Ben Guiver (BG) Interviews Baz Nichols (BN) of Level / Fourm and WHITE_LINE about his work and inlfluences
July – September 2007 : via e mail conversations.
On Philosophy…
BG: Have you read much Heidegger? Or have you read any Foucault?
BN: Neither I’m afraid, although of course I’m aware of them..I find that philosophers speak in a totally different language, that tends to obscure the very thing that it sets out to clarify. Most of it traverses that high intellectual “nosebleed” territory that is almost inpenetrable. So I don’t subscribe to any one philosophy, or philosopher. I read a lot of Koestler when I was younger, and that was very inspiring,but that was more psychology than philosophy. I still haven’t found anyone who cans satisfactorily resolve any of the BIG questions, but I suspect that our saviour will be Richard Dawkins one day not too far from now…..he makes a lot of sense, and has a very “grounded” and amazing ability to explain and quantify some of the more important components of the Human Condition.
BG: How was Koestler inspiring for you?
BN: Well you have to remember this was a long time ago, maybe twenty years or so, and I no longer have the books to refer to, but “The Act of Creation”, and “Ghosts in the Machine “, were particularly inspiring, especially the former..The Act of Creation was very influential, as it examined elements of poetic, scientific, and humorous creativity. It struck me at the time, as much of what Koestler was saying concerned phenomenological linkages between thoughts and disciplines, and how all of those formal elements are interconnected cognitively ..it also re-affirmed some of the creative turmoil I was going through at the time by indicating that we can be at our most creative when in altered states of mind, most obviously through hypnagogic sleep and hallucinations etc, which I suppose was the corollary of Dali’s “Paranoid Critical” method..Koestler kind of gave me permission to use this deep psychic material to feed the work, without ever having to explain it..in instances like this language is redundant, and as a visual artist at the time, it gave some validation to what I was doing.
BG: how does philosophy impact upon your practice as an
artist?
BN: I always refer to “philosophy” in very broad terms, and it feeds into my work on a more subtle, subliminal level. We are to an extent enslaved by religious and philosophical dogma, and I prefer to keep my personal philosophy very fluid and transitional..I don’t like things set in stone, so find myself constantly sitting on the fence on most of the big issues..a bit of a revisionist I suppose…I guess a lot of people would think that is a cop out, and most hard liners feel very uneasy at such an approach, and would doubtless spend their lives in turmoil deprived of the anchor of truth or dogma..I view that anchor as a SHACKLE. I learned a long time ago that any single unifying truth/proof is almost unattainable, and THAT is what excites me and inspires me most, the fact that, as with the quantum realm, the very act of observing the minutiae of life radically alters it..like a recurrent Schrodinger’s Cat theory, it can never truly be observed.
BG: What is Schrodinger’s Cat Theory please?
BN: .How long have you got? This comes from quantum theory, and it postulates the analogy of a cat being sealed in a metal box with a vial of acid. If some change in the nature of the box were to destroy the vial of acid, would the cat be dead or alive? This loosely explains the theory of “superposition” , in which matter can be in any number of states at the same time until it is observed..the very act of observing changes the state of the matter..we can only know if the cat is dead or alive by opening the box… heavy stuff..
BG:do you still do any visual work?
BN: I do quite a lot of visual work, but mostly digital these days. It’s a medium that I’m exploring more and more. I used to do a lot of painting and collage work, mostly with natural pigments like earth, grass, blood, plant juices etc..never paint and paint brush! And I still love doing graphics, and typography, and have learned a lot by observing and absorbing influences from contemporary design manuals.
The computer enables me to work a lot more intuitively alongside the technology – and I really like the fact that not only is the computer a tool, it is also a collaborator . I mean that in the sense that I work with images in almost identical ways to the way I work with sound. There really isn’t a pre-determined image, or a set of parameters..nothing definable that I want to emerge..I like to set up conditions where the output is completely unknowable, and I apply filters, and generally allow fortuitous mistakes to happen..so in that sense, the computer is as much the artist as I am. We did an experiment last year with the Hyperlanguage installation..along with Andrew Lagowski (S.E.T.I) , and Paul Wilson (N-Spaces), we each had a bank of sounds to work with, but unlike improvisation, we took each others’ sounds and crash-edited and manipulated them live, creating a kind of live work in progress, the idea being that we might stimulate some sort of dialogue between ourselves, a kind of technological proto- language. I love the excitement and unpredictability of creating something with (and through) the technology, and the fact that the emergent sounds bear almost no relation to the sounds being fed into the system and edited.
BG: I know you said in a previous interview that you
compose sound pieces visually, i.e. that they are
represented in your mind visually.
i think that that’s an interesting idea, i don’t know if
you could say any more, i mean does a visual narrative
direct what you do in terms of sound composition? or
is it more disparate than that, like the idea of a
collage?
BN: I wouldn’t use the term “narrative”, as that suggests to me a story, or a flow of thought. For me, it is very much more disparate, and diffuse than that. As I mentioned above, the end result is almost never a priority when I’m working on a piece – the process is much more interesting for me, and it gets much more interesting and absorbing once images start to form in my mind, and that subliminally feeds the sounds, and hence the general flow of the piece...so what eventually emerges is a synthesis…a dual process of thoughts and ideas..
I have been working on a series of pieces called “Archisonics” for a couple of years, and these sounds are very much informed by the principles of architecture, scale, form, rhythm, and spatiality all have a place in these works, so in a sense, I have an image in my head that I want to manifest through the sound. I am very inspired by Goethe’s (largely misquoted) tenet that “architecture is frozen music” – and the Archisonics works are designed to reverse the process by making music from fluid architecture..this is a work in progress…
BG: thinking about Aeus I: I liked the aesthetic, it
sounds like you'd slowed down a lot of the samples and
thus entered into the piece - intervened if you like -
in a way that slows down time. Is this right? Can you
say any more about this? It’s a bit hard since I haven’t
heard the 'original' recordings.
BN: Exactly right…..that is incredibly perceptive, and I’m really pleased that you picked up on that, as it really was the framework for the whole Aeus project..I didn’t do it in an obvious way, so I’m pleased that that came across. Aeus was very much inspired by notions of infinity (I used the title, “The Image Between Two Mirrors” to reference this, an unattainable, unknowable truism….once again, like Schrodinger’s Cat….as soon as you try to see the image, it is lost), and also the slowing down of time, and the gaps or interstices between tiny moments of time…frozen moments that so few of us are able to experience and really take spiritual succour from. I time stretched the source sounds in order to make a kind of phorensic investigation of these moments, and from there, draw out certain frequencies from within the piano sounds, and my organic sampling. That will be a lot more prevalent on the newer work, OPALE (Spekk, Japan, February 2008). In this frenetic, chaotic existence that many of us have, the ability to slow our inner clock has become more and more difficult….I think it is the reason why there is so much civil unrest, people have lost the ability to truly connect with their world, by slowing everything down, and truly become enriched by the wonders of nature, and the beauty that surrounds us constantly, opening up those infamous doors of perception. Not in a hippy-trippy “everything is wonderful” sort of way, more of a deeply felt appreciation of our existence, and the mechanisms of life. I think this is why I am so drawn to minimalism also….the fact that my whole creative world is composed of a very rigorous aesthetic, a process of elimination, taking out anything that is frilly or unessential, a return to essence….preserving only the most important elements. You can’t teach that in a school, it has to be enculturated.
BG: I know you don’t think that what you do is 'music', but I think that as we go on with technology, developing how we relate to the world (put crudely), I
don’t know whether this distinction can hold up. I relate to sound - ooops there it is, the distinction - in a similar way to music, in that timing is only one
small part of the whole thing, and the way you deploy sounds is comparable to the way musicians deploy sounds, only I think you do it in a much more cautious way. Listening to the Aeus cd on my phone right now, I can hear little bits of treble information, kinda like timing I think, or very much a part of the whole piece anyway.....i just don’t invest too much in distinctions
like sound / music, but i'd be interested to hear what you think.
BN: Well of course, fundamentally there are no distinctions between pure sound and music, nor should there be….both are languages , and languages constantly mutate and evolve in parallel to the human organism, and now, more independently of it, now that music has become a creature of high technology. The point that I always try to make is summed up by one word – INTENT..I don’t intend to create a piece of music, I try to create audible artworks….a musician would of course call it music, but that was not my intention, it’s all about interpretation. My work as Level will always be perceived as music because I work with instruments, so in a sense, I’ve really scuppered my own theory! I don’t think this will ever be resolved, but essentially, especially with Level, I tried to adopt a wider step….take a different approach to conventional musical structure by breaking it into fragments, and re-assembling it in a different way, very much in the way that the deconstructionists work with architecture. I’m not saying that my work is new, or radically different, but for me, it offered unique solutions that gave the sound a life of its own, freeing it from my personality and my guidance. Reading between the lines, you have no doubt guessed that my authorship of a piece is not so important to me, what I love, and what really energises me is when things happen by accident, when random events yield interesting results that could not possibly be pre-determined. Now I think THAT is where I fundamentally differ from the greater percentage of musicians….I’m a lot more interested in how the technology can speak through me, whether that is via a piano, a soft synth, or a field recording, it all goes through my PC, and is alchemically transmuted into something completely different. To clarify slightly further, but hopefully without labouring the point, the nearest analogy I can give is that moment of inspiration when Jackson Pollock stumbled upon his drip paintings….he didn’t INTEND to create a picture of a house, or tell a story….he simply worked through the process and allowed the painting to happen....paint flowed, drips happened.. a beautiful image emerged….how much control did he have over the end result, and what percentage of authorship was his in comparison to paint working with or against gravity? That is how I work with sound. Incidentally, after OPALE has been released, Level will take on a totally different persona, and the formula that has taken me this far will be changed quite drastically....it might upset the audience that I have thus far cultivated, but this is the way that I have to grow, and progress.
BG: How did you first get into working in sound?
BN: Sound had always been a part of my creative language, right from when I was a child….having grown up in a very industrialised part of London, I was always fascinated with the mystical sounds emanating from local factories and workshops, and that fired my young imagination at a very early stage….I remember writing little stories about these places within a sci-fi setting, and imagining what was going on inside….creatively, I began working with visuals, and after meeting with Ben Ponton of Zoviet France, realised that my work finally had it’s natural home on the fringes of the art world. I did cassette covers for various people, and then ended up doing CD cover work for people like Brume and Origami, and my old and very dear friend Justin Mitchell of Cold Spring (I did the original, misprinted cover art for his first CD, “Shrine”), and was gradually gravitating towards extreme experimentalism both visually and conceptually.
After a few years of doing this, listening to, and absorbing various influences, (Joseph Beuys, Antoni Tapies, visually) I stumbled upon the work of the Hafler Trio. Some of Mckenzie’s influences and theoretical approach resonated with me (good word that, resonated), I loved what he was doing, and I began collecting his works extensively. I bought The Sea Org, and was fascinated by the “sound paintings” that were contained in the accompanying booklet, and began some investigations of my own....how could sound be legitimately manifested visually? What would sound truly look like? So this later became the impetus for “Trace” that I did as ECM323 with Linden Hale at the Museum of Installation in London. At the time I was good friends with Joe Banks of Disinformation, and he very generously invited me to do several installations with him at various influential galleries and art spaces, and it all started to take off from there really….I owe Joe a great debt of gratitude for that...I remember him being very envious of Trace, but he went on and did some wonderful work all over the world, especially the material he did for Sonic Boom at the Hayward.
BG:What has impressed you about Richard Dawkins?
BN: More than anything his resolute courage and conviction….he has never been deterred from expressing very radical opinions about the nature and mechanisms of religion, and evolution, despite furious opposition. I also admire the way that he makes his subject so accessible through a very broad range of disciplines without ever “dumbing down”, or being condescending.
BG: I was surprised - in a good way - to hear that you'd done visual work in the past with natural pigments, i.e. grass, blood, earth, plant juices. are there any available sources of your current visual work please, or is it more commissioned for other people's work?
