Photo of Earth by the crew of Apollo 8. December 22, 1968
The central theme for this year’s Venice Biennale exhibition, curated by Massimiliano Gioni, comes from an obscure patented design for an encyclopedic palace by the self-taught Italian-American artist Marino Auriti. Envisioned as a 136-story building that would take over sixteen blocks of Washington, D.C., Auriti’s palace was to house all the available knowledge in the world. Titling the show "Il Palazzo Enciclopedico" after Auriti’s unrealized model, Gioni and his team selected an eclectic group of artists, psychologists, mystics and more whose work resonates with Auriti’s desire to create a total image of the world. In many ways, the exhibition can be seen as a response to the exhaustive overabundance of information available on the internet. As Gioni pointedly asks in his essay, "…what is the point of creating an image of the world when the world itself has become increasingly like an image?"
The Paris, Texas of the Second Empire
Compiled July 2012 by Lawrence Kumpf
The flâneur is someone abandoned in the crowd. He is thus in the same situation as the commodity. He is unaware of this special situation, but this does not diminish its effects on him, it permeates him blissfully, like a narcotic that can compensate him for many humiliations. The intoxication to which the flâneur surrenders is the intoxication of the commodity immersed in a surging stream of customers. -- Walter Benjamin, 1938
A phantasmagoric journey through mid-20th century Country-Western music inspired by Walter Benjamin’s "The Paris of the Second Empire in Baudelaire."
Like the poet as flâneur in Benjamin’s essay, the country singer holds a position as the susceptible vessel that embodies the incongruities and ruptures characteristic of modern life. Neither an active symptom nor proprietor of a solution for the social ills, the singer finds himself drawn into the intoxicating world of empathetic relations to, with and as commodity. We hear, perhaps more clearly then in Baudelaire, a voice speaking not from the elevated position of a social commentator or critic, but as the desire of the commodity and commodified. Connoisseurs of narcotics sing empathetic odes to inanimate objects and intoxicants, fortifying themselves in homes that are really bars. Hobos, trashmen and ragpickers walk the street collecting and picking through the worn out, exhausted items that have escaped our economy of exchange: the antiques of modernity, the images of obsolescence. The perpetual peregrinator, a rambling man, heroically stripped of the comforts of modern life finds himself stalking graveyards and mourning a loss that has yet to occur, the final refuge of his own death. In a way these songs embody the last gasp of a failed American politics, the moment before county western music slips into an emphatic listing of personal property as banal as Rick Ross’ "Trilla." The tragedy of our era is that the latent revolutionary desires present in Hank Williams Jr.’s "Fax Me a Beer" (not included in this mix) are forever doomed to find their outlet in an inane fantasy of endless technological advancement.
1.Porter Wagoner - The Wino
2.Jim Ed Brown- Bottle, Bottle
3.Porter Wagoner – Shopworn 4.Hank Williams – Men with Broken Hearts
5.Leon Rausch – Glass of Pride
6.Don King – Live Entertainment
7.David Allen Coe – Sad Country Song
8.Don Silvers – Play me another Hank Williams
9.Porter Wagoner – Bottom of the Bottle
10.Merle Haggard – Swinging Doors
11.Porter Wagoner – I Just Came to Smell the Flowers
12.D. Sheridan – Don’t Make Me Laugh (While I’m Drinkin’)
13.The Willis Brothers – Gonna Buy Me A Jukebox
14.David Frizzell – I’m Gonna Hire A Wino to Decorate our House
15.Frank Lowe - "Trash Man"
Lawrence Kumpf is a curator at Issue Project Room in Brooklyn, NY.
New York-based musician and artist Eli Keszler integrates piano wire into his compositions in a way that falls between installation and improvisation. For Cold Pin, motorized beaters controlled by a generative sequence struct 14 piano strings hung across the wall of Boston's Cyclorama in 2011. Keszler then invited Ashley Paul, Greg Kelley, Reuben Son and Benjamin Nelson to play off the work, improvising alongside the randomized clunks, scraps, and bangs emanating from the wall.
His recent L-Carrier at Eyebeam complicated this format by activating the motors in tandem with a changing visual score designed by Keszler. Hosted on a dedicated website commissioned by Turbulence, these images evolved when visitors tripped up "targets" on the site that interfere with the code, modifying the pattern of the motors. On June 7, Keszler again played in a seven piece ensemble in conjunction with the installation, including musicians Ashley Paul, Anthony Coleman, Alex Waterman, C Spencer Yeh, Catherine Lamb, Geoff Mullen, and Reuben Son.
