Every Time We Say Goodbye - John Coltrane - The Coltrane Legacy (VHS)
You can feel that he's stretching maybe a little bit to fit into Nels' world. And Nels is probably moving a little bit toward him. It's definitely brokering a middle place between where each of them are comfortable. And here they're playing off each other and going in places I didn't expect. I like how you really hear the attacks, too. You're getting that sense of them being right next to each other, bouncing ideas.
Vinyl version due December Filmed by Grammy-nominated director Paul Dugdale, the film documents the band's unique performance of the Ghost Stories album to a small handful of fans in Marchtwo months prior to the album's release. Shot in a custom-built amphitheater at Sony Studios, Los Angeles, the advanced production sets the band's performance against stunning degree and overhead imagery. The package is completed by eight music videos from the Ghost Stories era, including two never-before-seen films for B-sides "All Your Friends" and "Ghost Story" plus the exclusive Extended Director's Cut of the "Magic" video with a brand new cameo from Peter Fonda.
Though each member has been pursuing new ventures, inside and outside of the music industry both collectively as well as individually, Aaron Marsh, Bryan Laurenson, Stephen Laurenson, and Jonathan Bucklew have reunited to record and self-release their fitth full-length album, Ixora.
Also includes new album cover, an extensive booklet containing photos from band's archive, original artwork drafts, handwritten lyrics, and new liner notes written by Kyle Ryan of The A. The first disc features highlights from his back catalog while the second disc features remixes from the likes of Dillon Francis, Eric Prydz, Madeon, Michael Woods and more. With their previous full length the band received many accolades in the metal community including being mentioned in year-end best-of lists and even being raved about in the press by metal legend Eric Rutan.
Originally released on Alternative Tentacles in time for D. With five classic anthems packed into its grooves, the EP helped pave the way for Canada's legendary punks to shake up the world musically and culturally. This is the first time this early DOA gem has been reissued since Vinyl version due January Vinyl version due December 9.
So-Lo was performed by members of Oingo Boingo, but deliberately not released under the Oingo Boingo name in order to circumvent a dispute with the band's record label. Elfman stated that he used the opportunity to release material that would not be suitable for an actual Oingo Boingo album, moving away from the band's ska origins and more towards mainstream synthpop. Vinyl on either mixed color or black wax. The tracks presented by Peron and Diermaier are clearly, intrinsically typical of Faust in their own right, yet offer enough space for completely different works to develop.
Which is exactly what they hope will happen. Upon the album's release, Flake Music began touring largely due to support from Modest Mouse, amongst others. On its back it carries a very precious cargo: the fifth album by the American band Flight Of Sleipnir, shortly and concisely titled V. Records, and former member of The Unfinished Sympathy. The bonus disc contains exclusive tracks. The buzz surrounding Listen is pretty loud right now, thanks in part to the insane number of people David has assembled to help out with the endeavor.
According to the folks at Your EDM, David Guetta reached out to a ton of A-list musicians to assist with his latest record, and Listen is essentially a who's who of top tier mainstream talent. If Guetta wanted to ensure that his album sells a ton of copies when it hits retail shelves later this year, then he found the perfect recipe. The trio with Haden and Motian formed in was Jarrett s first great band, his choice of players a masterstroke.
With the bassist who had learned his craft in Ornette Coleman s band, and the drummer from Bill Evans' ground-breaking trio, Jarrett was able to explore the full scope of modern jazz, from poetic balladry to hard-swinging time-playing to ferocious and fiery free music, the improvisation including episodes with Keith on soprano sax. The interaction between the three musicians is uncanny throughout, reaching a peak in an emotion-drenched performance of Charlie Haden's "Song For Che.
Vinyl version due February This reissue has been newly remixed by Porcupine Tree's studio wizard Steven Wilson.
Available as a double-disc and four-disc Theatre Edition box set. The expanded box set features original album and bonus tracks three previously unreleasedremixed in 5. Specific influences include the Doors, The Velvet Underground, Sonic Youth, Durutti Column and "the jazz of the Dave Pike set," but the Lumen Drones also rove through modal, ambient, multi-folk, minimal and noise zones. Guests include B. As usual, the Charlot brothers resort almost exclusively to the use of acoustic instruments with oriental origins bodhran, cymbalom, santoor, zurna.
Percussion instruments especially the bodhran play melodic or textural figures, whereas stringed instruments become repetitive to a point where they embody the rhythmics. Released by ECM, this classic, groundbreaking album of composition and improvisation featured Mantler conducting a large jazz orchestra that included some of the era's iconic free improvisers as soloists: pianist Cecil Taylor, cornetist Don Cherry, trombonist Roswell Rudd, saxophonist Pharoah Sanders, guitarist Larry Coryell, saxophonist Gato Barbieri.
With The Jazz Composer's Orchestra Update, Mantler has re-imagined his s music for the 21st century, with electric guitar and amplified string quartet added to the instrumentation. Perfect slices of light-headed psych pop, constructed around spidery hooks, pitter-patter percussion and slow, sinuous grooves.
Each disc includes previously unreleased and rare bonus tracks. CDs are housed in a slipcase with a page hardbound book and a 7" blue vinyl single. L, Bebe Rexha, Claudia Leitte, and others. It's a monumental, multi-hued musical death-trip that they have delivered. Generous moments of beauty, earth-worn balladry, bombastic beats, sing along choruses, it's all here.
Available on CD and on "oxblood" color vinyl. Prodigy's verbal ability took center stage early in the original cult classic The Infamous. Livedirected by Hart Perry and long unavailable for sale.
Christened CJ Ramone, the band hit the road in on an extensive world tour that culminated in 's Loco Live album. Social Distortion. With a sound and style true to the Ramones, CJ Ramone has again added to the legendary Ramones canon with a positively infectious punk rock record. Deluxe includes bonus tracks. Hood Billionaire is the follow-up to Rick Ross' Mastermindwhich was release earlier this year. You'll hear lyrical points of reference running the gamut from The Seventh Seal to Arrested Development.
Originally released in on cassette, The Silent March can be viewed as something of a mission statement for Amir Abbey's skyriding Secret Pyramid project. Critics have compared his sound to the more blasted entries in the Popul Vuh catalog and to Flying Saucer Attack's cherished fuzz devotionals. Deftly navigating the properties of sleep and unconsciousness, Abbey charts a course that is equal parts harrowing and funereal, tranquil and sublime.
With Movements Of NightAbbey casts his net into the abyss of the unconscious and returns with a potent paean to the dreamworld. The Silent March has also been reissued on vinyl. Available in Regular and Deluxe editions. The package features three separate thematic discs in a clear plastic slipcase with three separate mini-jackets, each sporting its own unique art, a booklet and inserts, allowing fans to mix and match, personalizing their own album graphic layout.
Available in Regular single-disc and Super Deluxe triple-disc editions. The seven-piece band's fusion of bass heavy electronica, jazz, soul and much more besides has made them a favorites of the likes of Gilles Peterson, Trevor Nelson and Jo Whiley, whilst their live show has seen them play festivals around the world and sell out venues such as London's famous KOKO. Deluxe double-CD edition includes four bonus tracks plus an interview with the band.
It represents the fusion of shifting global popular culture and a reawakening of Aboriginal spirituality and expression. The majority of this material has been widely unavailable for decades, hindered by lack of distribution or industry support and by limited mass media coverage, until now. You'll hear Arctic garage rock from the Nunavik region of northern Quebec, melancholy Yup'ik folk from Alaska, and hushed country blues from the Wagmatcook First Nation reserve in Nova Scotia.