BN: I know of a handful of people that have original pieces by me around the world, but I was never really prolific at doing big pieces of work. Most of my material was created for CD covers, or incorporated as graphics. I did a lot of work for Pushing Against The Wire, a festival that I dreamed up and curated with Justin Mitchell in my home town in 1992. I did a lot of sub-Beuysian pieces that were quite potent for me….it was a kind of rite of passage, and I sold a few pieces, and then pretty much gave up for a long time, until I started making digital work. A very transitional period in my creativity.
I have just started taking commissions for visuals again, for my old friend Christian Renou (formerly Brume), and doing visual works for my WHITE_LINE Editions series.
BG: What were the first pieces of technology that you engaged with? Was it a tape recorder? Or something else? Did you engage with it on your own or with other people?
BN: I guess, like many others in this little scene of ours, it was a combination of radio and tape recorder. I did a lot of stuff messing around with odd frequencies and wavebands in my late 20’s. My first interventions were with some old punk pals, one of whom gave me his grandmother’s upright piano. I stripped it down to the framework, and started recording it being struck with various objects. I finally burned it, and recorded it being burned, never did anything with the recordings though…it was more of a conceptual provocation than a recording project really.
BG: It was interesting to hear you talk about liking the computer and generally embracing technology, as a lot of people either don’t like technology or want it to be seamless and unobstructive ( which I can understand in some ways ). It made me think about some of Kodwo Eshuns thoughts / theory on music, for example one of Kodwo Eshun’s points in his “Sonotronic Manifesto” is that
‘The sampler doesn’t care who you are. Its only using you to reproduce”;
In an interview with Eshun by Dee, the point(s) are made that
“Dee: If you take someone like Hendrix, it is almost like he is encouraging the Cry Baby Wah Wah pedal and the amplifier to go off on their own. He’s giving them permission to release themselves and to catalyse themselves.
KE: Feedback is the machine that was taking over from humans, that is why it is always a buck. The engineer’s job is to stop feedback, stop errors, but Hendrix decided to say no, its not an error, it’s something that’s been charted, listen to the frequencies, listen to the harmonics, listen to the oceanic roar of the feedback. He realised that what sounded like a crisis was in fact an opportunity, so he turned an error into a feature, and the feature into a new organisational principle. So ugliness repeated became beauty.
So sampladelia opens a continuum between visual sound and audio sound. Visual sound is always feeding in from one to the other. Hence why I love a lot of film samples. Probably why I love the visual so much is that it's always being grabbed any way by the music. By extinguishing the visual output, the music is switching it on elsewhere. It's almost as if the eyes start to have ears, as if, Michel Chion would say this, your ears have had their optical capacity switched on. In a strange way, your ear starts to see. Chion is saying that each of the senses have the full capacity of all the others. It's simply that hearing happens to go through the ear, but all the other senses can go through the ear as well. The ear is meant to hear, but it can do all the other things as well, if it was switched on to the right capacity. I think that's what he meant, but that's what I take from it any way.
[Also that….]
Postmodernism doesn’t mean anything in music at all. It doesn't mean anything, it hasn't meant anything since at least ‘68 when the first versions started coming out of Jamaica. As soon as you had the particular social condition of no copyright, this nineteenth century copyright was already gone, instantly you had the freedom to replicate, to literally recombinate, almost immediately. That encouraged a wildstyle of rhythms where things would attach themselves and recombinate. And as soon as you had that, that's postmodernism accomplished and done with, right then in ‘68, this is another reason why traditional things don't make any sense in music, ever since then by definition you've had postmodernism and it hasn't been any big deal at all, it's just already been accomplished. The key thing is to go even further back. For instance, Walter Benjamin's traditional "Work of Art in the Age of ..", that argument doesn't work any more, because Benjamin simply says, one of his main points, or the one his admirers use over and over again, although he says loads of other stuff, the main thing they always say is that in the age of reproduction there's obviously no aura left, the single, unique aura has gone, but of course as soon as you have the dubplate then that's all gone out of the window. The dub plate is where you've got the reproductive process, the mechanical process of pressing vinyl onto the plate that's being played, and suddenly in the middle of that you've got the one-off remix, you've got the track that there's only one of in the world, but it's not an original, it's like a copy, or a third copy. So you've got this thing that's never supposed to exist in Benjamin's world: you've got the one-off copy, you've got the one-off fifth remix, you've got the one-off tenth remix, you've got the one-off twentieth remix. There's only one of it. So the dubplate means that the whole idea of the aura being over doesn't make any sense because the aura is reborn in the middle of the industrial reproduction.”
I wondered if you had any thoughts about the above quotations and if they related to what you do at all?
BG: Well to break that all down is complex...we would need another twenty pages….I did some work with feedback as ECM323, this got published in Resonance Magazine’s Feedback Issue, that was curated by Knut Auferman. I saw feedback as a sonic manifestation of life….it exhibits many of the signifiers of a truly electronic life form, and as well as sounding extraordinary, as a process, it has become integral to life and many living processes, as well as audio synthesis…it’s too much to discuss here.
I still can’t truly understand those people that don’t like technology, or are suspicious of it in some way….we are creatures of technology, and anyone who wears glasses, has a hearing aid, or even takes a tablet has instantly become a cyborg, whether they like it or not….they have been enhanced with technology. Even the most rudimentary instruments are technological, so the computer is simply a more complex form. I can understand why some musicians want it to be seamless….you get so many CD’s that proudly announce that they have been created “without samples or synthesisers”, but we are all actively sampling and remixing either consciously or unconsciously….it’s just by different degrees….I’m really at home with technology, and it seems pointless to deny it. I am still disappointed that digital visual art is so undervalued in the mainstream art world, but I guess it will eventually have its day once it has been truly assimilated into our culture....it’s still early days yet.
As for post modernism....well as far as music is concerned, the great comedian Eric Morecambe got it right when he was accused by the composer Andre Previn of playing the wrong notes on one of his pieces....he replied
“ No, I’m playing the RIGHT notes, but not necessarily in the right ORDER”.
That was a perfect, and hilarious interpretation of Post modernism. But seriously, I really think that the last ten to fifteen years have seen technology radically transforming our culture….I mentioned this in my previous interview with Matt Spendlove….we are more globally connected through technology, and for me personally this has been a truly liberating experience....finding commonalities with artists from all over the world in a globally networked way, and making, producing, and selling music all from my laptop....meeting and interacting with wonderfully creative people very quickly….this has greatly enriched my life, as my fringe interests and activities do not find friends in my immediate vicinity....technology used in this way is incredible....not insidious. I’m as much a fan of other artists as I am an artist in my own right….I really do love the work of other people, and that is why I have my review site, to pay homage to my peers!
BG: Can you say any more about process work please? Perhaps viewing the computer as an extension of you puts the emphasis more onto process rather than end state, as it is power to your arm, so to speak....
BN: Well for me, process is all about allowing things to happen….like I said earlier....letting the raw materials do what they want to do, and it’s the same with the computer. Most of my sound work evolves from many hours of experimentation….allowing things to happen….setting up conditions where errors might occur, and then exploiting these errors….after all a computer is as much prone to errors as a human is, and most of the time those errors are unwanted, waste material, but in extremely fortuitious instances, some of these errors can either throw up an unexpected and interesting result, or at least put you in a different frame of reference to explore, and throw up ideas that you wouldn’t have considered on your own…
BG: Are the results of your collaborations / experimentation with the hyperlanguage installation available please?
BN: Yes..I’ve been wrestling with the release for over a year now….the trouble is that I had four hours of really great material to edit and shave down into one CD….and that has been a task in itself. I now have an hour’s worth of material ready to release, but it will probably be a limited edition CDR....maybe 100 copies .. I just don’t don’t get enough time to trawl around looking for labels that would be willing to put it out....a few people have expressed an interest, so I may try and re-edit and do another edition at some later date….it’s been a busy time lately.
BG: I am also interested in your Archisonics' pieces....
BN: Ah..that’s another story..the Archisonics project is going to be tricky....I’m constantly revising and revisiting it, and have used some of the material as sources in my new work..so it won’t be released officially as a single entity….as it tends to inform a lot of the work I am currently preparing under the FOURM project name.It is once again a fragmented project that will materialise and unfold slowly, but I want to incorporate some of it into some kind of Book / CD type release when I have time and money on my hands to do so..I’m looking into that possibility right now. I’ve been very much inspired by the so-called “Deconstructionist “ architects, and their work and methodology has fuelled the archisonics project..it has been a major influence. So what I’m trying to achieve sonically with this portion of the project, is what they try to achieve visually/structurally. Anyone who is interested should look at their works and thought processes….it is so much more interesting than a lot of contemporary art.
BG: Regarding the two Aeus cd's: thanks for your feedback re this question and my comments re slowing down time / timing.
A friend of mine, Carl Collins, who once ran a jungle / drum and bass label in the early / mid 1990's, said that he thought that the meaning of music could be located in the silences between the sounds, i.e. that the meaning comes after the sounds, and lies or dwells in the decay, or the time after the event. [in an immediate sense i think he meant] : so it seems to me that in some ways you’re taking very meaningful segments from the overall pieces and slowing them down, making us more conscious of the meaning, amplifying it via the dissipation of time, of the temporal. An analogy that comes to mind is that of focussing in on segments of poems, a kind of minimal remix that amplifies parts of the piece, a bit like looking in at a picture with magnifying sheets in front of certain details, and that this is only really possible beyond a certain point with technology - as I said power to your arm - so in a sense it’s like a post-modern way of looking at ourselves.
i don’t mean to get too caught up in this - in a sense anyone with a couple of video recorders has been able to do this for quite a while, slow time down and repeatedly look at a section of material until its magnified, you're inside it, or shrunk in respect of it, the sense of scale is reset.
I liked your use of the word 'phorensic' since it combines forensic and phosphorus / phosphorescent.
I thought that it was an interesting point about people becoming estranged from their centers, that this is perhaps one of the dangers of technology, since people can be drawn to identify away from themselves as opposed to connecting with themselves, like time being sped up in a typical 'i want it now' twenty-first century way, as opposed to technology helping us slow down, rather like more analog or biological technologies i.e. yoga. I interviewed a man called Nico, who ran a drum and bass / jungle label – No U Turn – in the 1990’s, and it was noticeable that we found ourselves focussing on technology, and gradients. Technology in the sense of bio-tech, like crack cocaine, which you could say has a steep gradient, and more silicon based, like watches that have tv remote controls inside them, the evolution of samplers and how this channelled the evolution of the music really. Also gambling, since as his friend said in a video Nico had made about gambling that “when you’ve got a bet on you’re dreaming”. I thought that that was very insightful. We looked at the growth of technology like cash-quest machines, which have been limited to a maximum of four in every gambling shop, since they’re so addictive. So yes we can relate to technology positively or negatively, or a mixture.
That was part of the reason why I asked you about how you got into technology, since you’ve done artwork in a more prime way, with natural pigments, and here you are on Aeus using the software package Reason to manipulate and animate fragments in a very eerie way indeed, that’s incredibly powerful. It reminds me a bit of the William Basinski’s set of works, The Disintegration Loops I-IV, in a way, since that set of works also plays with time, timing, and dissipation, or at least one could make the comparison.
BN: Well I could argue that I’ve always been into technology….just like we all have..but that would me being pedantic. I get your point though….I think for me the turning point was many years ago. I saw an interview with Peter Greenaway in the Times Review, and he had been working on Prospero’s Books, and was describing his working methods, and how he had been using Photoshop, which was still quite new software....I was amazed at the results, and intrigued enough to get hold of a PC and a pirate copy of the software, and began playing around with various tools and filters. Now this to me, was completely natural, and I still find it difficult to differentiate between, say paint and brush (which I never used to apply colour with anyway) and PC software. There was very little difference to me, except that it wasn’t as tactile, and certainly not as messy....the really insightful moments came when accidents happened, and it was EXACTLY the same as when I used to make accidents with natural pigments….allowing things to run, drip, bleed, and generally find their own direction. It was very much a pivotal moment, and that then translated to sound a few years later. I don’t think technology should make people fearful….a lot of people get these Frankenstein / Collossus moments envisioning their creations running amok, and starting to destroy everything, and that is why many people are afraid of technology, because thev have a primal fear of losing control. Once you get to grips with the idea that losing control to an extent is what true creativity is all about, then you are to some extent, home and dry.