In both compositions accompanying Cold Pin and L-Carrier, the installation serves not as a simple backdrop, but a central element. On their own, the installations continue to have a commanding presence. Unlike the extended resonating tones of Ellen Fullman's Long Stringed Instrument, which meditatively fill a room, Keszler's approach to auditory space reveals his training as a percussionist, where the plucks are akin to hits - busy, feverish and complex. Taken out of an enclosed environment, such as in Collecting Basin, piano wire is not only responsive to the whims of the motor beaters but also the wind and the elements. Here, Keszler hung the wire from a large water tower, transforming an industrial space into an open air instrument.
This post is part of a new monthly series of guest curated mixes for the Rhizome blog, entitled Wavelength.
JAPANESE NOISE: A REMINDER
Compiled Summer 2012 by C. Spencer Yeh
Back when I was an undergraduate and involved with college radio, we would hold educational meetings covering a wide variety of music by genre, artist, and geography. I was very much in thrall of the Japanese musical underground at the time, so I developed a presentation and this was the handout I made as an accompaniment. [See above.]
I’ve noticed the term ‘noise’ thrown around quite a bit lately, to encompass particular variations of form, ideology, and even affect, within organized sound culture. I generally have no qualms with what 'noise' can now mean and manifest. With that said, Japanese noise is my preeminent definition of 'noise'–my first and most formative experience. The birth and development of Japanese noise is singular, defined by its relation to time and place, to culture and aesthetic. Japanese noise taught me about freedom, fetish, listening, autodidactism, self-mythology, self-publishing, senzuri.
The selections for this mix date from the mid-'80s to the early '00s, are edited for length, and intentionally eschew the array of strategies in the scene (often deployed under the same project name) to focus on NOISE. Big parties can be a blast, but once in a while, a long visit with an old friend is incredibly fulfilling and necessary.
(note: all tracks are edited for the purposes of this mix)
01. Violent Onsen Geisha 'Heavy Introduction'
02. Government Alpha 'Anonym Slander'
03. The Gerogerigegege 'Nothing to Hear, Nothing to... 1985'
04. K2 'We Destroyed Barcelona Again'
05. Aube 'Aquatremble 2'
06. Merzbow 'Chant 2 (Part 1)'
07. Hedlah 'Proud Flesh'
08. Solmania 'Panic Bend Rock'
09. MSBR 'Psychic Blue'
10. Incapacitants 'Necrosis'
11. Masonna 'Spectrum Ripper (Part XVII/Part XII)'
12. Hanatarash 'We Are 0:00'
13. Killer Bug 'One-Eyed Nudist'
14. Monde Bruits 'Continuum'
15. Hijokaidan 'What A Nuisance!'
16. Masomania 'Burn Me Fast'
17. C.C.C.C. 'Loud Sounds Dopa (Part II)'
18. Gomikawa Fumio 'Satan's Tail, Santa's Head'
19. Niku-Zidousha 'Untitled'
20. Flying Testicle 'Testicle Rider'
21. Pain Jerk 'Crack n' Roll'
22. Kazumoto Endo 'Itabashi Girl'
> Street | Brooklyn, NY | 718.388.8713
> Friday, December 9 at 9 PM
> No Wave Video Night
> Special Screening!
> "I define No Wave as an (anti-)aesthetic demarcation
> and not necessarily an idiomatic one
Support Artists' Television Access! Donate to ATA from now through December
16th, 2005 and receive many fine, limited edition gifts.
Levels of giving (and what you will receive in return):
ALTERNATIVE ($25): text compilation
PUNK ($50): text compilation and DVD compilation or audio CD compilation
RENEGADE ($100): text compilation, DVD compilation and audio CD compilation
OUTLAW ($150): text compilation, DVD compilation, audio CD compilation,
limited edition poster/print, ATA T-shirt
A. Mark Liiv
Neighborhood Public Radio
COMPILATION FILM & VIDEO DVD:
Yin-Ju Chen & James Hong
Kent Howie & A. Mark Liiv
cover artwork by: James Bewley
COMPILATION AUDIO CD:
Concept Bureau (Rroland & Sean Talley)
The Helen Lundy Trio
Eric Renehan Jones
Neighborhood Public Radio
Ezra Li Eismont
Artists' Television Access is a 501(c)(3) non-profit, all volunteer-run
organization located in the Mission District of San Francisco.