You'll hear echoes of Neil Young, Velvet Underground, Leonard Cohen, Creedence Clearwater Revival, Johnny Cash, and more Every Time We Say Goodbye - John Coltrane - The Coltrane Legacy (VHS) the songs, but injected with Native consciousness, storytelling, poetry, history, and ceremony. Collection: One-Derful! Collection focuses on the namesake imprint of this legendary Chicago label group - to be followed by compilations of the Mar-V-Lus, M-Pac!
It marks the first in-depth study of what was once one of Chicago's most prominent African-American run labels. Available in Regular, Deluxe and Super Deluxe editions. Deluxe double-CD edition includes the track "Closet Mix" of the album. The track, six-CD Super Deluxe package is housed in a case-bound book and features several different mixes including the remastered stereo mix by MGM house engineer Luis Pastor 'Val' Valentin, a set of recordings, many of which were previously unreleased, from the Record Plant in New York City that were supposed to be the band's fourth album, several of which ended up on Loaded and Reed's first two solo releases, and unreleased live recordings from The Matrix in Records Recently released on vinyl and cassette - now available on CD.
Put Ty Segall's newest fascination - right into the tape deck of the heart of your brain. Both artists make music that hearkens back Every Time We Say Goodbye - John Coltrane - The Coltrane Legacy (VHS) the '60s and '70s, which beam with psych-tinged guitar riffs.
But whereas Segall shreds with abrasive and reckless energy, Wand charms with infectious hooks and sugary psychedelia. The album finds Williamson in fine voice and in best creative form on his diverse instruments, drawing inspiration also from the ingenious improvisational input of violist Mat Maneri further developing the association initiated on Skirting The River Road and percussionist Ches Smith last heard on ECM with Tim Berne's Snakeoil band.
During that time they've had tracks put on various compilation albums, a couple of demos and now they're on their fifth full length album called Antichristus Ex Utero. So, what can be expected from this album? Well, it's very decent and catchy. Earlier material is quite rough sounding and deliberately grimy; containing an interesting thrash and punk flavored slice of black metal.
To my ears, their material reminds me of what I would imagine a black metal Discharge may have sounded like — and in this particular album it evokes memories of early Impaled Nazarene. Or more specifically, the Latex Cult period. These Japanese dates were the first to Every Time We Say Goodbye - John Coltrane - The Coltrane Legacy (VHS) Jeff Beck's new backing band of Jonathan Joseph drumsNicolas Meier guitars and Rhonda Smith bassand the set-list includes some material from his new, as yet unreleased, studio album.
In contrast to Beck's previous visual releases, both filmed in small clubs, Live In Tokyo was shot in a major concert arena and has a very different, more expansive feel.
Also includes the exclusive bonus feature "Welcome Home Neil," a behind-the-scenes look at Diamond's pilgrimage to his childhood home in Brooklyn. It was Bob Marley s last tour before his tragically early death in May at the age of just The tour was in support of the Uprising album released on June 10th A few days later on June 13th the live show from Dortmund s Westfalenhalle was filmed for the famous German music TV series Rockpalast and is presented here on DVD for the first time with footage restored to the best possible quality.
Metallica's management Q-Prime hires ''performance-enhancing coach'' Phil Towle to help the group better understand one another as friends, bandmates, and human beings. The movie features interviews, rehearsal and concert footage of the band. It also features the audition process as the band searches for a new bassist.
This edition also includes deleted scenes, footage from film festivals and official unveilings, music videos, and more. That record went on to sell over a million copies and most of the band's fans never had the chance to see them perform live. Exploring a strong sense of tradition with an innovative approach, the album focuses on the landscape of guitar, string ensemble and vocals.
Both conceptually and execution-wise. While Bill Orcutt, "re-inventor of the blues," falls from abstraction into acoustic hardcore serenade on his four-string guitar, the Kali-inspired Sir Richard Bishop improvises elegantly and calmly through a feverish minute variation of "Zurvan.
They make us wag our tails, ask for beer, snap our fingers, leave, hug simple and beautiful things. New album from the emo rockers. The Ascension is a colossal achievement. After touring much of with an all-star band featuring four guitarists Branca, fellow composers Ned Sublette and David Rosenbloom, and future Sonic Youth member Lee Ranaldo along with Jeffrey Glenn on bass and Stephan Wischerth on drums, Branca took his war-torn group into a studio in Hell's Kitchen to record five incendiary compositions.
When Surgical Steel was released late last year, there were several alternate versions released around the world with bonus tracks. This updated version captures all of those tracks in one release. Lazarus Dig!!! A large batch of domestic Nick Cave vinyl reissues are due to be reissued throughout December. The Cramps was an American punk band, formed in and disbanded Their line-up rotated much over their existence, with the husband and wife duo of lead singer Lux Interior and lead guitarist Poison Ivy as the only permanent members.
Now, five years later, the collaborators pick up where they left off. Sophomore full-length March On Washington is a collection of 13 original jams, and features one additional bonus track.
Aptly-named debut single "First Step" ignited listener anticipation for the set, which features no guest appearances and is produced entirely by Oddisee. Triple-LP set featuring 38 highlights from Dylan"s legendary sessions with The Band, compiled from meticulously restored original tapes. Includes exclusive 12x12" booklet with extensive liner notes and rare photographs. I Feel Alright balances his country, acoustic music roots seamlessly with his rock side perfectly.
The concept of the Human Zoo has existed in art and literature for centuries, thus Electric Six recognizes and accepts it is not breaking new conceptual ground by naming its tenth studio album Human Zoo. From the opening track, ''Karate Lips,'' the album takes the listener into a teenage karate tournament for girls as refereed by Def Leppard.
Echoes From Ancient Caves reflects extensively on the poetics of the cyclic and tantric sound investigated by other pioneers such as Terry Riley and La Monte Young. Over an hour of material ranging from regurgitated drone to shimmering ambiance recorded directly to tape. Recorded and released on cassette inand as a CD in early Ostensibly more homemade, if not entirely "outsider", Ode showcases impeccable songwriting across light folk, downer pop and woodshed country tropes.
The beauty of this archival album lies in its tracking of the seasons, how each song feels like a different time of year. Incorporating voice and organ, Hannum creates a world where time slows and sound is reduced to the steady pulse of the universe. A way of describing something by saying what it is not.
You might say that ambient music is the music of subtraction subtract the melody, subtract the harmony, subtract the rhythm. This landmark box set is the ultimate artifact for Lee Hazlewood heads new and old contains a lavishly packaged, expansive page LP sized hard cover book. A Deluxe Edition of the box set containing all of the above housed in a cloth-bound clamshell box gold foil stamped and featuring a debossed silhouette of Lee with reproductions of LHI-era artifacts including press photos and a reproduction plane ticket used by Hazlewood back in ' At around 17 albums and 72 singles totaling songs!
This album is full with all sorts of extra Kyle. So buy this limited edition vinyl of Whiskey Icarusbecause you deserve it. KMFDM has always been able to bend the lines between techno innovation, punk snarl, and metal aggression, and now dance beats and crunching guitars will carry you through the manifesto that is Our Time Will Come. With tighter songwriting and cleaner production, the band mix the punk urgency of Nirvana with the sonic experimentation of The Pixies to create a sound that is all their own.