The down side of all this is that these technologies are now being used to radically confuse , re-map, and re-edit our realities, particularly in the media....hi-tech methods are being used to create simulacra….it’s a bit unnerving. You can see what’s happening with all these airbrushed Photoshopped models looking pristine and perfect...and various mediatised events that are totally bogus, or at best, radically edited....no wonder there is so much paranoia about our current reality….look how many people out there are believing that 9/11 was perpetrated by the US Government, or how the Moon Landings never happened….in this way, technology and the media is making cynics of us all….it’s of great concern to me…and THAT is where technology can be very dangerous. There was a small instance here in the UK last week, where a politician was unable to make an important presentation at a public building....the newspaper cloned an image of him amongst all the dignitaries that DID attend, making it look like he had been there....it was later discovered, and there was a huge furore about it….if it’s happening at that level….how far up the scale does it go? It IS very much like Orwell’s 1984. I think a lot of that is happening now….history being re-written in front of our eyes….except our eyes are being deceived.
http://benguiver.blogspot.com/2007/04/level-cycla-spekk-k007-eno-style-slow.html
http://sicomm.blogspot.com
http://www.smallfish.co.uk
http://www.myspace.com/sicomm
http://www.spekk.net
http://www.vibrofiles.com/artists/artists_si_comm.php
http://hyperlanguage.blogspot.com/
Monday, 29 October 2007
Friday, 14 September 2007
On Isolation ::: Various Artists ::: Room 40
On Isolation ::: Various Artists ::: Room 40
This little release offers up some gems, along the lines / theory / inspiration of disconnection, isolation and solitude in the current climate of media overload.
The cd was provided to conference delegates at the University of Tasmania’ in 2006 to “help awaken a deep imagination and engagement with these matters. The conference, set up as an antidote to dominant discourses of globalism, seamless connectivity and information flows, provided a space to discuss both the despair and enchantments that might be contained within numerous fractured spaces, unknown remaining landscapes and social constellations”.
The cd contains fifteen tracks by notable artists such as Stephen Vitiello, David Toop, Richard Chartier – who also designs the minimal packaging - Sebastien Roux and Robin Rimbaud. There are also artists who I haven’t heard of, one of whom – Dale Lloyd – ( WWW.AND-OAR.ORG/DALELLOYD.HTML ) provides one of the tracks I liked the most, ‘Among The Many’. It’s a collage of field recordings, and musical pieces. On the third or fourth listening I realised that part of the recording I was listening to was the sound of passing cars, in a rather liquid, relaxing type of aesthetic. Beautiful.
www.room40.org
http://www.audioh.com/releases/on_isolation.html
Saturday, 8 September 2007
Where has all the birdsong gone? ::: Edwards Lane Gallery, Stoke Newington, N16 (behind Stoke Newington Library, off church street )
this exhibition contains much work.
an awful lot of little birds.
some musical type sculpture that children are allowed to play with, and
other sculptural works, most of them by Kate Bradbury, i think, but somne of them may be by Peter Haslunds partner whose name i am afraid to say i forget.
some embroidered pictures that are pretty stunning.
photography, portraiture and more abstract material, by Peter Haslund.
( www.peterhaslund.com )
and some sculptures by a man called Oliver Sparks, that could be great big sculptures: heres hoping....... they made me think about opacity, but in a mental way, like the possibility of someone being open to you / thinking about you, rather than blanking you out.
i'll try and update this a bit more later on with some more names, but its open saturday 9 to 5 and sunday 1 to 5pm. until the 15th september.
L-R - 1, 2, sorry i couldnt remember your names, 3 Peter Haslund, 4 Kate Bradbury
an awful lot of little birds.
some musical type sculpture that children are allowed to play with, and
other sculptural works, most of them by Kate Bradbury, i think, but somne of them may be by Peter Haslunds partner whose name i am afraid to say i forget.
some embroidered pictures that are pretty stunning.
photography, portraiture and more abstract material, by Peter Haslund.
( www.peterhaslund.com )
and some sculptures by a man called Oliver Sparks, that could be great big sculptures: heres hoping....... they made me think about opacity, but in a mental way, like the possibility of someone being open to you / thinking about you, rather than blanking you out.
i'll try and update this a bit more later on with some more names, but its open saturday 9 to 5 and sunday 1 to 5pm. until the 15th september.
L-R - 1, 2, sorry i couldnt remember your names, 3 Peter Haslund, 4 Kate Bradbury
Friday, 7 September 2007
Finding, Transmitting, Receiving ::: Hannah Collins ::: Black Dog Publishing
This book is introduced by an interesting foreword by Iwona Blazwick, director of the Whitechapel Gallery, which kind of composes and introduces the collection.
It contains photographs documenting the human condition in the current time, alluding and/or referencing the past, present and future: or visualising different kinds of ‘time’, slower more traditional time and newer more technological time, to put it crudely.
‘Time present and time past
Are both perhaps present in time future
And time future is contained in time past.’
T.S. Eliot, ‘Burnt Norton’.
Sometimes disturbing – the picture ‘Life on Film I 2003’ shows us a car in India in good condition, with a man asleep in front of it: it is unlikely to be his car I think – often showing us the provisional nature of life for much of the population, for example in photographs of gypsy encampments within ‘modern’ cities. That this is juxtaposed with pictures such as ‘In the Course of Time, The Road to Auschwitz, 1995’ is unsettling to say the least. One of the earliest shots from 1986, ‘Thin Protective Coverings’, of cardboard boxes, the staple of homeless dwellings and alluding to other more provisional dwellings, offers up questions of modernism, and how far we’ve progressed. This may be a little clumsy a reading, but I cant help noticing. The focus is wider than this, for example in her beautiful black and white portrait of fans (‘In the Course of Time 2, fans, 1996 ) and ramshackle dwellings topped with many, many television aerials ( True Stories I, 1998 ): it’s like she’s showing us the growth of modernism through contrasting the ‘old’ and the ‘new’, and in the conjunction wondering about how they’ll combine, and develop, which might be a more realistic word for what used to be called progress.
It’s also why Iwona Blazwick might refer to the photographs as being able to ‘be experienced as an image and as a kind of architecture; as two dimensional surface and as sculpture’. As well as being a powerfully visual kind of poetry – for example her close up of three ants on the surface of an inflated balloon (Life for Life, 1990) – the pictures suggest something about the politics of space in terms of the quiet contrast between images of more provisional type dwellings and the more hygienic, defined spaces of modern des-res’s ( Mies Pavilion ) and commercial spaces ( Supermarket (pills) 2004 ). One particularly memorable image is ‘True Stories London ( detail )’, which is of rooftops, showing – I presume – a mosques tower in the foreground with the Natwest tower and the city on the horizon.
http://www.hannahcollins.net/
http://www.blackdogonline.com/art/finding,-transmitting,-receiving.html
http://www.saatchi-gallery.co.uk/blogon/2007/05/book_hannah_collins_finding_tr.php
Design Anarchy ::: Kalle Lasn ::: Adbusters (inc. DVD)
“As a a child I played in the gaps between buildings, ruins of buildings, fallow land, abandoned industrial areas, gravel pits and sand mines. Formed through misplanning, they were our empire, the empire of children.
Ours was a dirty, unused place, with snakes, lizards, insects of every category and wild vegetation.
Children instinctively understand the language of natural vegetation. They can read it, if only they’re allowed to climb the fence and play undisturbed.
But the city gardeners arrive – the eliminators of mystery, the killers of the empty spaces. They mow, pave and plant in zones where children and teenagers once played.
They pave the paths people may walk upon and prohibit walking upon the grass. The grass is always framed with perfectly composed borders and the flowers are always placed in identical pots of cement.
Naturalness is understood as the annihilation of spontaneity through perfect gardening”.
This book raises the questions of the power of the visual, and the politics of space. Whose space, and whose visuals, and is it a democracy or something less than that. Most networks won’t take advertisements who offer the idea of not consuming anything, or that some of our consumption might be wasteful. The lack of hope, or difficulty in hoping, in design as a left wing activity : now seen as merely the tool of commerce:
“In the struggle between commerce and culture, commerce has triumphed and the war is over” : Milton Glaser.
is covered here in some depth and passion. Essentially the book asks, through a mostly visual language that’s quite provocative at times, important questions about the state of the world today: whether it’s a global state of commerce or whether its possible for it to be other than that, whether all the space has to be owned and regimented commercially. It references alternative ideas and movements, such as larger scale ones like Reclaim the Streets and smaller ones that can be just as effective, such as moving the electricity meters out of the cupboard and into somewhere visible, so that you can see how much the meters spinning when you leave the house, and thus how much energy you’re wasting.
In short a stunning extended visual essay on the perils of global hypercapitalism, possible reactions to this, and an impassioned and at times provocative plea for something else. This does not really do justice to the impact of many of the pictures within the book, ranging from the cut and paste political hits ( ‘cognitive dissonance’ ) to beautiful landscapes.
On a slightly tangential tip, Alice Stepanek and Steven Maslin have an exhibition on in Paris, starting on the 8th September and running to the 29th, at the Galerie Jean-Luc & Takako Richard. I include it here as its on a similar theme in some ways, about how the worlds been commercialised. They approach their subject via some eiree oil paintings of landscapes.
http://www.galerierichard.com/
http://adbusters.org/blogs/Communication_Arts_on_Design_Anarchy.html
https://secure.adbusters.org/orders/designanarchy/
http://en.wikipedia.org/wiki/Kalle_Lasn
http://benguiver.blogspot.com/
http://brainwash.robertundhorst.de/uncategorized/guerilla-buzz-virales-marketing-adbusters/
http://en.wikipedia.org/wiki/AdBusters
Thursday, 30 August 2007
TAYLOR DEUPREE + CHRISTOPHER WILLITS ::: LISTENING GARDEN
some sublime electronics here too. i particularly liked track 4 - a different kind of prescence, warmer, and fragile also - but they're all good, in a minimal ambient kind of way. is the verb ambient still valid? i hope so, and hope that it hasnt been hijacked by the likes of zero 7 and such like......
http://www.12k.com/line/
http://www.12k.com/line/mp3s/listeninggarden_excerpt.mp3
Level Aeus parts one and two
beautiful minimalism. Level's Barry Nichols explores the spaces between the sounds, the silence and decay, rendering a sublime collection of pieces.
watch for a forthcoming interview with Bary........
http://www.myspace.com/sicomm
http://www.smallfish.co.uk
www.spekk.net
estate hits back at widdecombe
(picture Charlie Varley, unrelated in the literal sense but maybe poetically related, http://varleypix.com/ )
great stuff. kicking against the pricks, so to speak. who the f^%k does Ann Widdecombe think she is? she certainly has no perception of irony.
http://www.youtube.com/watch?v=-gbX_wCHlzo
http://www.youtube.com/watch?v=MKUfZDTIRY8&NR=1
Londonstani ::: Guatam Malkanni ::: 4th Estate ( June 2006 )
June 2006
Londonstani ::: Guatam Malkanni ::: 4th Estate
A long time ago in a galaxy far far away, a band released an album called ‘Wasted Youth Club Classics’. That band was Glamourous Hooligan, and this book starts with a scene that could be inspired by that sort of braggadocio. Indeed, the cover of said album features three young men, their faces shrouded and abstracted by their sunglasses and their scarfs, in a ‘band’ photo that’s off centre by about twenty degrees. Possibly the kind of sartorial vibe given off by the protagonists of the novel, four young men called Hardjit, Ravi, Amit and Jas.
