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"Teleclysm" [3.3 MB .mp3
This piece starts with "One Minute Techno Song," with a new "techno" theme added. Then, it slows down and goes into the "K-hole," and ends with the "techno theme" recast as a kind of a reggae song.
Teleclysm is a googlewhack--which means probably no one's used it before. It could be a really bad TV show, like Alias
--I get so sick of the close-ups on that show that I want to reach through the screen and push the characters into the middle distance so I can see what's really going on.
I prefer to think of teleclysm as a horrible teleportation mishap--like Captain Kirk being split into Evil Kirk and Weak Kirk
, or even worse, when the explosion of the "link gate" in Cowboy Bebop
turned the moon into a belt of meteorites that constantly rain down on Earth.
Another photo from the Jessica Ciocci
show at Foxy Production. The orange cast is because this is taken inside a tent in the corner of the gallery--the lights are shining through various colored fabrics. I told Paper Radder Ben Jones that all the artists in the three-person collective are equally good, and I think they are, but this was my favorite of the Foxy shows, including their collaborative effort. It's the most materially sumptuous. I still don't agree with the gallery's decision to show the artists individually so soon, though. It's not like the Who, where you have Pete Townshend and John Entwistle solo albums or whatever. Or actually--you had a bunch of Who albums before the solo efforts started appearing. In any case, everyone knows and expects musicians to work as groups. The art world, however, still clings to the myth of the Leonardo-like solitary artist, moving culture forward in a single heroic leap. The most rad thing about Rad, to me, is their rejection of individuality cliches--who made what? Who cares? If you're a gallery you pound that message home. You don't immediately take your strongest artists and start presenting them the way everyone else presents their artists--as individual branded commodities. The power of the status quo is insanely huge. [/rant]
"One Minute Techno Song" [mp3 removed]
There might be more to this but I wanted to put it up while I have all the settings.
Photos taken at the opening tonight of Jessica Ciocci's
exhibition at Foxy Production
, in Chelsea. Jessica is a member of the collaborative art group Paper Rad.
The show has a bright, inviting feel, and is full in the sense of meaty, not busy--a series of patchwork grids line the walls, each composed of a single predominant medium: paintings, snapshot photos, yarn, sewn fabric... The installation breathes, and makes you forget you are in a white cube environment; it could be a school art fair or swap meet but with underlying organization that belies the casualness. With her knack for arranging objects in physical space and command of materials, Ciocci does a great job of scaling up the underground comix sensibility to fit the room.
Drawings and animations by Ryuko Azuma here
(blog front page here
] Not work safe if you live in a repressive Puritanical culture (i.e., most places). Fairly relentless psychosexual content: genitalia (human and alien), mutilation, b/d, but often exquisitely drawn. The style leans to anime/commercial illustration but twisted. I'm assuming from the blog photo that Azuma is female; a man drawing many of these images in the "West" would be looked askance upon by the pc left or locked up by the religious right. There is a lot of this type of work on the internet, meaning that it has always existed in sketchbooks that rarely saw the light of day until now. It taps the well of dark collective fears and yearnings that artists like Inka Essenhigh, Sue Williams, and Nicola Tyson also access, but I would argue they do it less effectively, especially now that they are market entities and can't "go too far." There is still a divide of what's appropriate in public and private and oddly the internet isn't considered the former, at least until someone decides to shut a site down.
"Pitch Sequences" [mp3 removed]
Sort of trancy, sort of Raymond Scott-y.
The main riffs are done with the Mutator filterbank--a run of notes written in my sequencer's MIDI pitchbend controller modulates a few basic drum machine hits into arpeggiated sounding melodies (which sound different in each channel).
On top of that is a sixteen note sequence which you can't hear--it is carved into four motifs using the "polyphony" mode of a four-voice analog synth. I didn't write these tunes so much as pick them from a range of choices the synth was randomly generating. Each sounds different because the four voices are each programmed differently. It was a bit of a pain in that I had to re-create the motifs by hitting "restart" many times when it got to the recording stage.