Fans of post-hardcore, noise rock, grunge and loud indie rock will surely embrace the rattling sounds of Ladder Devils. Debut album from Atlanta-based sisters Rebecca and Megan Lovell. Sixth studio album from the Grammy-winning country group, featuring the single "Day Drinking. Clearly emo rock in the end. Sick in bed with malaria, he began to paint sonic pictures of his travels in exile; digitally decoding a hazy trance-induced melting of his native Algerian music, Turkish folk, the furious polyrhythms of West Africa, and his love of slow, low-slung rap beats.
Praised by Stereogum for her vocal prowess and "walloping guitars" in latest single, "Townie," Mitski has already grabbed the attention of a growing audience in her hometown of Brooklyn, NY and on tour with label-mates LVL UP and Frankie Cosmos. Pressed on white vinyl.
Witty, eloquent, sophisticated pop. Expanded with two bonus tracks and pressed on color vinyl. The title track, now a jazz standard, is one of the most influential recordings in soul jazz. All five tracks were written by Morgan and the album features respected tenor saxophonist, Joe Henderson.
While comparisons could be made to anyone from The Zombies to Todd Rundgren to Carole King to Pilot to Elton John to Boston, the voice and direction throughout is distinctively Don Muro, who wrote, performed and recorded every note on the record. Produced by project creator T Bone Burnett, the album was recorded in March at Capitol Studios in Hollywood, where the artists and Burnett convened for two weeks to write and create music for a treasure trove of long-lost lyrics handwritten by Bob Dylan in during the period that generated the recording of the legendary Basement Tapes.
The collective completed and recorded dozens of songs, the first 20 of which appear on this album. Includes full album on CD. Peebles was born in St. Louis, Missouri, the seventh child of eleven. As a child she began singing in the choir of her father's church and with the family's group, the Peebles Choir, who regularly opened shows for gospel stars including Mahalia Jackson and the Soul Stirrers featuring Sam Cooke.
Plectrumelectrum is a classic band record, with 3rdeyegirl — a funk band comprised of Prince, Donna Grantis guitarHannah Ford Welton drums and Ida Nielsen bass. Recorded live and in analog, the album is an electrifying funk-rock statement. The tour was in support of the critically and commercially successful Tattoo You album.
There were fifty dates on the tour which ran from Philadelphia at the end of September through to Hampton, Virginia on the 18th and 19th of December. The show on December 18th, which was also Keith Richards birthday, was the first ever music concert to be broadcast on television as a pay-per-view event. Critics have compared the Secret Pyramid sound to the more blasted entries in the Popul Vuh catalog and to Flying Saucer Attack's cherished fuzz devotionals, and indeed Abbey's reverb-drenched song forms and titanic edifices of drone do feel at times as though they've been cut from the same cloth.
Formed in the wake of the first wave of L. Fast, defiant thrash; one part suburban teenage rebellion, one part crass satire, all held together by a thread of reckless adventuring. Michael Sharp and Braden Balentine, who record out of their home studio with a rotating cast of like-minded musicians from Austin, incorporate an ever-broadening inventory of influences; methodical arrangements and layers of meditative repetition hearken back to '70s krautrock, while polyrhythmic drums and arpeggiated synthesizers propel the procession forward in harmony with acoustically-oriented pieces.
Recorded during the Pathways To Unknown Worlds sessions Impulseit shares that album's emphasis on guided improvisation. With constantly shifting palette of Moog textures, Sun Ra tosses off a dazzling array of ideas, supported by the usual Arkestra stalwarts; in particular bassist Ronnie Boykins and drummer Clifford Jarvis shine, giving shape and solidity to the pieces.
A hallucinatory experience rife with echoes of Autechre's corporal maneuver. It's difficult to neatly categorize Luke Wyatt's genre-refracting productions. The nuts and bolts are built from live guitar, drum machines, junky synths, and layers of samples which are smeared into a cohesive whole. His guitar moves between the meditations of Manuel Gottsching, the jangle-grid of The Chameleons, and the saturation of Medicine.
Throw in the melodrama of a sax on a Don Henley hit, and you get a better idea of his playfully sincere sensibility. The recognizable continuation of Totland's compositions will attract fans of Deaf Center, and the cinematic and classical components of his solo work will hold sway for those familiar with Harold Budd or Dustin O'Halloran. Field recordings, radio segments, street musicians and gorgeous ambience. It is run by Calcutta-based Bengali singer, writer and researcher, Moushumi Bhowmik, and sound recordist and sound designer, Sukanta Majumdar.
They have been making field recordings of songs and stories across Bangladesh and eastern India, even the Bengali diaspora in East London, since ; documenting and disseminating their research through archives, presentation-performances, art works, and their own independent record label and web site.
XXXI still ebbs with ambience, but more importantly it flows. It is an album of movement and rhythm, somewhere between synthetic soundtracks and motorik electronica. Recorded all over the world, including Los Angeles, Dubai, Brussels, and London, the album features 10 brand-new studio recordings, including five originals and five carefully-chosen cover songs. The album was produced by Yusuf, with Rick Rubin also producing select tracks.
The experiments on Selected Recordings were formulated while spending many of those moments on a secluded island in the Mediterranean sea, populated by a n r evolutionary cast of travelers, all starving for an heady atmosphere and a delicious salad.
Many records were played on record players at these assemblages. The album sees the L. A pianist, vibraphonist, composer, arranger, conductor and educator of astounding energy and creativity, Karl has worked with many of the greatest names in new music: Ornette Coleman, Don Cherry, Gato Barbieri, Anthony Braxton, Bill Laswell and countless others.
Following up on his gorgeous release of solo piano etudes Strangely Familiarthe second CD of Berger's Tzadik trilogy presents his distinctive piano stylings in a trio format with a sensitive and supportive rhythm section. Now, he is sailing under his own flag, proving once again that his multi-instrumental skills know no creative boundaries.
He also scrubs his guitar through all sorts of psychedelic effect pedals and skillfully mixes stoner rock, blues and doom-bonds to a feverish hazy brew. The tracks are fun and rhythmic, but at the same time, laced with the dark, sarcastic lyrics for which Black Taxi is known. The album is introspective and retrospective in its lyrical content, and futuristic in its production.
Moog synths, fat trumpet lines, and jangly tambourines pay their respects to s-era funk and disco records while deep, punchy drum production gives the album an ultra-modern feel. CD version is available in Regular double-disc and Deluxe triple-disc editions. Vinyl is HQgm. Features Tom Carter. It was there in that the band Brutality came together in their first incarnation. Orchestrated Devastation a compilation of Brutality's greatest tracks, taken from their three studio releases as well as various demos and EPs, bundled alongside vast retrospective liner notes and band photos.
Available on CD and HQgm "ox blood red in milky clear" vinyl. The Way is the follow up to 's Flat - Pack Philosophy LP and is the band's ninth studio album since their formation in Manchester in These 10 tracks penned by the group's long-standing core of Pete Shelley and Steve Diggle were recorded this year in London, and were produced by the band and Dave M.
The Way packs the same classic UK pop punk punch they've been known for over nearly four decades. Available on CD, cassette and on white vinyl. It includes all three albums, which have been remastered for the first time, as well as an entire LP featuring 14 previously unissued outtakes from the era. Far more complex and lacerating than anything Coffinworm has attempted thus far, IV.
VIII offers six tracks of pure, blackened, unholy doom metal terror that will serve as the soundtrack to the inevitable dark era soon to befall this feeble mortal coil. All of the thirteen songs have an upbeat eloquence, but the highlight of the album is vocalist Elaiza Santos. The bands' tireless work ethic and local popularity quickly lead to the band landing opening slots for large national acts like Senses Fail, Man Overboard, Dance Gavin Dance, and Polar Bear Club.