“Slamming school for a whole term – Your first collar for lifting”
(sleeve notes ‘Wasted Youth Club Classics’)
Which is where Hardjit, Ravi, Amit and Jas have been, and nearly been. Save for the intervention of a well meaning teacher. The story turns on this incident and continues into an intensifying trajectory which takes in a lot.
Characters exist in an ‘adolescent’ environment, trying on different identities whilst existing in parallel universes - modulated by technologies such as mobile phones, their mother’s BMW’s, the cultural space - that are in close proximity to their parents. It’s a lot about that space, and the dynamics of the group.
Much of the novel is relayed via the interior monologue of Jas, and it is this that gives the book much of it’s gravity:
“The Bollywood hero always takes care a the underdog, you see. Only difference was that Hardjit din’t like takin no glory for stickin up for me. He din’t even like it whenever I thanked him for doing so. I reckon he was basically so freaked out by how gimpy I was that he felt he’d got to cure me. Like those people who are so homophobic that stead a beating gay guys shitless, they actually try an turn em into straight guys.”
And,
“I din’t know what sixty-nine meant, you see. I thought they were chattin bout the bus that goes down Chiswick, the one you take if you go to Brentford. I couldn’t even ask for a bloody bus ticket. Obviously I couldn’t. You can’t pull if you can’t talk, can you? Not unless you’re that Hugh fuckin Grant from that movie bout shaadis an funerals an shit. Always sayin sorry an erm and stuff. He still got his dick sucked, din’t he? It was on the news. Hugh Grant. Ponce.”
The book follows Jas as he negotiates the humiliations of adolescence, except that it ramps up a bit more towards the end. The perspective is further reinforced by the dynamic between the interior thoughts and the dialogue of the gang…..
“I know what other poncey words like homophobic an misogynist mean an I know that shit in’t right. But what am I s’posed to do bout it? If I don’t speak proply using the proper words then these guys’d say I was actin like a batty boy or a woman or a woman actin like a batty boy. One good thing though: now that I use all these proper words I’m hardly ever stuck for words. I just chuck in a bit o proper speakan I sound like I’m talkin’ proper, talkin like Hardjit. I just wish I was the Proper Word Inventor so I could pick different proper words, that’s all.”
“All those little flickers. Everyone has ‘em, no point in getting all sentimental….Be young, be foolish, but be angry, and remember that once you’ve left the Wasted Youth Club you can never go back!”
(sleeve notes ‘Wasted Youth Club Classics’)
‘Don’t perish in the pit of reason with the dogs of because”
(label notes, ‘Wasted Youth Club Classics’);
I watched ‘Kidulthood’ and ‘Deliverance’ the same day I wrote this: they resonated with the flow of scenes within this book, and I couldn’t help but feel that maybe there’s a nascent film in here: maybe the thought’s just a compliment to the writing.
BG.
Londonstani ::: Guatam Malkanni ::: 4th Estate
A long time ago in a galaxy far far away, a band released an album called ‘Wasted Youth Club Classics’. That band was Glamourous Hooligan, and this book starts with a scene that could be inspired by that sort of braggadocio. Indeed, the cover of said album features three young men, their faces shrouded and abstracted by their sunglasses and their scarfs, in a ‘band’ photo that’s off centre by about twenty degrees. Possibly the kind of sartorial vibe given off by the protagonists of the novel, four young men called Hardjit, Ravi, Amit and Jas.
“Slamming school for a whole term – Your first collar for lifting”
(sleeve notes ‘Wasted Youth Club Classics’)
Which is where Hardjit, Ravi, Amit and Jas have been, and nearly been. Save for the intervention of a well meaning teacher. The story turns on this incident and continues into an intensifying trajectory which takes in a lot.
Characters exist in an ‘adolescent’ environment, trying on different identities whilst existing in parallel universes - modulated by technologies such as mobile phones, their mother’s BMW’s, the cultural space - that are in close proximity to their parents. It’s a lot about that space, and the dynamics of the group.
Much of the novel is relayed via the interior monologue of Jas, and it is this that gives the book much of it’s gravity:
“The Bollywood hero always takes care a the underdog, you see. Only difference was that Hardjit din’t like takin no glory for stickin up for me. He din’t even like it whenever I thanked him for doing so. I reckon he was basically so freaked out by how gimpy I was that he felt he’d got to cure me. Like those people who are so homophobic that stead a beating gay guys shitless, they actually try an turn em into straight guys.”
And,
“I din’t know what sixty-nine meant, you see. I thought they were chattin bout the bus that goes down Chiswick, the one you take if you go to Brentford. I couldn’t even ask for a bloody bus ticket. Obviously I couldn’t. You can’t pull if you can’t talk, can you? Not unless you’re that Hugh fuckin Grant from that movie bout shaadis an funerals an shit. Always sayin sorry an erm and stuff. He still got his dick sucked, din’t he? It was on the news. Hugh Grant. Ponce.”
The book follows Jas as he negotiates the humiliations of adolescence, except that it ramps up a bit more towards the end. The perspective is further reinforced by the dynamic between the interior thoughts and the dialogue of the gang…..
“I know what other poncey words like homophobic an misogynist mean an I know that shit in’t right. But what am I s’posed to do bout it? If I don’t speak proply using the proper words then these guys’d say I was actin like a batty boy or a woman or a woman actin like a batty boy. One good thing though: now that I use all these proper words I’m hardly ever stuck for words. I just chuck in a bit o proper speakan I sound like I’m talkin’ proper, talkin like Hardjit. I just wish I was the Proper Word Inventor so I could pick different proper words, that’s all.”
“All those little flickers. Everyone has ‘em, no point in getting all sentimental….Be young, be foolish, but be angry, and remember that once you’ve left the Wasted Youth Club you can never go back!”
(sleeve notes ‘Wasted Youth Club Classics’)
‘Don’t perish in the pit of reason with the dogs of because”
(label notes, ‘Wasted Youth Club Classics’);
I watched ‘Kidulthood’ and ‘Deliverance’ the same day I wrote this: they resonated with the flow of scenes within this book, and I couldn’t help but feel that maybe there’s a nascent film in here: maybe the thought’s just a compliment to the writing.
BG.
Tuesday, 14 August 2007
The Birth of Graffiti ::: John Naar ::: Prestel
The Faith of Graffiti, re-issued with more photographs in addition to the original ones used. All very sharp delicious 35mm – I presume – photographs: the colour tone is sumptuous and the books landscape format helps the display of them also.
There are two essays re-introducing the work, one by ‘cultural critic’ Sacha Jenkins – ‘In a War Zone Wide Awake’ - and one by John Naar himself, - ‘On becoming a Graffiti Photographer’. Naar’s one details how he started out as an artist working in the medium of photography, taking pictures of what held his interest in the city, for example images that were eerily reminiscent of other artworks. He developed his interest via the spontaneous collages that posters sometimes became, before moving onto tagging via the dual shooting of both a poster and a tag in 1972. He was fortunate to have been engaged by a UK publisher Pentagram, and the publisher Lawrence Schiller engaged Norman Mailer to write the text. This book became ‘The Faith of Graffiti’, published in 1974.
‘The Birth of Graffiti’ shows the originals and more of Naars’ three thousand shots he took over a two week period at the end of 1973. For what its worth – and I think it’s worth a great deal – the Faith of Graffiti was to originally be titled ‘Watching My Name Go By’. It somehow feels very important to point out that the work is incredibly political – witness the two yellow tags on a tree on page 138, and the contrast with the municipal benches of similar colours to the left of the photograph - since this can somehow be easily missed viewing the work from the comfort of one’s armchair, as contrasted with actually doing the stuff under fear of arrest or worse
Wednesday, 8 August 2007
Bring The Noise ::: Simon Reynolds ::: Faber and Faber
Reviews of Husker Du, The Smiths, Public Enemy, Dinosaur Jr, The Pixies, post-rock and Pavement, Blur vs Oasis, Radiohead, 2-step and UK garage, electronica, Mike Skinner, grime, Dizzee Rascal and so on, all holding the mans customary depth and astuteness, displayed in the contextual and psychological analysis of the music and the musicians. I thought that this man should have been a psychiatrist after reading his piece on Morrissey in ‘Blissed Out’: he is a strong philosopher of contemporary culture who is in danger of being overlooked by the wider world. Reynolds lives mostly in NYC nowdays and writes for a number of publications both here and there, such as The Wire and the Village Voice.
For example, in the piece on Public Enemy, Reynolds manages to provoke analysis regarding whether PE represent ‘rock’ music or else: they happen to define themselves as hip hop as opposed to rock, although he feels vindicated by them teaming up with Anthrax a year or so later, a bit like Run DMC and another rock band, i.e. ‘Walk This Way’. This is perhaps less relevant than the fact that his provocative, thoughtful analysis makes the musicians think and talk about what they are, which is a very interesting subject for a book on music, given that ultimately it’s something we identify with (or not) in an almost primal way. His analysis of more recent soundwaves, such as Grime and Dizzee Rascal take this forward also. He studiously avoids the pitfall that lots of books on music are really just checklists of facts, which is boring: his defence of his interest on page 357 really does rack it up; his honesty is admirable and pays him dividends. Given the racial dynamics which Reynolds negotiates with great skill and care – he is somewhat reminiscent of Studs Terkel – this book furthermore stands out for me, a bit like Terkel’s ‘Race’, modulated through the medium of music.
http://bringthenoisesimonreynolds.blogspot.com
http://socialistworker.co.uk/art.php?id=11733
http://blissout.blogspot.com/
Reviews of Husker Du, The Smiths, Public Enemy, Dinosaur Jr, The Pixies, post-rock and Pavement, Blur vs Oasis, Radiohead, 2-step and UK garage, electronica, Mike Skinner, grime, Dizzee Rascal and so on, all holding the mans customary depth and astuteness, displayed in the contextual and psychological analysis of the music and the musicians. I thought that this man should have been a psychiatrist after reading his piece on Morrissey in ‘Blissed Out’: he is a strong philosopher of contemporary culture who is in danger of being overlooked by the wider world. Reynolds lives mostly in NYC nowdays and writes for a number of publications both here and there, such as The Wire and the Village Voice.
For example, in the piece on Public Enemy, Reynolds manages to provoke analysis regarding whether PE represent ‘rock’ music or else: they happen to define themselves as hip hop as opposed to rock, although he feels vindicated by them teaming up with Anthrax a year or so later, a bit like Run DMC and another rock band, i.e. ‘Walk This Way’. This is perhaps less relevant than the fact that his provocative, thoughtful analysis makes the musicians think and talk about what they are, which is a very interesting subject for a book on music, given that ultimately it’s something we identify with (or not) in an almost primal way. His analysis of more recent soundwaves, such as Grime and Dizzee Rascal take this forward also. He studiously avoids the pitfall that lots of books on music are really just checklists of facts, which is boring: his defence of his interest on page 357 really does rack it up; his honesty is admirable and pays him dividends. Given the racial dynamics which Reynolds negotiates with great skill and care – he is somewhat reminiscent of Studs Terkel – this book furthermore stands out for me, a bit like Terkel’s ‘Race’, modulated through the medium of music.
http://bringthenoisesimonreynolds.blogspot.com
http://socialistworker.co.uk/art.php?id=11733
http://blissout.blogspot.com/
Digital Film-Making ::: Mike Figgis ::: Faber and Faber
Digital Film-Making ::: Mike Figgis ::: Faber and Faber
An excellent introduction to the subject: building on his previous record of ‘Projections 10’, ( interviews with actors, agents, film-makers ) and his straight up chapter in Soundscape: The School of Sound Lectures 1998-2001 ( Wallflower Press 2003 ). Incidentally, Mike Figgis was the man who filmed artist Jeremy Deller’s re-enactment of the battle of Orgreave, the notorious - and misrepresented - clash between miners and policemen in the miners strike of 1984.
