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.

eli keszler : cold pin from eli keszler on Vimeo.

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.

Eli Keszler Collecting Basin from eli keszler on Vimeo ...

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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.

Tracklist
(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'

 C. Spencer Yeh is an artist and musician in Brooklyn, New York. He will perform at the New Museum on June 22nd with Graham Lambkin.

Wavelength is a new series for Rhizome’s blog that will examine sound art and music, with some attention towards the technologies that enable them. One significant aspect of Wavelength will be thematic guest curated mixes, which will appear on the blog monthly.

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Our Best Machines are Made of Sunshine, 2009.

The notion of “feedback” is an important element for your sonic sculptures, where the viewer/listener is pulled into and directed by the work. As you stated in our visit, “What you hear affects how you move and how you move affects how you hear.” Your work SA-3, which you developed as a MFA student at Stanford, is a prime example of this technique. Could you discuss this piece and your research going into the project?

Well, for that piece it really started with noticing the moment in which I would become conscious of a localized sound, and how that awareness would pull me into or out of a particular relationship to the space. You could say an in-body/out-of-body type mediation. Through research in sound localization I learned of various directional speaker technologies and I combined that with an ongoing interest in how and why speaker systems are installed and controlled.

I was already looking into military projects involving sound as well as new developments in sound system technology. Talking with some folks at Meyer Sound in Berkeley, I was particularly interested in their Constellation system and their long-range speakers while I was also learning about spatial sound at Stanford’s CCRMA (Center for Computer Music and Research in Acoustics).  I came across the “audio spotlight” by Holosonics and the LRAD speakers at the time made by American Technologies. These both use ultra sonic transducers that heterodyne into an audible frequency controlling the localization of the sound through the inherent directionality of ultrasonic waves. The police and military are using the LRAD as hailing devices and have occasionally used them for crowd dispersal, a technique which is super dangerous because the key component of these speakers is that the user can control them without affecting their own ears. The person in control of the sound can inhabit the same space with those that it affects, while remaining immune to its force. Never before has this been the case. There’s a frightening disjunction in that control loop. So I was doing this research and I found a few really cheap small ultrasonic speakers on EBay and combined them into a hanging speaker array loosely based off of one of the Meyer Sound systems. I have always been attracted to the hanging speaker arrays and wanted to combine the ultrasonic speaker technology with the aesthetics of the stadium speakers to address the ways these more known systems control our bodily relationship to sound.  In a theater or performance setting there’s a loop between the performer, the sound engineer, the speaker system and the audience that returns back to the performer. With the LRAD system there’s a different loop where the person controlling the sound (performer and the sound engineer) do not experience the sound, yet they could see their “audience.”

Going back to SA-3, I wanted to play between those experiences by having the speakers of SA-3 play the sounds that you as a viewer make in the gallery. A mirror of sorts where you control what the sound is but how you chose to place yourself inline with the directionality of the speakers decides how you experience that sound in space. The audience is the performer. And I guess, as the designer of this system, I am the sound engineer.

Wed Apr 15, 2009 00:00

Rhizome seeks a Curatorial Fellow from late April through August 2009. The Fellow will support the curatorial and editorial departments at Rhizome through research, writing and administration. This position is a unique opportunity for a person interested in pursuing a career in contemporary art to further their engagement with the field and hone their professional skills.

The Curatorial Fellow must be based in New York and must be able to commit to 16 hours of work per week, for 6 months, beginning in Spring 2009. This position is unpaid, but academic credit may be arranged. The Curatorial Fellow will work directly with artists and be overseen by the Director and Senior Editor.

The Fellow's primary responsibilities include:

* Coordination, and development of the Rhizome ArtBase, including managing submissions and reaching out to artists
* Curating sections of the Rhizome website
* Researching topics for editorial coverage
* Writing articles for Rhizome's blog and publications
* Administrative support of programs, such as Rhizome's monthly New Silent Series at the New Museum
* General support of the organization

QUALIFICATIONS: Candidates should have a level of familiarity with contemporary art and particularly new media and its history. Education or advanced experience beyond the undergraduate level is preferred. At a minimum, the candidate should have very strong writing, editing, and analytical skills, and very high internet literacy. Knowledge of Microsoft Office software is also required and basic Photoshop skills are preferred.

TO APPLY: Please email a cover letter, resume or c.v., three references, and three writing samples (url's or attachments) to Ceci Moss at editor(at)rhizome.org. Review of applications will begin immediately. Deadline is April 15, 2009.

Sat Feb 28, 2009 00:00 - Fri Feb 20, 2009

Music, Language, Thought
Two Interdisciplinary Events

Saturday February 28, 2009
New York University
Silver Center of Arts and Science
100 Washington Square East
Department of Music, Room 220, 2nd Floor
Enter at Washington Place Doors
Admission is free and open to the public

Saturday April 4, 2009
Speakers and location TBA

http://musiclanguagethought.wordpress.com/

"Music, Language, Thought" is a new interdisciplinary event series organized by graduate students within New York University's Music and Comparative Literature Departments. Broadly speaking, the series focuses on the relationship between music and language, and our speakers will examine its theoretical ramifications for politics, aesthetics and historiography. The project stems from ongoing conversation and collaboration between graduate students within these two departments, and will continue on an annual basis.