The bands' debut album showcases the their ability to craft memorable, emotional rock songs with catchy riffs and soaring vocals. The Deluxe package also includes a 5. A few old songs, a few new songs and a few very different versions. This new minute track spans Drumm's wide palette of textures and dynamics and is yet another milestone in his already prolific journey through sound.
Nerve Net includes the first official release of the lost album, My Squelchy Lifeoriginally scheduled for release in '91 but withdrawn at the last moment. Vinyl versions due December 2. Vinyl version due December 2. Solo recordings by group members are also included from tothe time they were recording together.
The Kiwi's fourth LP is heavily inspired by Scandinavian music Peter Bjorn And John and Lykke Li, for starters and those influences shape the eclectic, emotionally raw and sonically ambitious songs. Vinyl copies include a postcard set featuring photos of the band, plus a download.
KlangKuenstler seamlessly infuses his productions with classical, jazz, and '60s film score influences, while remaining true to his tech house roots. Far out and gritty, the album is full of great production by Vancouver, BC based producer Teddy Bass who also lends his vocals to the project. Mechanical hysterics. Braille surfaces flip and flop across the screen, overlapping, flowing by … completely unreadable without fingers of course.
I wonder what this surface feels like to touch. Tran tells us that Trinh T. Minh-ha writes about reaching out through blindness. I think she finds the same freedom in the darkness that you discuss with the donkey.
Asian eyes are extremely good at closing out, keeping secrets, says the voice. So why do the little girls start slicing their own eyes? To my mind the slits are power! They open and close when they damn well please. Tran continues. She thinks about having her lids DONE. Her camera is slowly, slowly pulling out to reveal a cosmetic surgeon holding the face with the mask. Lights out, lights out!!!! Where do we go? Into the other world.
Just next door… In a dash, we are there. An eyelid a membrane, separates two kingdoms. I listen to addresses of plastic surgeons in Beverly Hills, revealing locales on Sunset Blvd. I am eavesdropping. Then a parable of a child and the story of Cambodian women who have witnessed war horrors about becoming blind, then suicidal.
She plays brazenly with the allusions, spinning them around like riddles we must decipher in order for a laugh and then…. Tran is angered by the constraints put on the slanted eye in the modern kingdom, the West. As I watch this modern kingdom, I find nothing appealing about it, at least her view of the wealthy kingdom donned Los Angeles.
There are more listings of addresses in LA. Richard Pryor, blind groping men at peep holes … Sidney Poitier with a blind white girl,…blonde woman in vulgar, pornographic Hollywood movies about sex and blindness. A lascivious doctor talks about a cure for blindness. I never mentioned how much of life I would prefer not to see. Return to mapping of LA, then ranting, ritual, obsessions with fashion, animals, a Native American parable in which a white man borrows an eye from an animal but it does not fit.
Oh, how I long for the dirt in my eye, the unconscious filtering of grit before it enters my consciousness. A clean, soporific blindness. Do you think that Tran would agree that eyes with this brilliant, curious questioning are windows into that rare thing — a lucid mind?
It is also the bony flap covering the gills of a fish. An operculum also has something mysterious to do with fungi. Here flora and fauna are merging in a bewildering visual confluence.
Tran is also thinking about cosmetic surgery to reshape her eyes, another approach to the sculpture of the face. I believe that Tran is telling us that both operations are a form of shock therapy. They both use a prick. It is 4 AM. Feeling promiscuous, but unaroused. Kore suggests that the clitoris is another eye that can be shut: lesbian love making then takes on an all-powerful presence on the screen.
She tell us to choose between death or blindness, that there is a problem with so many women being infected by men. We watch a penis image, graphic and grotesque. Again, I watch lesbian lovemaking with technomusic, one of the women is blindfolded. Do her eyes inhibit desire? It was as though she were bringing a hidden awareness I had always treasured to my epidermal layer, finally visualized and sublimely conscious. With Tran, the meeting with Irigeray is not only beautiful but also violent, at least on the level of the imagination.
Like a confrontation. Everything in both your writing feels so lustful and wild, yet somehow completely outside the sensual. Ocularis is another piece on surveillance as erotic. Now the eavesdropping feels transgressive and dangerous, problematically pleasurable. The woman remembers the surveillance camera documenting a racist picking on her on the bus. We are watching buses in a garage depot and hearing this fantasy. We are listening, feeling fascinated without seeing the cause of our satisfaction.
Later, a woman editor falls in love with the man she sees on a surveillance camera. She knows him but he does not know her. Then there is the story of a small Asian teenager whose best friend was the largest girl in class. The large girl was attacked by a man who was a friend of the family.
We hear this while we watch two good friends trying on clothes, the white girl asks for the opinion of the Asian girl.
We hear about a young girl who carries a camera in her teddy bear. Counter surveillance services are discussed while we watch police at work.
A young woman surveillance expert gets fired for a mistake she made on the job. This movie has a sense of humor. It asks us if surveillance creates anxiety and boredom at the same time. Has all behavior become spectacle? Finally, the sun is beginning to peek her head out from the lip of the horizon. Morning is knocking on the window, and I am watching Amaurosis. Amuaurosis is the word for vision impairment, especially when there is no obvious damage to the eye.
All night, I have been inundated with cinematic reflections on the effects of blindness. I must admit I am feeling disconcerted by the light. I somehow find it difficult to remember that there may be something out there I would want to see. Then Tran introduces me to Nguyen Duc Dat, a blind classical guitar player to whom she has offered a flute in exchange for writing a song, or maybe for doing an interview. It appears to me a blissfully innocent arrangement that spins lovingly around a deep respect for the music this Vietnamese American makes with his instrument.
Then I see a boy alone, walking the streets. The images are old, like a home movie, and the textures tell me this may be Vietnam. Tran then reveals the story of this blind musician through his own recounting, his philosophy of living in darkness, his commitment to active listening. He speaks eloquently about delivering speeches to an audience, really being heard and feeling more alive than ever, knowing that his words are able to open his mind to others.
Duc articulates a concept of beauty in his blind experience that is so distilled and precise. He wonders if this connection between the lip and the ear, or between the guitar string and the ear, might be ruined by sight. Tran decides to illustrate this dichotomy, scientifically, with humor I believe.
We are watching two large scale depictions of the cell, a biomorphic metaphor I would call it. One cell is imagery. The other is perception. Can a blind man appreciate the difference? Does it matter? Duc asks us: How far is close? He saw light as a child. Noticed that the sound of thunder had a fraternal twin, lightening born just moments later. In silhouette, Tran does her final interview.
I listen to Duc speak of the ocean: it is big, it is horrible, the seaweed smells, the waves are music. This man has no need for blue. I night. Aletheia16 min, Operculum cosmetic surgery on the eyes14 min, Kore17 min, Ocularis21 min, Ekleipreis22 min, Alexia10 min, Amaurosis30 min, —. Her moving image work ranges from documentaries, to essay films, to experimental shorts, to hybrid live performances. Working from a feminist perspective, Lynne weaves together social criticism with personal subjectivity.
Her films embrace a radical use of archives, performance and intricate sound work. Between andshe collaborated with renowned musician and sound artist Stephen Vitiello on five films. Strongly committed to a dialogue between cinematic theory and practice, she searches for a rigorous play between image and sound, pushing the visual and aural textures in each new project. In tandem with making films, Lynne is also deeply engaged with poetry.
This is a still from my new film called Crane Lamp. My father was a worker in this petroleum field and I spent too many days there. I was sitting near this oil well and waiting for my father to finish his work to go home.