Mr Figgis is extremely generous with his experience and expertise, going into detailed study of the practical nature of the process giving a thorough overview about the differences between celluloid and digital cameras, what this means for film makers, customising cameras, planning issues when making a film (budget and location), lighting, camera movement, actors, post-production, music and distribution. Very readable and very engaging.
http://www.faber.co.uk/book_detail.html?bid=39302
http://mantex.blogspot.com/2007/05/digital-filmmaking-mike-figgis.html
http://www.kamera.co.uk/article.php/897
http://www.gyford.com/phil/writing/2007/05/10/a_whores_profess.php#more
An excellent introduction to the subject: building on his previous record of ‘Projections 10’, ( interviews with actors, agents, film-makers ) and his straight up chapter in Soundscape: The School of Sound Lectures 1998-2001 ( Wallflower Press 2003 ). Incidentally, Mike Figgis was the man who filmed artist Jeremy Deller’s re-enactment of the battle of Orgreave, the notorious - and misrepresented - clash between miners and policemen in the miners strike of 1984.
Mr Figgis is extremely generous with his experience and expertise, going into detailed study of the practical nature of the process giving a thorough overview about the differences between celluloid and digital cameras, what this means for film makers, customising cameras, planning issues when making a film (budget and location), lighting, camera movement, actors, post-production, music and distribution. Very readable and very engaging.
http://www.faber.co.uk/book_detail.html?bid=39302
http://mantex.blogspot.com/2007/05/digital-filmmaking-mike-figgis.html
http://www.kamera.co.uk/article.php/897
http://www.gyford.com/phil/writing/2007/05/10/a_whores_profess.php#more
Saturday, 7 July 2007
Monday, 4 June 2007
Boris Cyrulnik ::: Talking of Love on the Edge of a Precipe ::: Allen Lane / Penguin
Boris Cyrulnik is beyond doubt resilient. Despite a war racked childhood and the deportation of his parents to a concentration camp during world war II, he became a scholar and famous in France for his writing (get ref’s). He went on to study medicine and followed this into neuropsychiatry and psychoanalysis. He is director of Teaching at the Faculty of Arts and Social Sciences at Toulon, France. This is his first book to be published in the UK.
Talking of Love on the Edge of a Precipe is an analysis of the healing power of love and hope. Resilience relies on the same conditions in adults as it does in children: victims must have the capacity to articulate suffering and they must be able to “weave’ their rebirth around another, external, person. “A trauma casts a shadow, but the stories that are told about it bring princesses out of the darkness, as well as toads. That’s why fairy tales are so powerful. That is the difficult hope promised by resilience”. This made me think of the film ‘Pan’s Labrynth’, which perhaps partly articulates this angle, the resilience of the individuals subjective dimension in the face of fierce opposition from external reality. A wound inflicted in the past may become bearable if our representation of it can be modified: this is perhaps one of the foundation ideas that underpins William Gibsons’ ‘Pattern Recognition’, both with the main character Case Pollard and the Russian footage creator.
The book is filled with examples illustrating Cyrulnik’s thoughts, and I wanted to quote one. It concerns a boy who was fostered out to a farm, where he was placed in a barn with another boy and tasked with tending the sheep. After a few months of this he was filthy, and neglected by his foster ‘parents’.
“One Sunday, a….support worker came to treat Bruno to a day inside a real house…..she could not stop herself from showing her disgust. For the first time in his life, Bruno felt that he was filthy. He had a feeling of having a dirty self, and at the same time he was perceived as a model of an other who despised himself. It was as though he thought to himself: ‘The gaze of kind adults is teaching me that I am dirty.’ From that day onwards, the boy felt at ease only when he was in the company of marginal boys who did not make him feel dirty. He began to avoid kind adults, who soiled him by looking at him. By adapting in this way, Bruno was inserting himself into the world of socialisation that blocked his resilience’.
http://www.penguin.co.uk/nf/Author/AuthorPage/0,,1000071429,00.html
http://www.penguin.co.uk/nf/Book/BookDisplay/0,,9780713999136,00.html
http://www.unesco.org/courier/2001_11/uk/dires.htm
http://www.odilejacob.com/catalogue/index.php?op=par_auteur&auteur=70&cat=0204
Talking of Love on the Edge of a Precipe is an analysis of the healing power of love and hope. Resilience relies on the same conditions in adults as it does in children: victims must have the capacity to articulate suffering and they must be able to “weave’ their rebirth around another, external, person. “A trauma casts a shadow, but the stories that are told about it bring princesses out of the darkness, as well as toads. That’s why fairy tales are so powerful. That is the difficult hope promised by resilience”. This made me think of the film ‘Pan’s Labrynth’, which perhaps partly articulates this angle, the resilience of the individuals subjective dimension in the face of fierce opposition from external reality. A wound inflicted in the past may become bearable if our representation of it can be modified: this is perhaps one of the foundation ideas that underpins William Gibsons’ ‘Pattern Recognition’, both with the main character Case Pollard and the Russian footage creator.
The book is filled with examples illustrating Cyrulnik’s thoughts, and I wanted to quote one. It concerns a boy who was fostered out to a farm, where he was placed in a barn with another boy and tasked with tending the sheep. After a few months of this he was filthy, and neglected by his foster ‘parents’.
“One Sunday, a….support worker came to treat Bruno to a day inside a real house…..she could not stop herself from showing her disgust. For the first time in his life, Bruno felt that he was filthy. He had a feeling of having a dirty self, and at the same time he was perceived as a model of an other who despised himself. It was as though he thought to himself: ‘The gaze of kind adults is teaching me that I am dirty.’ From that day onwards, the boy felt at ease only when he was in the company of marginal boys who did not make him feel dirty. He began to avoid kind adults, who soiled him by looking at him. By adapting in this way, Bruno was inserting himself into the world of socialisation that blocked his resilience’.
http://www.penguin.co.uk/nf/Author/AuthorPage/0,,1000071429,00.html
http://www.penguin.co.uk/nf/Book/BookDisplay/0,,9780713999136,00.html
http://www.unesco.org/courier/2001_11/uk/dires.htm
http://www.odilejacob.com/catalogue/index.php?op=par_auteur&auteur=70&cat=0204
Vitamin Ph : New Perspectives in Photography, introduction by T J Demos ::: Phiadon Press 2006
A fascinating collection of fifty or so current photographers, such as Tacita Dean (opp.: 'Lord Byron Died'), Catherine Yass, who I have at least heard of. There are others featured who are also worthy of a mention – far too many – but I would like to reference a few in order to convey a glimpse of the scope of this book.
Tobias Zielony captures eastern European young people communing authentically in relatively non-place locations such as petrol stations and fields, burning wheely bins and hanging out around their cars. Liu Zheng’s pictures convey a little of his backround as a photojournalist, but go further into the mediums possibilities as both frozen theatre and sociology. Shizuka Yokomizo explores new directions in urban portraiture, writing letters to strangers asking them if they would agree to be photographed by her. Catherine Yass’s luminous multilayered transparencies explore memory, psychogeography and emotion. Bettina von Zwehl explores the provocations of form and content on multiple subjects.
And this is, apart from the individual strength of the contributions, the basic overall asset of the book – it takes in a great number of perspectives on contemporary photography, as the title suggests, and this is very nourishing for the mind.
Tobias Zielony captures eastern European young people communing authentically in relatively non-place locations such as petrol stations and fields, burning wheely bins and hanging out around their cars. Liu Zheng’s pictures convey a little of his backround as a photojournalist, but go further into the mediums possibilities as both frozen theatre and sociology. Shizuka Yokomizo explores new directions in urban portraiture, writing letters to strangers asking them if they would agree to be photographed by her. Catherine Yass’s luminous multilayered transparencies explore memory, psychogeography and emotion. Bettina von Zwehl explores the provocations of form and content on multiple subjects.
And this is, apart from the individual strength of the contributions, the basic overall asset of the book – it takes in a great number of perspectives on contemporary photography, as the title suggests, and this is very nourishing for the mind.
Soundscape: The School of Sound Lectures 1998-2001
This book holds an interesting collation of a number of people’s lectures on sound, from different geographic locations: usually sound in film, although in Tom Paulin’s chapter, ‘The Despotism of the Eye’, he goes more open than this, focussing on how neglected acoustic imagery is in poetry.
There are chapters from Mike Figgis (the director of Leaving Las Vegas), David Lynch, Laura Mulvey, (a professor of Film and Media Studies at Birkbeck College London) and Michel Chion (a french composer and theorist), amongst others.
The main, though not the only quality of the book is the level of depth the various contributors go into: for example in Mike Figgis’ engaging account of his work in post production, he recounts a story where the sound from the scene was contaminated by the whooshing sound of the camera magazine: he wanted to use the live sound from the scene rather than overdub, and eventually found the only way to sort the whole thing out was to find out the frequency of the intrusive noise and then compose the scene music in key with that.
Michel Chions’ chapter in the evolution of sound in film, and Laura Mulveys’ chapter on the sociology of film, focussing particularly on the context of the emergence of ‘talkies’, are similarly engaging; as is the interview with David Lynch:
“Sound is 50 per cent of a film, at least. In some scenes it’s almost 100 per cent. It’s the thing that can add so much emotion to a film. It’s a thing that can add all the mood and create a larger world. It sets the tone and it moves things. Sound is a great ‘pull’ into a different world. And it has to work with the picture – but without it you’ve lost half the film.”
The book can be read in itself or as an excellent introduction – I am following it with Mike Figgis’s ‘Projections 10’, a series of transcribed interviews with directors, actors, writers, agents.
www.wallflowerpress.co.uk
There are chapters from Mike Figgis (the director of Leaving Las Vegas), David Lynch, Laura Mulvey, (a professor of Film and Media Studies at Birkbeck College London) and Michel Chion (a french composer and theorist), amongst others.
The main, though not the only quality of the book is the level of depth the various contributors go into: for example in Mike Figgis’ engaging account of his work in post production, he recounts a story where the sound from the scene was contaminated by the whooshing sound of the camera magazine: he wanted to use the live sound from the scene rather than overdub, and eventually found the only way to sort the whole thing out was to find out the frequency of the intrusive noise and then compose the scene music in key with that.
Michel Chions’ chapter in the evolution of sound in film, and Laura Mulveys’ chapter on the sociology of film, focussing particularly on the context of the emergence of ‘talkies’, are similarly engaging; as is the interview with David Lynch:
“Sound is 50 per cent of a film, at least. In some scenes it’s almost 100 per cent. It’s the thing that can add so much emotion to a film. It’s a thing that can add all the mood and create a larger world. It sets the tone and it moves things. Sound is a great ‘pull’ into a different world. And it has to work with the picture – but without it you’ve lost half the film.”
The book can be read in itself or as an excellent introduction – I am following it with Mike Figgis’s ‘Projections 10’, a series of transcribed interviews with directors, actors, writers, agents.
www.wallflowerpress.co.uk
Saturday, 19 May 2007
Hexen 2039 : new military-occult technologies for psychological warfare: a Rosalind Brodsky research programme
“Owing to factors such as shifts in the balance of power…..and new models of warfare, the twenty-first century is increasingly becoming a period of uncertainty.
Our programme involves the testing and analysis of existing occult-based research in connection with military histories, in order to develop accurate neurological-based technologies for the new British military-occult industries.”
a tour de force of paranoid futurism: except of course that this is way, way more than paranoia, it is a study of the political and social geographies of a number of people, buildings and ideologies, and the associations between them. Rosalind Brodsky is a ‘fictionalised’ alter-ego of the artist Suzanne Treister, who investigates the links between military psy-ops, the occult, and media technologies. You might see this as science fiction, but as someone once said, science fiction is theory on fast forward.
This investigation is rendered through pencil drawings, alpha-numerical analysis of German and English texts via the Jewish mystical method of Gematria, remote viwing drawings utilising Dr John Dee’s scrying crystal from the science museum, London (John Dee was the ‘Queen’s Intelligencier’ to Elizabeth I and a close associate of the founder of the British Secret Service, Sir Francis Walsingham).
