the faces, create a small puncture hole in the doll’s neck to thread the speaker wire. After threading the wire, fill the heads with polyfill and then attach/seal the speakers to cover the hole.
You’ve now got a set of cute Munny doll speakers. Full instructions at Instructables.
From this:
To this:
Via: Instructables
more cool speakers here
make your own instructions here,
supplies here
8.6.10
1.6.10
two good women die
louise bourgeous dies age 98 and full of mischief right to the end
and.... leslie scalapino 1944-2010
From her Essay on the Comic Book
(Each of the lines or paragraphs is one of the frames of the comic
book.)
The crowd marks the split between themselves and experience.
They construct all the buildings to be the same.
That's a different way of regarding; so the man whose function
it is to drive the bus doesn't know where he's going or seem to
wonder.
as it is before
him
Not using the mind -- which then occurs outside the frames of
the comic book after -- as the bus driver from the civilization with-
out order though it is repressed
then
I was out in the cornfields, the sky -- and people would pull
alongside shouting obscenities saying to go back where one'd come
from.
What is the relation of action -- someone's -- to the unfolding of phenomena?
The farm boys coming up alongside with obscenities out in the
fields.
Wavering alongside and if one says they're from there, their
exploding feeling insulted.
Which is really funny.
Just say back to them they're from there and they erupt.
At a streetlight, out in the fields -- out in nowhere -- and they
waver there alongside shouting.
then feel hurt in public
from what had been before.
One cannot expect to be a bum.
The reverse of that -- which is before
where people used to lie in the train stations
and now they have to have a ticket
Not using the mind -- is contemplating -- in the comic book.
The newspapers have created the impression of disjointed expe-
riences. But I don't read them.
anyway, we're not in these experiences
is the impression created by the newspapers which
do not allow us to make connections
Not having historical experience -- is the comic book as the form
of the serial novel. Though popularly we're supposed to be in
them -- this is a deprivation created by the newspapers themselves.
The moon is in the day sky, now out in the cornfields -- rather
than in the civilization which does not have order, though it is
repressed.
The farm boys hanging wavering floating at the crossroad --
alongside, shouting obscenities.
are from the ordered civilization where the bum lying has died
in the subway station.
as such they're not in experiences -- as the reverse image of the
deprivation created by the newspapers.
The serial -- but then being before it
And afterwards there's only that
They are out by the fields
These boys were shouting, maybe because they're together --
wavering hanging leaning out coming alongside.
I feel depressed -- I'm tired of being made fun of.
Farm boys who're just youths floating leaning out
People standing like the cattle in the sea -- waist deep, standing
on grass
being invalidated and nothing
is the reverse image of the ordered civilization
and one is calm
Xenakis and the Gap - article by Bret Schneider
click here article printed in Chicargo Criticism
Iannis Xenakis - study for Terretektorh
quote ..." Xenakis was above all concerned with the production of new sounds, but the twist was that he was methodically obsessed. He later made a full break even with musique concrete because it was reliant upon existing sounds. Furthermore Xenakis thought that Cageian methods of chance and experimentation became likewise deterministic and fell back on habitual behavior when performed, not living up to the pathological expectations for ‘newness’. Regarding the sound quality and fortuitous composition of Cage, Xenakis quipped, “we all have fortuitous sounds in our daily lives. They are completely banal and boring. I’m not interested in reproducing banalities.” Xenakis was clearly disinterested in the synthesis of art and life."
... "The war had accustomed them to a sound world which had never seemed possible before and each one had to adjust to it in his own way. This assimilation took many forms, it explains why, for instance, musique concréte was so quickly accepted by this generation as a perfectly natural extension of the sound continuum they had perceived, and secondly, the violence, anger and horror of the war could be transformed into a music which was openly aggressive, brutal and violent.”
By imitating crowds Xenakis was proposing an art based in mimicry. Transferring civil unrest and social confusion into pure form was a way of dealing with the inadequacy of the situation. Through pure abstraction, Xenakis aestheticized the political upheaval of the moment. In this sense, what is commonly perceived to be the most esoteric, abstract avant-garde music, was in fact purely practical and grounded in the physical conditions of the moment. The standardized but obscured paradigm of ‘physicality’ in recent sound art and experimental music floats free from this history and as a result repeats its failures instead of fulfilling its promise. The ruse of ‘physicality’ in much recent sound art ‘theory’ becomes pastiche and pure lipservice, especially when many of the tools which could actually manifest those latent potentials are repressed by the dominant countercultural DIY hegemony.
"But this abstraction also implies that reality in its complicated form was indigestible, and also that Xenakis had no intent on digesting it as it existed empirically. There are two things happening in this abstraction: first, the calculated abstraction of social relations into mathematical data and pure pattern echoes the objectification of reification. To further support this theory one need look no further than Xenakis’s mimicry of insects and natural phenomena as well. In other words, Xenakis lumps human social culture in with animal nature, proposing there isn’t much of a difference. But secondly, and conversely, by formalizing social inadequacies through an ‘open system’ as it would later be called in the 1960’s in reference to conceptual and minimal art, the artist is incapable of accepting the conditions of reality at face value. Instead the artist sought to re-constitute reality by exorcising the latent potentials of its form and by overcoming life through formalizing it artistically (or at least attempting to do so), instead of synthesizing art + life, as is commonly understood to be a defining characteristic of the avant-garde and much art today".
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