The mysterious sound of derricks is always on my mind. I was sitting there and looking at the sky, observing the birds, cranes, and crows.
I truly believe that landscapes have a strong effect on the human soul. Life was a mystery when I was a child and sitting near this oil well, that almost all the people see as pollution and Every Time We Say Goodbye - John Coltrane - The Coltrane Legacy (VHS) as a tool for the rich countries to control the country, like us. Hilal Baydarov was born in in Baku, Azerbaijan.
During his high school years, he won the national championships of mathematics twice in and In he lead the Azerbaijani team at the informatics olympiad. Nathaniel Dorsky was born in New York City, in He is an experimental filmmaker and film editor who has been making films since He has lived in San Francisco since Inthe New York Film Festival honored his work with a thirty four film complete retrospective at Lincoln Center. At the moment, I travel around East Georgia … Spring is mesmerizing here.
The weather changes several times a day, and everything on my way comes unexpected. I am fascinated with the views of the mountains, walk through the fields, meet people, listen to the sound of the machines that cultivate land during a day, and cry of jackals at night, whistling sound of the wind … I do read at night while I stay at absolutely unremarkable hotel rooms.
Even though how can I define anything as unremarkable? There is nothing that is unremarkable. I am fascinated by the contrast of the beautiful natural light and the light of the electric bulbs in the interiors. I do not have a photo camera and I take pictures with my phone. I have thousands of pictures in my archive from my travels. Strangely enough I do not feel much need to have a photo camera anymore. Even though I do shoot analog while making films, digital images taken with my phone serve as my inspiration for compositions, for places and spaces.
This is the easiest way to catalogue the thoughts and inspirations. Something from what I read at nights and what comes back to my mind while walking through the villages during a day. My friend sent me some of the poems by Yeats and now I read them all obsessively. I tend to obsess over things, poetry, images, sounds … And I like to travel alone, to spend time alone. It allows me to have space for my obsessions, for just doing nothing, that I do consider the main part of the creative process.
I love to walk with no aim, no reason…. Below are some of the pictures from my recent travels … and some from the travels before I made Beginning… This image is taken close to where I grew up, and where I shot Beginning… It did serve as an inspiration for the composition and the color palette of the film.
This one I took last week, in the same area. What fascinates me about this image is the magic moment of the nature and the mundane, plain objects and the building … This white warehouse looks so out of place but at the same time, it does exist and I cannot imagine this image without this building….
Image by Arseni Khachaturan. My family is always my main source of inspiration. I could make films with them only This is an image of my grandmother in her living room that I took maybe a month ago.
I do not know why did she sit there in front of a TV that was not even on, and what was she looking at… or was she really looking at anything? She seemed to be focused on something, maybe lost in her thoughts… something she was remembering from the past?
I did not ask. I do not need to know. A photo of my nephew that I took a few years ago while working on a script for Beginning.
All images copyright of Dea Kulumbegashvili, unless credited otherwise —. Dea Kulumbegashvili was born and raised in Georgia. Let me start by asking myself: what do I expect from a film?
What I expect is borne out by what I work at bringing forth in my own films. The films I make, in other words, are made to contribute to the body of film works I like and would like to see. We are moving here from the making of a genre of film to the making of a wide range of genres of film in which the making itself is political. In working to shake any system of values, a politically made film must begin by first shaking the system of cinematic values on which its politics is entirely dependent.
Patriarchy and hegemony. Not really two, not one either. When speaking about the Master, I am necessarily speaking about both Him and the West. From orthodox to progressive patriarchy, from direct colonization to indirect, subtly pervasive hegemony, things have been much refined, but the road is still long and the fight still goes on.
Hegemony is most difficult to deal with because it does not really spare any of us. Hegemony is established to the extent that the world view of the rulers is also the world view of the ruled. It calls attention to the routine structures of everyday thought, down to common sense itself. In other words, we call attention to the fact that there is a Third World in every First World and vice-versa.
The master is made to recognize that his culture is neither homogeneous nor monolithic, that he is just an other among others. A film, in other words, is a site that sets into play a number of subjectivities—those of the filmmaker, the filmed subjects, and the viewers including here those who have the means or are in a position to circulate, expose, and disseminate the films.
The assumption that the audience already exists, that it is a given, and that the filmmaker merely has to gear her making towards the so-called needs of this audience, is an assumption that seems to ignore how needs are made and audiences are built.
A responsible work today seems to me above all to be one that shows, on the one hand, a political commitment and an ideological lucidity, and is, on the other hand interrogative by nature, instead of being merely prescriptive. In other words, a work that involves her story in history; a work that acknowledges the difference between lived experience and representation; a work that is careful not to turn a struggle into an object of consumption, and requires that responsibility be assumed by the maker as well as by the audience, without whose participation no solution emerges, for no solution exists as a given.
Divide and conquer has for centuries been his creed, his formula of success. But for a few decades now, a different terrain of consciousness has begun to be explored among marginalized groups. Psychological conflicts are often equated with substance and depth.
Conflicts in Western contexts often serve to define identities. Difference, in other words, does not necessarily give rise to separatism. There are differences as well as similarities within the concept of difference. One can further say that difference is not what makes conflicts. It is beyond and alongside conflict. This is where confusion often arises and where the challenge can be issued.
The apartheid-type of difference. So, either in unification or in opposition. In one of my films, Naked SpacesI use three different voices to bring out three modes of informing. The voices are different, but not opposed to each other, and this is precisely where a number of viewers have reading problems.
Some of us tend to consumer the three as one because we are trained to not hearing how voices are positioned and to not having to deal with difference other than as opposition. The use of silence: On the one hand, we face the danger of inscribing femininity as absence, as lapse and blank in rejecting the importance of the act of enunciation. Silence is so commonly set in opposition with speech. Silence will not say or a will to unsay, a language of its own, has barely been explored.
The Veil: As I stated elsewhereif the act of unveiling has a liberating potential, so does the act of veiling. It all depends on the context in which such an act is carried out, or more precisely, on how and where women see dominance.
Difference should neither be defined by the dominant sex nor by the dominant culture. One can easily apply the metaphor of the veil here to filmmaking. The patriarchal conception of difference relies heavily on biological essences. In refusing such a contextualization of difference, we have to remain aware of the necessary dialectics of closure and openness. And these closures will then have to be re-opened again so that we can keep on growing and modifying the limits in which we tend to settle down.
Difference is not otherness. Trinh T. Walking with The DisappearedD-Passage. A Tower to Say Goodbye —. Born inTanoa Sasraku examines the intersections of her identity as a bi-racial, gay woman raised in Plymouth UK. Her practice shifts between filmmaking, drawing and flag-making, juxtaposing and performing British, Black, Ghanaian and queer cultural histories in her navigation of self.
Her own flags map personal stories of a life lived in modern Britain, as classroom materials are fused together to create cryptic, ceremonial objects. In her practice as a filmmaker, Sasraku engages in queer, black retellings of traditional British folklore, as well as producing more diaristic journeys through her past, via the medium of analogue film.
Tanoa Sasraku is based in London, England. This blouse was given to me 30 years ago from my Aunt Stella Talbert; my then 97 year old Great Aunt. She lived most of her life in Detroit.
This multi -colored blouse had originally been bought for herself and also had been worn. The day I visited her she opened up her meticulously packed and organized closet and said to pick anything I wanted. I chose a few items but this particular item still remains-occasionally I still wear this blouse.