There are also a number of drawings relating the links between the individuals, locations and events and histories collated by the Hexen project, and the book contains a number of photographs of key locations analysed within the project, for example of the current broadcasting tower at Brocken, Germany, which adds a kind of emotional gravity to the book, as if to confirm that its not all at phantasy. Anyway, I liked the effects of the contrasts between the pencil images and photographs. There is also an in-depth essay by Richard Grayson, which outlines in greater depth some of the connections and examines Treister’s practise in detail.
You might still doubt the vision of this project, but if you go to Kode_9’s blog you will see a brief documentation of the advancing technology of audio warfare। There is also ample wider evidence, for example Jon Ronson’s book ‘The Men Who Stare At Goats’ (Picador, 2004) or the use of sound in torture at Abu Graib prison Iraq, or that some psychiatrists are quite happy to pass electric currents through people’s brains, or that IBM technology was instrumental in the Holocaust. Triesters’ book is chilling, compelling phantasy.
Our programme involves the testing and analysis of existing occult-based research in connection with military histories, in order to develop accurate neurological-based technologies for the new British military-occult industries.”
a tour de force of paranoid futurism: except of course that this is way, way more than paranoia, it is a study of the political and social geographies of a number of people, buildings and ideologies, and the associations between them. Rosalind Brodsky is a ‘fictionalised’ alter-ego of the artist Suzanne Treister, who investigates the links between military psy-ops, the occult, and media technologies. You might see this as science fiction, but as someone once said, science fiction is theory on fast forward.
This investigation is rendered through pencil drawings, alpha-numerical analysis of German and English texts via the Jewish mystical method of Gematria, remote viwing drawings utilising Dr John Dee’s scrying crystal from the science museum, London (John Dee was the ‘Queen’s Intelligencier’ to Elizabeth I and a close associate of the founder of the British Secret Service, Sir Francis Walsingham).
There are also a number of drawings relating the links between the individuals, locations and events and histories collated by the Hexen project, and the book contains a number of photographs of key locations analysed within the project, for example of the current broadcasting tower at Brocken, Germany, which adds a kind of emotional gravity to the book, as if to confirm that its not all at phantasy. Anyway, I liked the effects of the contrasts between the pencil images and photographs. There is also an in-depth essay by Richard Grayson, which outlines in greater depth some of the connections and examines Treister’s practise in detail.
You might still doubt the vision of this project, but if you go to Kode_9’s blog you will see a brief documentation of the advancing technology of audio warfare। There is also ample wider evidence, for example Jon Ronson’s book ‘The Men Who Stare At Goats’ (Picador, 2004) or the use of sound in torture at Abu Graib prison Iraq, or that some psychiatrists are quite happy to pass electric currents through people’s brains, or that IBM technology was instrumental in the Holocaust. Triesters’ book is chilling, compelling phantasy.
http://www.hexen2039.net/
http://www.ensemble.va.com.au/Grayson/texts/Hexen2039.html
http://www.ensemble.va.com.au/Grayson/texts/Hexen2039.html
Realising The Impossible: Art Against Authority ::: Josh Macphee and Erik Reuland (Editor’s) ::: AK Press
This is a rich and interesting, and at times humourous guide to the political philosophy of Anarchism, as rendered by artists. The book contains many chapters, covering the stencil art of Argentina, Political Satire and Modernist art, political art activities in Denmark, puppetry protest communications technology in Latin American grassroots politics and ‘queer’ art, to give you a flavour.
There are also several chapters on individual illustrators within the movement, one of which I particularly liked is on Clifford Harper. He talks about his “natural dislike of authoritarian socialists” and becoming converted to Anarchism in 1963 via “four six form girls all dressed in black and wearing anti-bomb badges”. He doesn’t like artists, who are “”hopelessly fucking with the state – fame, greed, wealth, prestige” and feels that in the last twenty five years, “most anarchists displayed an astoundingly philistine attitude to creative work”. He thinks that this is because
“Some anarchists are into control. Creativity does it’s thing. No matter how you try to direct it, it always suprises. I never know how a drawing will turn out. The drawing always, to a degree, draws itself; it pushes to where it wants to go. It’s kind of…anarchist. Some anarchists fear losing control, of going to places they’re not prepared for. It requires an open mind and a flexible approach. Some anarchists fear creativity contaminates the struggle. I think they think revolution is male, and creativity female, if the (male) revolution’s exposed to creativity (female) it won’t have a dick anymore. It won’t be able to overthrow the state, because you need a dick to do that. Revolution is a dick thing. Anyway you did ask.”
Saturday, 12 May 2007
Cendre ::: Christian Fennesz / Ryuichi Sakamoto ::: Touch
Beautiful mournful shimmering abstract sound painting courtesy of Christian Fennesz ( electric guitar, electronics) and Ryuichi Sakamoto (piano). Recorded respectively in New York and Venice between 2004 and 2006, Fennesz and Sakamoto worked in geographic isolation from each other until meeting up for the final mixdown in NYC in February 2006.
My first thoughts were that it might have been better for the two collaborators to have worked together in the sense of being in the same room. I cannot base this on anything solid. Further thoughts were that there is a lot of space in these compositions, and that the geographic distances and the time frame might have helped the creative process, due to a delayed, fragmented kind of intimacy that could facilitate something more considered. This may be mere expiant verbiage, but it’s something about how they carefully fit together and around each other, like different elements in a visual composition, that provokes this thinking. I’m not saying that they couldn’t have managed to do this in the same room – how would I know anyway – but that I was just struck by the manner of the collaboration.
The music itself is delicate, sublime, Fennesz’s guitar ricocheting around softly, touching my mind in an abstract, soothing yet focussed way. Reminiscent of the way Robert Hampson’s sonic alchemy works, or Brian Eno and Robert Fripp on ‘Evening Star’, though with more electronic treatments: an enquiry to Christians’ agent, Danilo Pellegrinelli, revealed that Christian uses guitars and a patch written in max/ msp, called "lloopp" which was designed by friend Claus Fillip: it’s quite well documented if you search for it in google.
It’s impressive how the respective aesthetic palettes combine together, complimenting each other without compromise, and it’s a real move on from his nonetheless brilliant ‘Venice’, particularly in terms of the spaciousness of the music: ‘Venice’ was closer in proximity and has a different production aesthetic. I keep thinking of abstract painting, like Victor Passmore, or Rothko. Maybe Rothko with little white lines dribbled playfully through some of his colour blocks. Talking of art, the sleeve art is handled beautifully by John Wozencroft. The cover is a landscape photograph, of an auburn sky beneath which is a winter treeline, parting slightly in the centre to reveal a small silhouette of a house: different forms combining to one image.
Nb: see also: http://www.digicult.it/En/2007/FenneszAtlas.asp
and http://www.semtexinc.com/interviews/interview.php?ID=32
My first thoughts were that it might have been better for the two collaborators to have worked together in the sense of being in the same room. I cannot base this on anything solid. Further thoughts were that there is a lot of space in these compositions, and that the geographic distances and the time frame might have helped the creative process, due to a delayed, fragmented kind of intimacy that could facilitate something more considered. This may be mere expiant verbiage, but it’s something about how they carefully fit together and around each other, like different elements in a visual composition, that provokes this thinking. I’m not saying that they couldn’t have managed to do this in the same room – how would I know anyway – but that I was just struck by the manner of the collaboration.
The music itself is delicate, sublime, Fennesz’s guitar ricocheting around softly, touching my mind in an abstract, soothing yet focussed way. Reminiscent of the way Robert Hampson’s sonic alchemy works, or Brian Eno and Robert Fripp on ‘Evening Star’, though with more electronic treatments: an enquiry to Christians’ agent, Danilo Pellegrinelli, revealed that Christian uses guitars and a patch written in max/ msp, called "lloopp" which was designed by friend Claus Fillip: it’s quite well documented if you search for it in google.
It’s impressive how the respective aesthetic palettes combine together, complimenting each other without compromise, and it’s a real move on from his nonetheless brilliant ‘Venice’, particularly in terms of the spaciousness of the music: ‘Venice’ was closer in proximity and has a different production aesthetic. I keep thinking of abstract painting, like Victor Passmore, or Rothko. Maybe Rothko with little white lines dribbled playfully through some of his colour blocks. Talking of art, the sleeve art is handled beautifully by John Wozencroft. The cover is a landscape photograph, of an auburn sky beneath which is a winter treeline, parting slightly in the centre to reveal a small silhouette of a house: different forms combining to one image.
Nb: see also: http://www.digicult.it/En/2007/FenneszAtlas.asp
and http://www.semtexinc.com/interviews/interview.php?ID=32
Saturday, 21 April 2007
Poppy Shakespeare ::: Clare Allan ::: Bloomsbury
This novel, by a former patient at the now defunct Belle Ridley Day Hospital, (Islington) deploys an intense style of narration, kind of like ‘Trainspotting’ but more singular, and at more of a fixed focus. It is upon this foundation that the novel builds, incorporating several references to other documentary texts about unwell people, aka MAD money assessments (Disability Living Alowance) and,
“ ‘What’s that you’re reading?’ I ask again.
‘Same,’ she says and she holds it up. Assessment in Mental Health Nursing
it’s called. Got a crystal ball on the cover.”
as objects within the plot or frameworks for plot subtexts. The humour blossoms forth off the concrete backdrop of the foundation: the Mad money theme continues,
“ ‘It says BLOCK CAPITALS,’ she said.
‘Fuck what it says’, I said. ‘Just scrawl it. You’re s’posed to be mentally ill,’ I said.
‘Alright,’ said Poppy and she done it small.
‘Try with your other hand,’ I said.
‘They need to be able to read it,’ she said.
‘Trust me, Poppy, ‘ I said. ‘I know what I’m doing.’ “
There are further developments. Also what I quite like are the lucid asides of the main story, the many scenes that give substance and sustenance to the plot : a surreal plate throwing episode: the shock and awe of self harm: the surreality of her motion-capture of institutional routine.
The humour still further develops in some quite choice pieces, I am also minded of the ‘sets’ of the book – council flats, the common room at the (now decommissioned) Waterlow Unit on Highgate Hill, the offices and consulting rooms within it, and the corridors: claustrophobic spaces: the psychogeography and the surrealness of it all, reminding me of Will Self’s breaking work ‘The Quantity Theory of Insanity’, his first book in 1991.
july 2006
This novel, by a former patient at the now defunct Belle Ridley Day Hospital, (Islington) deploys an intense style of narration, kind of like ‘Trainspotting’ but more singular, and at more of a fixed focus. It is upon this foundation that the novel builds, incorporating several references to other documentary texts about unwell people, aka MAD money assessments (Disability Living Alowance) and,
“ ‘What’s that you’re reading?’ I ask again.
‘Same,’ she says and she holds it up. Assessment in Mental Health Nursing
it’s called. Got a crystal ball on the cover.”
as objects within the plot or frameworks for plot subtexts. The humour blossoms forth off the concrete backdrop of the foundation: the Mad money theme continues,
“ ‘It says BLOCK CAPITALS,’ she said.
‘Fuck what it says’, I said. ‘Just scrawl it. You’re s’posed to be mentally ill,’ I said.
‘Alright,’ said Poppy and she done it small.
‘Try with your other hand,’ I said.
‘They need to be able to read it,’ she said.
‘Trust me, Poppy, ‘ I said. ‘I know what I’m doing.’ “
There are further developments. Also what I quite like are the lucid asides of the main story, the many scenes that give substance and sustenance to the plot : a surreal plate throwing episode: the shock and awe of self harm: the surreality of her motion-capture of institutional routine.