Sponsored by the FAS Department of Music and the Department of Comparative Literature
With additional support from the NYU Humanities Initiative

Organized by Michael Gallope, Daniel Hoffman-Schwartz, Magali Armillas-Tiseyra, Amy Cimini and Ceci Moss

Schedule for Saturday, February 28, 2009

10am - 12pm

[URL=http://www.nyu.edu/fas/dept/complit/faculty/index.html#Hamilton]John Hamilton[/url] (Comparative Literature, Music and German; NYU)
"The Rape of Euterpe: Music, Philology, and Misology in the Work of Nietzsche"

The pronounced distrust of verbal language throughout Nietzsche's work, what Socrates scorned as "misology" in Plato's Phaedo, correlates to a life-long devotion to music. A fundamental conception of music as the art of time—and hence of modification, alteration, and therefore instability or uncertainty—motivates Nietzsche's singular contribution to philological method and subsequently his destructive zeal against all species of stabilized metaphysical images. What, however, would a "musical philology" precisely entail, and what are some of its ramifications? In what ways can musical sensibility and scholarly inquiry interact? To what extent is a "love of words" grounded in a deep mistrust of communication? Is it not the case that every philologist is, at least potentially, a misologist, an iconoclast, a music-making Socrates—a philosopher with a "third ear"?

[URL=http://music.berkeley.edu/Smart.html]Mary Ann Smart[/url] (Music; UC Berkeley)
"Rossini and Nonsense"

The recent admission of Rossini's music to the canon has been founded on an unusual basis: that of the music's nonsensical qualities, its refusal of musical thought. Rossini's preference for vocal fireworks over careful word-setting has been celebrated as prefiguring the pure musical patterns of absolute music, as privileging body over mind, and as reflecting the nihilism of post-Napoleonic Italy. This paper will situate these claims in relation to early nineteenth-century Italian thought about mimesis and musical expression, as articulated in contemporary encyclopedias of music, composition treatises, and pamphlets on musical aesthetics.

12-1:30pm
BREAK

1:30-3:30pm

[URL=http://www.nyu.edu/fas/dept/complit/faculty/index.html#Lezra]Jacques Lezra[/url] (Comparative Literature, Spanish & Portuguese; NYU)
"The Devil's Interval"

In Minima Moralia, Theodor Adorno writes: "'I have seen the world spirit,' not on horse-back, but on wings and without a head, and that refutes, at the same stroke, Hegel's philosophy of history." Adorno's thought-image places "Hitler's robot-bombs" alongside the images of Alexander's corpse, Caesar's murder or Napoleon's exile in St. Helena's, with the goal of "refuting" the Hegelian claim that at certain privileged moments "world-spirit manifests itself directly in symbols" [unmittelbar symbolisch sich ausdruckt]. It is a disquieting, searching image, and it is associated with Adorno's running critique of the "immediate" presentation of aesthetic experience generally, and of "symbols" particularly. Nowhere does Adorno more emphatically treat the temptation, and the danger, of immediacy than in his writing on music, and in particular in his understanding of the function of rules and of rule-following in modern music. Can we derive a "philosophy of history" from these writings? What principles of change, internal to modern music, take the place of the direct, symbolic manifestation of world-spirit that one finds in Hegel? Edward Said's late return to the concept of humanism arises from a symptomatic misreading of Adorno's answer to these questions. (Said's humanism may amount to a disavowal of the diabolical principles he encounters in Adorno's work.) This talk approaches the problem through a discussion of the concept of "interval" that develops in Adorno's account of Wagner and Schoenberg's different responses to Beethoven's rethinking of the so-called devil's interval, or tritone (one might say: from Fidelio through the "Tristan" chord to Moses und Aron).

[URL=http://www.columbia.edu/cu/arthistory/html/dept_faculty_joseph.html]Branden Joseph[/url] (Art History and Archaeology; Columbia University)
"Biomusic"

The onset of those operations collectively known as the "Global War on Terror" has brought to light the use of music by the United States as a component of physical and psychological torture, a topic which has given rise to a certain amount of discussion within musicological circles. Developing upon such discussions, this paper will trace the affinities of contemporary weaponized uses of sound to "biomusic," a little-known development within advanced musical practice in the 1960s and 70s. Beyond the possible connections to contemporary techniques of abuse, the investigation will shed light on a number of transformations in the manner in which subjectivity, power, and signification have been conceived and engaged within the later part of the twentieth century.

[URL=http://musiclanguagethought.wordpress.com/][IMG]http://amillionkeys.com/images/440.gif[/img][/url]