Also on that trip Aunt Stella told me that her deceased husband I never met was a pianist and played in the band with Eubie Blake and Noble Sissle.
While on the road,they lived in New York and would stay at the Theresa Hotel and shared the same kitchen. Virgil and Homer. While walking in Harlem with a friend I was casually introduced to Janet. My friend said this is Janet Talbert.
I jokingly said you could be my cousin. I asked her where did she grow up? I then said oh you really could be my cousin! After chatting -more questions and answers- going back and forth we finally discovered we were family. The story of Virgil and Homer definitely was the defining moment. And to make a long story short my Aperture Book came from this per chance meeting- one of a million New Yorkers. But was it a per-chance-meeting or was it a spiritual connection?
Hmm direction? Ming Smith was born in Detroit and raised in Columbus, Ohio. Smith lives and works in New York. When I started to collect objects aroundI would do it very subconsciously and without purpose. It would just be one part of an activity, and touching an object was the first reason I would have to pick something up.
But then I began to notice that walking had also become very important, maybe even more than the picking up. I used to carry a pedometer at that time, and would take note of every step I took. Each Avenue has a different length so I counted and found, for example, that crossing Second Avenue took about 23 steps.
It was a kind of psychological experiment. But all of a sudden, an object would jump into my eye — the objects themselves are like a signal for me. I made these drawings in when I lived in Midtown Manhattan. It is an area totally designed according to a grid structure, as we know, allowing us choose many different ways to walk around.
I had been living at East 53rd Street, but after fighting back against the developer that had bought the building, I was offered a settlement and a new apartment in one of his other buildings.
Even though I was all the way on the east side of the island, I was able to walk west across Manhattan to Eleventh Avenue and extend my route, block by block. Four actors or actresses start to walk, and where they walk is already designed so that they never run into each other.
This really inspired me to walk, and to make my own diagrams. Because these walks were part of a monthly project, I would have already set up and made diagrams for the next month before it began. For example, I drew the October walks in Every Time We Say Goodbye - John Coltrane - The Coltrane Legacy (VHS).
These drawings then are like scripts, planning for the day. I memorized them each morning and would usually take my walk around 9am, before going to work.
Life in the city means we have to take measurements, and I was able to calculate and note how many steps I took, how much time I spent, at what time I would start to walk, and at what time I would return to my apartment.
Because of the lawsuit against my former building owner, I had received a good deal on my 2nd Avenue apartment and was able to live rent-free for a while. I could afford to buy a film camera and put the extra money towards developing slide film, and in December I started taking photographs in Times Square and decided to stop doing these kinds of walking projects.
Instead, I continued photographing all the way throughbefore stopping and then starting again in Agematsu studied with Tokio Hasegawa, a member of the band Taj Mahal Travellers, and the jazz drummer and choreographer Milford Graves. New York, In March he will have a solo exhibition at The Secession Vienna, I want to share more deeply, with my work, to share and heal more deeply. To use my vision to be more vulnerable and to practice boundaries and to trust this container, not to doubt as much and feel this is possible.
I ache for a deeper connection with intimacy, an erotically charged and intellectual enriching experience that I can be present for and not mother, manage or run away from. An affair of the heart that respects the time, energy and life experiences we each bring to the union yet trusting to know a deeper, physical, erotic and emotional connection.
My heart aches to be fully present with the fullness of my life. Letting go of the imagined fears and limitations and to rest deeply in the maturing of life, and to enjoy the magnificentness of this journey. I long for a warm place. A second home where there are brown bodies with warm hearts, lush vegetation and ritual. A space that is safe where I can entertain friends, family and enjoy the solitude, as well as the intimacy of my lover, where I can enjoy the warmth of the sun, the healing nature of the sea, and I can give my abundant heart and be safe.
Affirmed and loved. I long for financial abundance that comes from the well spring of my creativity and the vision to execute a plan of longevity and legacy building for my estate to be shared with the next generation of BIPOC queer folks. An institute that would be a retreat, a library and a platform to heal the devastating violence of whiteness and the self-hatred within our community.
I yearn to get out of the way and to let my voice be heard. To write a memoir in simple yet deep language that is accessible, heartfelt, healing. A memoir of affirmation and community building. This prompt was given by Laura the weekend before Christmas. Harris received a fellowship from the John Simon Guggenheim Memorial Foundation, among other awards and honors.
Estelle Hanania was bornin Paris, where she still lives and works. Growing up, my father owned a travel agency in New York called Merillon Travel. This provided my dad with special access to Mets games, which came in handy as a kid, as the Mets won the World Series inwhen I was ten and cared about baseball. More importantly, Merillon supplied my family with discounted airline tickets, which allowed me the luxury of visiting Europe for the first time at the age of eight.
Inmy father sold the travel agency to one of his employees and opened a bar-restaurant in up-and-coming Long Island City, Queens. Coupled with the economic downtown ofthe bar closed after six years of business. My dad went bankrupt and was hired by a former regular as the trucker for a now-defunct art-moving company called Modern Art Services.
My dad worked on his truck with an Irish artist named Gerard Byrne. The script for the video came from an advertisement that ran in National Geographic. I was in grad school at Columbia University at the time, and was inspired by the way Gerry had used a seemingly inconsequential advertisement to perfectly frame the conservatism of s America.
It quoted Dr. Alvin E. Independence was my bank at that time; I can remember the passbook my mother gave me as a child. Every time I would deposit birthday or holiday money, the bank teller would stamp it.
This passbook is long gone, but I remember that it was close to the size of my passport and had the same pleather exterior. The correlation between income and literal mobility was made clear. After they ignored his decree to return to work, Reagan fired 11, striking air-traffic controllers. This firing is regarded as the single most public and impactful attack by government on organized labor in this country. This, as author Joseph A. My first and only tattoo, on my right wrist, is of an airplane.
It was a gift for my twenty-fourth birthday from my first love, Boris. The airplane came from a par avion stamp, and I got it because I felt like my life in New York was beginning and also as a physical reminder to always travel.
InI had my first solo exhibition in Lisbon, Portugal. At that time, Portugal was under a dictatorship and few people were traveling, let alone a woman in her early twenties. She traveled to these cities over the next twenty years, before retiring in I keep returning to the thought of being in the air for that many years and seeing cities change both incrementally between each trip and significantly over decades. And I love thinking about how much time she had been in the air in total.
Based on the travel time from New York to Lisbon, I guessed it to have been a full year—Helena says it was approximately 19, hours, or just over two years. Over two years, hovering between locations and their ever-changing population and political landscapes. At the same time, I was invited to have my first solo exhibition in Los Angeles.
These two projects developed in tandem. I knew that I could not have a solo exhibition on the other side of the country, in the fall ofwithout addressing the impact of the second Bush administration, the fractured state of this country, and the forthcoming presidential election.
Although it was a failure as a fund-raiser, millions of people participated, including President Reagan and First Lady Nancy. I found this event fascinating for a variety of reasons, foremost among them that Reagan and his administration worked meticulously to undo social programming for the impoverished of this country. In the summer ofI made a cross-country trip along a route loosely based on the original Hands Across America map, meeting with mayors between New York and New Mexico and making casts of their hands.
I stopped in many small towns as well as larger cities, including Minneapolis, Oklahoma City, and Santa Fe. It was a fascinating way to see parts of the country I had never traveled to before and to get a sense of the local and civic levels of government in this country.
After completing this road trip, I realized I did not want to make a book or show that revolved around Hands Across America and became focused on the similarities I found between and the lead-up to the election ofin which Reagan emerged as a totemic figure invoked by both Republicans and Democrats as a politician whose legacy we should uphold.