The humour still further develops in some quite choice pieces, I am also minded of the ‘sets’ of the book – council flats, the common room at the (now decommissioned) Waterlow Unit on Highgate Hill, the offices and consulting rooms within it, and the corridors: claustrophobic spaces: the psychogeography and the surrealness of it all, reminding me of Will Self’s breaking work ‘The Quantity Theory of Insanity’, his first book in 1991.
july 2006
Blue / Orange ::: Courtyard Theatre, London
From the off in this play the agency and authority of the three characters is flirted with, ambushed and at times humiliated. Paranoia, about ones views and how they are received, drives this charade: the first scene features a heady confrontation just about held under the auspices of the ‘doctor-patient’ relationship as to whether the patient can have a drink of coca cola. Subtle attacks flow back and forward, whilst all the agents of the situation – consultant psychiatrist, senior house officer, patient - play the game.
This charade exposes the vacuity of the psychiatrists moral authority, and shows us that what really goes on in this system, to quote Adam Phillips, is some kind of “protection racket…..where we only hear the same old story”, of blame and humiliation. The situation exists on the borders of things, documenting mugging, splits in authority - within and without – and social processes: it is somehow very relevant that the patient is black, and that both doctors are white. Even the set design – a café table and two chairs, encircled by a white line aka some kind of gym situation, with two prescribed ways in and out, complimented by a watercooler – lends itself to supporting the animation.
To an extent ideas of cultural oppression – I thought of Franz Fannon – are animated, with the shit going round in the situation, each attempting to dominate the other in a bid for some kind of temporary illusion of freedom from the constrictions of their boundaries, a relief from the collisions of negotiation. The music’s also interesting, designed by Jonathan Bidgood, taking inspiration from Brian Eno’s seminal ‘Music for Airports’, and it reminded me as much, if not more so, of Taylor Dupree’s output on 12K etc.
“Music for Psychiatric Hospitals” attempts to follow the same logic. The sounds are soothing, calm and smooth. The textures evolve unremittingly, but without any violent alterations, shifting in a manner almost imperceptible. Repetition of phrases creates a soothing familiarity, while constant, subtle, alteration engages the mind and draws it with the flux of the sound. If you enjoy the music, or are looking for some ambiance for your psychiatric hospital, an album version of Music for Psychiatric Hospitals is available in the lobby.”
Jonathan Bidgood, 2006.
www.fervent-theatre.com
November 2006
From the off in this play the agency and authority of the three characters is flirted with, ambushed and at times humiliated. Paranoia, about ones views and how they are received, drives this charade: the first scene features a heady confrontation just about held under the auspices of the ‘doctor-patient’ relationship as to whether the patient can have a drink of coca cola. Subtle attacks flow back and forward, whilst all the agents of the situation – consultant psychiatrist, senior house officer, patient - play the game.
This charade exposes the vacuity of the psychiatrists moral authority, and shows us that what really goes on in this system, to quote Adam Phillips, is some kind of “protection racket…..where we only hear the same old story”, of blame and humiliation. The situation exists on the borders of things, documenting mugging, splits in authority - within and without – and social processes: it is somehow very relevant that the patient is black, and that both doctors are white. Even the set design – a café table and two chairs, encircled by a white line aka some kind of gym situation, with two prescribed ways in and out, complimented by a watercooler – lends itself to supporting the animation.
To an extent ideas of cultural oppression – I thought of Franz Fannon – are animated, with the shit going round in the situation, each attempting to dominate the other in a bid for some kind of temporary illusion of freedom from the constrictions of their boundaries, a relief from the collisions of negotiation. The music’s also interesting, designed by Jonathan Bidgood, taking inspiration from Brian Eno’s seminal ‘Music for Airports’, and it reminded me as much, if not more so, of Taylor Dupree’s output on 12K etc.
“Music for Psychiatric Hospitals” attempts to follow the same logic. The sounds are soothing, calm and smooth. The textures evolve unremittingly, but without any violent alterations, shifting in a manner almost imperceptible. Repetition of phrases creates a soothing familiarity, while constant, subtle, alteration engages the mind and draws it with the flux of the sound. If you enjoy the music, or are looking for some ambiance for your psychiatric hospital, an album version of Music for Psychiatric Hospitals is available in the lobby.”
Jonathan Bidgood, 2006.
www.fervent-theatre.com
November 2006
::: fourcolour ::: air curtain ::: 12k ::: 12K1029
this release reminds me of watching the weather, enjoying the shifts in light, atmosphere, hue and so forth. or enjoying the experience of reverie on a visit to a gallery. the musical palette of this cd is, in the main, composed of guitar samples: harmonics, melodies, drones and minimal rhythmic glitches. this is at once melancholic and inspiring.
its interesting that the ceo of this label takes a part in running websites that have free downloadable typefaces: something about generating a new language comes to mind, working on many levels: the musical and the written, both written: the microsounds and text icons supporting an evolving vision.
i was reminded of the both the book and metaphor 'Haunted Weather' (David Toop), whilst listening to this cd. David Jennings, reviewing this book at www.alchemi.co.uk, commented that
"When i was about half-way through Haunted Weather I had a dream where as part of of an audition or assessment I had to do a reading to a panel that included David Toop. As I am a confident reader I had no fears, but as i started to read the newspaper article given to me, I quickly realised that the reading made no sense without the photograph that went with it. I tried to 'read' the photograph, but how? Should I read each blade of grass in the picture left to right? Then how would I deal with the tree that punctuated the lawn? Painfully aware that I had made a wrong turn into a dead end, i reverted to the text. But by now my fluency was irrecoverable, and I sputtered to a stop."
I think this illustrates how a visual level of perception underpins experiences that would appear to operate primarily in other modalities of perception: sometimes its better to hear music with your eyes wide shut, you see and hear more. with some of these tracks, making use of microsounds and textures, maybe a more fragmentary process of dreaming, reminding, researching may be taking place: using the music as some kind of stimulus object, researching our memories in some lateral, initially anonymous way.
the aesthetic is less linear than a lot of music, delivery is more of a being space rather than a direct narrative, the intensity of the textures waxing and waning, ebbing and flowing, the process of listening is slowed, you are given more time to (re)experience the space: like Brian Eno's ambient music: music for airports, transitional spaces, reading, painting, imagining, imaging. it feels that there is a narrative in this cd. i also came to think of this music as sculpture, in a way, partly due to its laterality and angularity: architecture as frozen:music:as architecture.
the angles get sharper as the cd plays, pulsing with life: on Cloud Whereabouts (5) and As Rain (6) the overall tone shifts towards a mood more looming and immanent: before falling away to something more settled to end. a disciplined, intensely creative release.
www.12k.com
November 2004
this release reminds me of watching the weather, enjoying the shifts in light, atmosphere, hue and so forth. or enjoying the experience of reverie on a visit to a gallery. the musical palette of this cd is, in the main, composed of guitar samples: harmonics, melodies, drones and minimal rhythmic glitches. this is at once melancholic and inspiring.
its interesting that the ceo of this label takes a part in running websites that have free downloadable typefaces: something about generating a new language comes to mind, working on many levels: the musical and the written, both written: the microsounds and text icons supporting an evolving vision.
i was reminded of the both the book and metaphor 'Haunted Weather' (David Toop), whilst listening to this cd. David Jennings, reviewing this book at www.alchemi.co.uk, commented that
"When i was about half-way through Haunted Weather I had a dream where as part of of an audition or assessment I had to do a reading to a panel that included David Toop. As I am a confident reader I had no fears, but as i started to read the newspaper article given to me, I quickly realised that the reading made no sense without the photograph that went with it. I tried to 'read' the photograph, but how? Should I read each blade of grass in the picture left to right? Then how would I deal with the tree that punctuated the lawn? Painfully aware that I had made a wrong turn into a dead end, i reverted to the text. But by now my fluency was irrecoverable, and I sputtered to a stop."
I think this illustrates how a visual level of perception underpins experiences that would appear to operate primarily in other modalities of perception: sometimes its better to hear music with your eyes wide shut, you see and hear more. with some of these tracks, making use of microsounds and textures, maybe a more fragmentary process of dreaming, reminding, researching may be taking place: using the music as some kind of stimulus object, researching our memories in some lateral, initially anonymous way.
the aesthetic is less linear than a lot of music, delivery is more of a being space rather than a direct narrative, the intensity of the textures waxing and waning, ebbing and flowing, the process of listening is slowed, you are given more time to (re)experience the space: like Brian Eno's ambient music: music for airports, transitional spaces, reading, painting, imagining, imaging. it feels that there is a narrative in this cd. i also came to think of this music as sculpture, in a way, partly due to its laterality and angularity: architecture as frozen:music:as architecture.
the angles get sharper as the cd plays, pulsing with life: on Cloud Whereabouts (5) and As Rain (6) the overall tone shifts towards a mood more looming and immanent: before falling away to something more settled to end. a disciplined, intensely creative release.
www.12k.com
November 2004
Damo Suzuki and his band(s) ::: White Noise Spitz 29 May.
too many bands to really do justice to-Damo Suzuki rocks in both lineups (they were different) he plays with. jamming within a bigger band sound, Suzuki and co do 'MotherSky' in first set, the bass player reminding me of the synth guy in Suicide when last seen at the ICA. Suzuki is evocative of previous incarnations in Can, and also Jim Morrison’s psychic territory. in the second set, things got a little more minimal and funky, the second band providing a rhythm framework that Suzuki vocalises in, creating an intensely sensual space that i feel has great integrity. both bands locked with Suzuki in a way that helped this.
White Noise provided a set of more considered electronics. David Vorhause and Graham MacMahon jammed a set of sublime atmospheres, vocal samples and Hawtin style minimal techno before settling into a beautiful classical meets Oval kindof stasis to finish.
july 2005
too many bands to really do justice to-Damo Suzuki rocks in both lineups (they were different) he plays with. jamming within a bigger band sound, Suzuki and co do 'MotherSky' in first set, the bass player reminding me of the synth guy in Suicide when last seen at the ICA. Suzuki is evocative of previous incarnations in Can, and also Jim Morrison’s psychic territory. in the second set, things got a little more minimal and funky, the second band providing a rhythm framework that Suzuki vocalises in, creating an intensely sensual space that i feel has great integrity. both bands locked with Suzuki in a way that helped this.
White Noise provided a set of more considered electronics. David Vorhause and Graham MacMahon jammed a set of sublime atmospheres, vocal samples and Hawtin style minimal techno before settling into a beautiful classical meets Oval kindof stasis to finish.
july 2005
Saul Williams (Wichita)
an urgent vocal, immanent piano playing, and subsequent minimal harmonious female vocal accompaniment, Saul launches his self titled second album: raucous guitar riffs and beats follow, more angrily focused: one gets a sense of a raving, incendiary live presence
"i wanna show you what the stars are made of, so substitute the anger and oppression with guilt and depression and its yours" White boys listen to white boys Black boys listen to black boys No one listens to no one "
sounds wise, 'Grippo' reminds me of the Anti-Pop Consortium, bleeps particularly, but rather than an electronic base there's a more rock rhythm base, "like Rage Against the Machine" said a friend, although we hadn't had the benefit of a Hi-Fi informed listen to the full cd at that point: or headphones. Frankly, it is a bit Slayer at times, but within the form of the dominant narrative this takes on a whole different ideology: imagine....
"we are discontinuing our current line of braggadacio in light of the current trend in realness stop As an alternative we will be confiscating weed supplies and replacing them with magic mushrooms in hopes of helping niggas see beyond their reality stop Give my regards to Brooklyn" then jump cut to Slayer. He just nails it down. Shot through with pathos, irony and humour. great.
Saul Williams reminds some people of Public Enemy. I think it's a good comparison, something about the depth of his vision, his understanding, his production aesthetic: his use of frequencies as much as instrumentation. You may have heard of him before, on his first album 'Amethyst Rock Star", or seen him acting in the 1998 film 'Slam': in fact his credits also run to at least three volumes of poetry also. check his website, and the rest of the web.
the tracks flow into each other completely, quite literally, in that many of the initial tracks are sequenced-no gaps between them-so the cd has the feel of a live set: i was sorry not to have witnessed his recent set at the 100 Club. The cd continues, with a break in the 'rock base' on 'African Student Movement', a minimal beat and bass number, kind of grime rhythm really, nice reversed bassline, close vocal, some good harmonies. Then his most recent single, 'Black Stacey', an analysis of identity politics, dreams and pressure: the rather minimal lines of identifications available to a young black man, the pressure to cover up ones insecurities with, for example, material wealth.
