Noise, noise, and more noise...
On Jan 23 1993 in Denver, two members of The Haters, each with a live mic in hand, stood on either side of a duel-wheel bench-grinder mounted on a small table in the middle of a club stage. Sparks were flying as their microphones were slowly pushed into the grinding wheels. A third member electrically manipulated the motor sounds from the grinder into an oscillation of thick distortion.
68 notes (via jupitterlarsen)
Emperor Tomato Ketchup
(Source: listentopirateradio)
![Eighteenth-century theorists had advocated the picturesque and sublime as stimulants to reverie. Then the intention had been to overcome the excessively ordered universe envisioned by the Enlightenment, so it seemed to follow that the sublime could induce new flights of fancy in a mid-twentieth-century city reshaped by the Enlightenment’s progeny, modernism. Psychogeography directed us to obscure places, to elusive ambient effects and partial artistic and literary precedents for the sublime. If we felt frustrated at the effort required to put them all together, we had missed the point. Psychogeography was a reverie, a state of mind conjured up in Debord and Jorn’s Mémoires, which left readers with the task of negotiating Jorn’s inky dribbles through Debord’s collage of text, maps, and illustration [photo above]. It represented a drift from the ideal and the rational to the extraordinary and revolutionary.
-Simon Sadler, The Situationist City](http://26.media.tumblr.com/tumblr_lxgpbxTNTZ1r2a857o1_500.jpg)
Eighteenth-century theorists had advocated the picturesque and sublime as stimulants to reverie. Then the intention had been to overcome the excessively ordered universe envisioned by the Enlightenment, so it seemed to follow that the sublime could induce new flights of fancy in a mid-twentieth-century city reshaped by the Enlightenment’s progeny, modernism. Psychogeography directed us to obscure places, to elusive ambient effects and partial artistic and literary precedents for the sublime. If we felt frustrated at the effort required to put them all together, we had missed the point. Psychogeography was a reverie, a state of mind conjured up in Debord and Jorn’s Mémoires, which left readers with the task of negotiating Jorn’s inky dribbles through Debord’s collage of text, maps, and illustration [photo above]. It represented a drift from the ideal and the rational to the extraordinary and revolutionary.
-Simon Sadler, The Situationist City
(Source: architectureofsilence)
6 notes (via leperwaltz & architectureofsilence)
Joseph Hammer - I Love You, Please Love Me Too
“My practice operates at the interface between music making and performance art. Using a tape recorder, I create compositions by employing a looping technique originally developed for radio and TV sound effects…The sound sources I use come from both popular and avant-garde culture. Using no digital processing, I transform with a tape recorder, the digital audio from a laptop. Manipulating the recording physically. Barthes writes, ”there are two musics, the music one listens to, the music one plays.” … I use music as it influences our notion of time, memory and intimacy as the basis for improvisation and abstraction.” - Joseph Hammer
Charlemagne Palestine - Strumming Music
(Source: soniccirculation)