Wilcox and reprinted writing by Gregg Bordowitz; all had graduated from School of Visual Arts in and Additionally, I photographed twenty-three arts-related students who were born in and about to finish college at New York—area schools in I was also interested to hear about the frustration they had with what they viewed as apolitical twentysomethings.
I then asked these younger participants how they would respond to this portrayal of their generation. Last fall, I released a book called that looks back on that year to assess the rightward shift of the Democratic party under the two-term presidency of Bill Clinton.
Again, I photographed a group of people born that year. Matt Keegan lives and works in New York. Inhe presented a public sculpture commissioned by SculptureCenter New York, Clarksdale, Mississippi Police Force, There is something very attractive about police.
The handsome guardian, a Glock at his side, a radio on his belt, perhaps a flashlight clipped to his back, a regular Batman ready to protect us. At the time it was larger than many standing armies. Many New Yorkers left town, as they expected violence from the coming demonstrations. A sergeant gave me his card. It lets you step across police barriers, stand where you will and get up close to events that they try to keep the public away from.
I have worked in the field, usually with press credentials for over fifty-five years. I have been clubbed unconscious by police. I have been jailed at least three times as a journalist. I have been threatened repeatedly by police at times with their guns and rifles pointed at me. George Washington formed the first federal police force, the US Marshals. They still exist, their job being to guard federal buildings.
One of them put six stitches into my head. The March on the Pentagon was Every Time We Say Goodbye - John Coltrane - The Coltrane Legacy (VHS) with extreme police force.
Men with clubs and bayonets surrounded the building which the protesters never got near. If you look closely at the news reel footage you can see the first arrest. That is my unconscious body being dragged across the plaza by helmeted MPs. The man arrested after me with the homemade American flag is Mark di Suvero. Seven hundred were arrested trying to reach the building. Six hundred demonstrators were arrested. One hundred of them had serious injuries inflicted by the police.
Both these protests were highly integrated. During the civil rights movement in the South, protesters usually dreaded the police. I certainly did. When the Freedom Riders pulled into the bus station in Montgomery, Alabama, the police, who expected trouble, were absent.
An enraged mob of one thousand greeted the integrated group of men and women with bats and bricks, practically beating some to death. I find it very intimidating to be confronted by an armed policeman. On January 6th, everyone knew there was going to be a march on the Capitol. Trump said so on live television.
But the Capitol was not ringed with police. The mob walked right in. In Hitler tried to seize the government of Bavaria with armed men in Munich. His group of Nazis failed because the Munich police fought back, with guns. These four types of technologies hardly ever function separately, although each one of them is associated with a certain type of domination. Each implies certain modes of training and modification of individuals, not only in the obvious sense of acquiring certain skills but also in the sense of acquiring certain attitudes.
I wanted to show both their specific nature and their constant interaction. Thanks to Sam Wilson for bringing this quote to my attention. Queer Phenomenology: Orientations, Objects, Others. The Cultural Politics of Emotion. New York: Routledge, Appadurai, Arjun.
Fear of Small Numbers. Attali, Jacques. Noise: The Political Economy of Music. Foreword by Frederic Jameson. Translated by Brian Massumi. Minneapolis: University of Minnesota Press, Austin, John Langshaw. How to Do Things with Words.
Edited by J. Cambridge: Harvard University Press, Averill, Gage. Chicago Studies in Ethnomusicology. Chicago: Chicago University Press, Bakhtin, M. The Dialogic Imagination: Four Essays. Translated by Michael Holquist and Caryl Emerson. University of Texas Press Slavic Series, bk. Austin: University of Texas Press, Barad, Karen.
Becker, Judith. Deep Listeners: Music, Emotion, and Trancing. Indianapolis: Indiana University Press, Bergson, Henri. Matter and Memory. Unabridged republication of the MacMillan edition. Translated by N.
Margaret Paul and W. Scott Palmer. Mineola, NY: Dover Publications, Bennett, Jane. Berlant, Lauren. Cruel Optimism. Brennan, Teresa. The Transmission of Affect.
Chion, Michel. Audio-Vision: Sound on Screen. Edited and translated by Claudia Gorbman. Foreword by Walter Murch. New York: Columbia University Press, De Certeau, Michel. The Practice of Everyday Life. Translated by Steven F. Berkeley: University of California Press, Deleuze, Gilles, and Felix Guattari. A Thousand Plateaus. Erlmann, Veit. New York: Zone Books, Erlmann, Veit, ed.
New York: Berg, Edited by David Novak and Matt Sakakeeny. Companion CDs issued by Smithsonian Folkways. Edited by Steven Feld and Keith H. Music Grooves. Chicago: University of Chicago Press, Accessed on September 5, Feld, Steven, and Donald Brenneis. Fernandez, James, ed. Stanford: Stanford University Press, Bloomington: Indiana University Press, Foucault, Michel. Martin, Huck Gutman, and Patrick H.
Hutton, 16— Amherst: University of Massachusetts Press, Discipline and Punish: The Birth of the Prison. Translated By Alan Sheridan. New York: Vintage Books, Fox, Aaron. Harman, Graham. Towards a Speculative Realism: Essays. Winchester, UK: Zero Books, Prince of Networks: Bruno Latour and Metaphysics. Anamnesis Series. Prahran, AU: re. Helmreich, Stefan. Henriques, Julian. New York: Continuum International, Hood, Mantel.
Howes, David. Ann Arbor: University of Michigan Press, Hymes, D. Ben-Amos and K. Goldstein, 11— The Hague: Mouton, Bauman and J. Sherzer, — Cambridge: Cambridge University Press, Jackson, Michael. Jakobson, Roman. Edited by Stephen Rudy. Edited by Thomas Albert Sebeok. Press, Keil, Charlie. Edited by Steven Feld and Charlie Keil. Tucson, AZ: Fenestra Books, Kapchan, Deborah. Kassabian, Anahid. Lakoff, George, and Mark Johnson. Metaphors We Live by.
Langer, Susanne, and Katherina Knauth. Latour, Bruno. Lefevbre, Henri. Rhythmanalysis: Space, Time and Everyday Life. London: Continuum, Merleau-Ponty, Maurice. Phenomenology of Perception.
Translated by Colin Smith. Translation revised by Forrest Williams ; reprinted, New translation by Donald A. Translated by R. Monson, Ingrid. Saying Something: Jazz Improvisation and Interaction. Monson, Ingrid, ed. Shrewsbury, MA: Garland Press, Morton, Timothy. Hyperobjects: Philosophy and Ecology after the End of the World.
Muller, Carol. Nancy, Jean-Luc. Translated by Charlotte Mandell. New York: Fordham University Press, First published in French in Deep Listening Publication. Lincoln, NE: iUniverse Books, Phelan, Peggy. Unmarked: the Politics of Performance.
Radano, Ronald M. Bohlman, eds. Music and the Racial Imagination. Ramachandran, V. New York: W. Norton, New York: Pi Press, Sartre, Jean-Paul. Search for a Method. Foreword by Fredric Jameson. Reprint, London: Verso, Schafer, J. Douro-Dummer, Ontario: Arcana Editions, Silverstein, Michael. Rubel and A.
Rosman, 75— Oxford: Berg, Sterne, Jonathan. MP3: The Meaning of a Format. The Audible Past. Stewart, Kathleen. Marcus, — Szendy, Peter. Listen: A History of Our Ears.