"All you baller playa's got some insecurities too that you could cover up bling it up cash in and ching it up hope no one will bring it up lock it down and string it up Or you can share your essence with us 'cause everything about you couldn't be rugged and ruff And even though you tote a glock and you're hot on the street if you dare to share your heart we'll nod our head to its beat And you should do that"
Further on, a sense of humour animates:
"i drive a yellow Volvo '86 Submarine Rims like Tibetan prayer wheels and my tank is filled with dreams"
on a more abstract, string and bass led 'Seaweed'. Humour mixed with something more bruised, angry,
"Check your engine Looks like you're running on the blood of Indians".
The cd ends with the track 'Notice of Eviction', a mournful lament to death and possible regeneration: strong lyrics-this man can write, I think: realistic ambivalence, and politically lyrical gravity:
"Harlem church sings refrain "we're marching on to Zion""
nice repeating delay on 'Zion'. Saul Williams comes across as no bodies fool: lyrically provocative, musically, the way he inhabits the genres, yet letting them work for him, is something of an inspiration, the riffs and narrative pan out almost cinematically. He works with others-yes there are collaborators on this cd although you'll have to look a bit hard to find their names on the inlay. Thanks to Hattie Collins and her excellent piece on him in the May issue of I-D.
http://www.saulwilliams.com/
http://www.wichita-recordings.com/
October 2005
an urgent vocal, immanent piano playing, and subsequent minimal harmonious female vocal accompaniment, Saul launches his self titled second album: raucous guitar riffs and beats follow, more angrily focused: one gets a sense of a raving, incendiary live presence
"i wanna show you what the stars are made of, so substitute the anger and oppression with guilt and depression and its yours" White boys listen to white boys Black boys listen to black boys No one listens to no one "
sounds wise, 'Grippo' reminds me of the Anti-Pop Consortium, bleeps particularly, but rather than an electronic base there's a more rock rhythm base, "like Rage Against the Machine" said a friend, although we hadn't had the benefit of a Hi-Fi informed listen to the full cd at that point: or headphones. Frankly, it is a bit Slayer at times, but within the form of the dominant narrative this takes on a whole different ideology: imagine....
"we are discontinuing our current line of braggadacio in light of the current trend in realness stop As an alternative we will be confiscating weed supplies and replacing them with magic mushrooms in hopes of helping niggas see beyond their reality stop Give my regards to Brooklyn" then jump cut to Slayer. He just nails it down. Shot through with pathos, irony and humour. great.
Saul Williams reminds some people of Public Enemy. I think it's a good comparison, something about the depth of his vision, his understanding, his production aesthetic: his use of frequencies as much as instrumentation. You may have heard of him before, on his first album 'Amethyst Rock Star", or seen him acting in the 1998 film 'Slam': in fact his credits also run to at least three volumes of poetry also. check his website, and the rest of the web.
the tracks flow into each other completely, quite literally, in that many of the initial tracks are sequenced-no gaps between them-so the cd has the feel of a live set: i was sorry not to have witnessed his recent set at the 100 Club. The cd continues, with a break in the 'rock base' on 'African Student Movement', a minimal beat and bass number, kind of grime rhythm really, nice reversed bassline, close vocal, some good harmonies. Then his most recent single, 'Black Stacey', an analysis of identity politics, dreams and pressure: the rather minimal lines of identifications available to a young black man, the pressure to cover up ones insecurities with, for example, material wealth.
"All you baller playa's got some insecurities too that you could cover up bling it up cash in and ching it up hope no one will bring it up lock it down and string it up Or you can share your essence with us 'cause everything about you couldn't be rugged and ruff And even though you tote a glock and you're hot on the street if you dare to share your heart we'll nod our head to its beat And you should do that"
Further on, a sense of humour animates:
"i drive a yellow Volvo '86 Submarine Rims like Tibetan prayer wheels and my tank is filled with dreams"
on a more abstract, string and bass led 'Seaweed'. Humour mixed with something more bruised, angry,
"Check your engine Looks like you're running on the blood of Indians".
The cd ends with the track 'Notice of Eviction', a mournful lament to death and possible regeneration: strong lyrics-this man can write, I think: realistic ambivalence, and politically lyrical gravity:
"Harlem church sings refrain "we're marching on to Zion""
nice repeating delay on 'Zion'. Saul Williams comes across as no bodies fool: lyrically provocative, musically, the way he inhabits the genres, yet letting them work for him, is something of an inspiration, the riffs and narrative pan out almost cinematically. He works with others-yes there are collaborators on this cd although you'll have to look a bit hard to find their names on the inlay. Thanks to Hattie Collins and her excellent piece on him in the May issue of I-D.
http://www.saulwilliams.com/
http://www.wichita-recordings.com/
October 2005
Jefre Cantu-Ledesma ::: The Garden of Forking Paths ::: Spekk KK: 009
This release is very hard to put words to: something could be said along the lines of immanent electronic interiority: pensive emotional film music, an interior landscape perhaps………
It is slightly reminiscent of Cycla’s ‘Level’ release on Spekk (KK007) but this is not a critical comparison, at least not meant in any negative sense, more a comment on the aesthetic palette utilised and the sense of slowness and unfolding within the work: on saying this I am also minded of Taylor Dupree’s ‘Northern’ cd on 12K, although there is a smoothness within that work that contrasts a bit with the slightly rawer feel of this release. Slow motion, blurry and at times mournful electronic voices give a sense of an exploration of some kind of interiority. The closest analogy I can come up with would be of something like an exploration of space, whether an abstract show at a gallery or a more idiosyncratic, derelict space, for example entering an abandoned warehouse, slowly moving around, exploring the space visually, taking in the historical artefacts such as doors and fixtures in varying states of decay, writing and/or graffiti on the wall, weird juxtapositions of the previous legal and semi-legal inhabitants, different spaces and perspectives. All within the visual register.
Heavy, defocused sounds, give us a heightened sense of the interior, the emotional. Abstract sounds painting sonic forms, an extremism of sorts that is very effective. Reading off the titles to the pieces, such as ‘Aberration of Starlight’, ‘Spirits’, ‘The Lights and Perfections’, ‘Phases of the Moon’ and ‘Our Way was Lit by Moonlight’, somehow gives a greater orientation to the work.
There’s something very conscious about this release, about its integrity of style, that reminded me of Daniel Framptons’ commentary on Harmony Korines’ film ‘Julien Donkey Boy’. I would like to quote from his book ‘Filmosophy’,
“When a film frames a person that act of framing creates a way of seeing that person (as central or peripheral or close-up). The filmgoer sees that person via the films thinking of that person – this thinking is simply the action of form as dramatic intention. This effect is enhanced by the film-goer’s understanding of film’s actions as emotional thinkings – through this engagement they merge with the film a little more fully, because their natural aesthetic thinking links more directly with the film. The filmgoer experiences film more intuitively, not via technology or external authorship, but directly, as a thinking thing. In making ‘style’ integral to the films thinking (and not an addendum to its ‘main content work’), filmosophy hopes to widen and deepen the experience of the filmgoer. Film form is always there, and thus necessarily part of the actions and events, and filmosophy simply, holistically, bonds film’s actions to dramatically thoughtful motives and intentions. Film style is now seen to be the dramatic intention of the film itself.”
When reading this quotation if you think of abstract music instead of film I think it gives us a little more understanding of the value of such work as ‘The Garden…’, since it is at once a piece within itself and resonant with other electronic works. It is stylistically coherent within itself and I think that’s the main reason why I quoted Frampton.
Sensuous raw electronica. Recommended.
http://www.spekk.net/catalog/tgofp.html
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=111467049
February 2007
This release is very hard to put words to: something could be said along the lines of immanent electronic interiority: pensive emotional film music, an interior landscape perhaps………
It is slightly reminiscent of Cycla’s ‘Level’ release on Spekk (KK007) but this is not a critical comparison, at least not meant in any negative sense, more a comment on the aesthetic palette utilised and the sense of slowness and unfolding within the work: on saying this I am also minded of Taylor Dupree’s ‘Northern’ cd on 12K, although there is a smoothness within that work that contrasts a bit with the slightly rawer feel of this release. Slow motion, blurry and at times mournful electronic voices give a sense of an exploration of some kind of interiority. The closest analogy I can come up with would be of something like an exploration of space, whether an abstract show at a gallery or a more idiosyncratic, derelict space, for example entering an abandoned warehouse, slowly moving around, exploring the space visually, taking in the historical artefacts such as doors and fixtures in varying states of decay, writing and/or graffiti on the wall, weird juxtapositions of the previous legal and semi-legal inhabitants, different spaces and perspectives. All within the visual register.
Heavy, defocused sounds, give us a heightened sense of the interior, the emotional. Abstract sounds painting sonic forms, an extremism of sorts that is very effective. Reading off the titles to the pieces, such as ‘Aberration of Starlight’, ‘Spirits’, ‘The Lights and Perfections’, ‘Phases of the Moon’ and ‘Our Way was Lit by Moonlight’, somehow gives a greater orientation to the work.
There’s something very conscious about this release, about its integrity of style, that reminded me of Daniel Framptons’ commentary on Harmony Korines’ film ‘Julien Donkey Boy’. I would like to quote from his book ‘Filmosophy’,
“When a film frames a person that act of framing creates a way of seeing that person (as central or peripheral or close-up). The filmgoer sees that person via the films thinking of that person – this thinking is simply the action of form as dramatic intention. This effect is enhanced by the film-goer’s understanding of film’s actions as emotional thinkings – through this engagement they merge with the film a little more fully, because their natural aesthetic thinking links more directly with the film. The filmgoer experiences film more intuitively, not via technology or external authorship, but directly, as a thinking thing. In making ‘style’ integral to the films thinking (and not an addendum to its ‘main content work’), filmosophy hopes to widen and deepen the experience of the filmgoer. Film form is always there, and thus necessarily part of the actions and events, and filmosophy simply, holistically, bonds film’s actions to dramatically thoughtful motives and intentions. Film style is now seen to be the dramatic intention of the film itself.”
When reading this quotation if you think of abstract music instead of film I think it gives us a little more understanding of the value of such work as ‘The Garden…’, since it is at once a piece within itself and resonant with other electronic works. It is stylistically coherent within itself and I think that’s the main reason why I quoted Frampton.
Sensuous raw electronica. Recommended.
http://www.spekk.net/catalog/tgofp.html
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=111467049
February 2007
Main ::: Surcease ::: n-rec 00005
At times field recordings zoning in focus, at times symphonic, always searching, crystalline vectors of sound moving through one’s mental ether, Robert Hampson’s latest offering is a strange, beautiful body of sound that maintains a focus in cycling intensities and spatial situations: it’s as if certain questions are being asked, or points in a journey or narrative are being enabled or briefly imbued with life, in very subterranean places, giving it an authenticity and character that briefly reminded me of some of the more lucid dubs by Mouse on Mars, Twisted Science, or Tu M’s more electronic compositions.
The second track is initially more transient, fleeting and tense: the movement is more discernable। It then becomes more crystalline, stilled, shimmering.
At times field recordings zoning in focus, at times symphonic, always searching, crystalline vectors of sound moving through one’s mental ether, Robert Hampson’s latest offering is a strange, beautiful body of sound that maintains a focus in cycling intensities and spatial situations: it’s as if certain questions are being asked, or points in a journey or narrative are being enabled or briefly imbued with life, in very subterranean places, giving it an authenticity and character that briefly reminded me of some of the more lucid dubs by Mouse on Mars, Twisted Science, or Tu M’s more electronic compositions.
The second track is initially more transient, fleeting and tense: the movement is more discernable। It then becomes more crystalline, stilled, shimmering.
September 2006
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