To make a secure donation on-line, visit: http://www.atasite.org/donate/ (If
you prefer to send in a check, please make it out to "Artists' Television
Access" and send it in (along with your current, preferred mailing address)
to: Artists' Television Access, 2005 Fundraiser, 992 Valencia Street, San
Francisco, CA 94110). If you are donating $150 or more, please indicate
which poster/print artist's work you prefer along with your T-shirt size!
To find out more information about upcoming screenings and events at
ATA, visit: http://www.atasite.org and
submissions for publication.
The deadline for our inaugural issue is November 15, 2005. Special topic
sections of the journal, to include more than one related essay, may be
proposed. We intend our inaugural issue to premiere in Spring, 2006.
We are committed to the rapid turnaround of subsequent journal
submissions in as practical a means as possible.
Manuscripts can be e-mailed to the editors at e-Media@Dartmouth.edu,
or a CD/DVD version may be mailed to:
Journal of e-Media Studies
Dept. of Film and Television Studies
6194 Wilson Hall
Hanover, NH 03755
JOE-MS is a blind peer-reviewed, on-line journal dedicated to the
scholarly study of the history and theory of electronic media,
especially Television and New Media. It is an inter-disciplinary
journal, and we welcome submissions across the fields and methodologies
that study media and media history.
Our goal is to promote the academic study of electronic media,
especially in light of the rise of digital media and the changes in
formal and expressive capacities resulting from new configurations of
electronic media forms. We solicit the best new scholarly work on
current and historical e-media issues and topics, including work on
inter-medial relations to traditionally non-electronic media (such as
cinema, theater, and print media).
We welcome essays in traditional textual formats. We strongly encourage
submissions that utilize and develop the features that an on-line
journal can afford, in order to realize new analytical and pedagogical
practices and strategies.
Please see our website [http://journals.dartmouth.edu/joems/] for more
details about our Submissions Guidelines, list of Editorial Board
members, and Mission Statement.
Sales Associate, Rhizome.org
tel. 212.219.1288 x211
DEPARTMENT OF COMMUNICATION
UNIVERSITY OF MASSACHUSETTS AT AMHERST
The Department of Communication of the University of Massachusetts
Amherst invites applications for three tenure-track positions.
Position: Information and Communication Technologies (ICTs) and
Public Policy (Assistant or Associate Professor). Research focus could
include qualitative or quantitative approaches to ICT uses or impacts in
local and transnational contexts, or investigation of ICTs in relation to
identity, social equality, the public sphere, or political formation. ICT
practices examined may cover computer-mediated communication, on-line
communities, text messaging, blogging, or other developments in digital
media. The appointment will be in Communication and the Center for Public
Policy and Administration (as part of a new College initiative in Science,
Technology, and Society) with the tenure line in the Department of
Communication and teaching duties in both units. Grant-seeking and
participation in the University's Information Technology program are
For each position duties will include maintaining an active research
program and supervising students at B.A., M.A., and Ph.D. levels.
Completed Ph.D. by September 1, 2006 appointment is required. Salary is
competitive, and each position is contingent upon funding. Review of
applications will begin on November 15, 2005, and will continue until each
position is filled.
Direct three letters of reference and send a letter of interest, a
curriculum vitae, and an article-length example of research to:
Michael Morgan, Chair
Department of Communication
240 Hicks Way
University of Massachusetts
Amherst, MA 01003-9278.
Go to www.umass.edu for information on UMass Amherst, the flagship campus
of the University of Massachusetts system. The university is an Equal
Opportunity/Affirmative Action employer; applications from women and
members of minority communities are strongly encouraged.
Sales Associate, Rhizome.org
tel. 212.219.1288 x211
devising for Rhizome. We would like the list to be as exhaustive as
possible- so if you are aware of new media art programs in high schools,
middle schools, and community colleges, or other accredited programs, we
would like to include them on the list.
Thank you so much!
Sales Associate for Organizational Subscriptions, Rhizome.org
tel. 212.219.1288 x211