Taylor, Diana. Trewasvas, Anthony. Plant Behaviour and Intelligence. Oxford: Oxford University Press, Williams, William Carlos. Edited by Christopher MacGowan. New York: New Directions, Whitehead, Alfred North. Process and Reality: An Essay in Cosmology. Gifford Lectures. New York: Macmillan, Wong, Deborah. Musicology, Performativity, Acoustemology In the s, in North America, the nexus of ideas associated with performativity and performance studies were all the rage in musicology, indeed in music studies across the subdisciplines.
Curiously detached from critical thinking about race, gender, sexuality, or class, it is more celebratory than critical about the new regimes of listening enabled by twenty- first-century technology.
Almost exclusively a practice of white men, too, it is often oblivious to questions of performance and performativity, even when, as in the case of hip-hop deejaying, the performance of relationships to technology, commerce, history, and power are obviously inseparable from the production of a characteristic set of sounds.
This essay is my first effort to think about these relationships: it is therefore an avowedly speculative text, the thoughts of someone with long experience in the musicology of early modern Italy who awoke, as if from a long dream made of music, to discover that her country used music as a tool of psychological and physical torture—and that she needed to know what sound studies taught if she was to understand that practice.
Still, I dare to hope that the effort to think the relationship of these interdisciplines to each other might prompt others to have productive thoughts, perhaps on new ways of engaging the acoustical practices and regimes that characterize twenty-first-century lives. Indeed, theories of performativity did wonders for North American musicology in the s and early s. Theories of 26 Writing Sound Theory performativity spurred some of us to think long and hard about the physicality of music making, about the myriad strange ways that we humans discipline our bodies so that we can produce sounds and sonic-social interactions with each other that our fellows will hear as meaningful, or beautiful, or both.
Finally, performativity theory encouraged writing about music that aspired to the performative as well as the constative —that is, it encouraged us to write in ways that might intervene in the very relations of power our writing also described. About sound as sound. About film sound as contributing to the illusions of realism and human subjectivity projected as images on a screen. And especially, about recorded sound, as an innovation of the late nineteenth and twentieth centuries that had surely revolutionized what it meant to be musical, and about the new listening practices facilitated by portable audio devices.
Hearing and producing sound are thus embodied competencies that situate actors and their agency in particular historical worlds. These competencies contribute to their distinct and shared ways of being human: they contribute to possibilities for and realizations of authority, understanding, reflexivity, compassion and identity.
By widening the field to include all sound, Feld made intellectual room for these scholars, many of whom had highly developed expert knowledges of their own, especially the technical knowledges about microphone placement, mixing of recorded tracks, and so forth that are necessary to analyze recorded sounds.
These scholars—people such as Josh Kun, Jayna Brown, and Daphne Brooks—have written some of the most accurate and compelling critical studies of contemporary musical life, especially as contemporary musical practices interact with practices of power, but they have written them more as studies of contemporary acoustical life. To the limited extent that they have applied performativity theory to the recordings they discuss, it has mostly been in the way that literary critics apply performativity theory to written texts.
In that privileging of specific recorded texts, some of these writers have inadvertently erased both the performative acts of musical and acoustical labor that produced those texts and the economic interests served by the proliferation of new acoustical technologies. One to which I will return at the end of this essay is the radical decentering of music from the field of study. That is not, however, the way the idea is generally used.
Instead, particularly in the rapidly growing literature on phonographies, sound is taken to condense the social relations that produced it—rather in the way that a phonograph record 30 Writing Sound Theory could once be said to have condensed into the grooves carved in wax or molded in vinyl both the somatic labor of performers and the acoustical energy their efforts produced.
This belief seems even in the recent, very sophisticated special issues of American Quarterly, differences, and Social Text devoted to sound studies to go along with a kind of utopian fantasy that recordings in whatever format allow us to know by hearing the social relations of either past cultures early twentieth-century North America or distant ones twenty-first-century Braziland to know those social relations in ways that neither writing nor the performative acts required to turn written music into sound allow.
It even resembles the old Neoplatonic fantasy of early modern Italy, which proclaimed the world to be made of geometric relations that music made audible—and that music could then change—or the even older fantasy of the pre-Socratics, for whom the world was made of vibrations. Still, fantastical and perhaps hopelessly Western though it might seem to be, the idea that sound might both condense social relations and constitute them through its inherent performativity seems extremely promising: it promises to illuminate, for example, both efforts to understand the cultural factors that produce the particular ways music has been used to torture people recently and any broader effort to understand how musicology, performativity and sound studies might yield insights about how we live now.
Occupella I had been contemplating several thought experiments that I hoped might help me imagine how a braiding of these three interdisciplines might work when a student walked into my classroom with the example I had sought. The night before, Trevor had been rehearsing the a cappella group he led, in one of the dorms, but it was noisy there. They were told to stop singing and leave the park. Indeed, they were all threatened—poked with nightsticks, yelled at to go away, threatened with immediate arrest.
So they dispersed. This is essentially an emotional violence, rather than a life-threatening one, but it is extremely powerful. What could have provoked those same police to threaten violence of their own?
In class, we focused our discussion on three elements of the performance—the circle, the arch, and Led Zeppelin—and so I will here. Above all, it was a sound-centered choice—a choice to focus on sound, and on the intimate mutual hearing of each other and mutual exchange of riffs that produces welltuned, well-timed a cappella performance.
From September 17 to November 9,complaints about noise from Occupy Wall Street were lodged by people living within a quarter mile, as compared to complaints from the same neighborhood about the nighttime construction, featuring jackhammers drilling into bedrock, just down the street at the Word Trade Center site. On October 26, the general assembly at Zuccotti Park reached an agreement with the community board that restricted the drumming to four hours a day, between noon and 2 p.
In class, we thought again about the configuration of the singing bodies, and about the social relations that they could be seen and assumed by nonmusicians to bring into being. Their music making was a matter of shared labor, of bodies and pleasures, of musically intimate relations in a public space.
Moreover, they were kids, apparently leaderless kids sharing labor and pleasure, listening hard to each other while trying to tune everything else out, showing no interest in using the occasion for commerce. Furthermore, on the night after the police had rousted hundreds of protestors from their makeshift beds at the Occupy Wall Street protest in Zuccotti Park, which was also the night before a citywide student strike was to rally in nearby Union Square, they must have looked like an advance guard sent to use music to occupy Washington Square Park.
The Arch The students were gathered under the arch of Washington Square to use it as a resonator. Not surprisingly, Occupy Wall Street did not seek such a permit, so they had no access to microphones, speakers, or even battery-powered bullhorns.
Instead, all public speaking was amplified by humans, who repeated what was said in the center of the circle, outward in concentric circles. That alone seemed tremendously empowering—and dangerous to the 1 percent. But the more I thought about it, the more brilliant and dangerous it seemed to me: always, regardless of its semantic content, it is a performative of very specific relationships to the power regime the Occupy movement means to critique. Overall, it seemed to me to enact a collective renunciation of the complex economy and power system that depends on limited ownership of energy and technology.
It renounced, that is, nearly a century of dependence on PA systems for public protest to be heard, and therefore cut one important link that has ensured the dependence of anticapitalist protest movements on the technologies and theories of ownership they mean to protest. At the same time, it seemed to enact the substitution for that economy which I call the economy of broadcast of an economy of literally free speech—literally free because no one had to pay for it. Instead, when the things that individuals in the center of the group said were repeated—or not—by successively larger circles echoing the sounds of a single center, the resounding of speech and exchange of ideas happened without any exchange of wealth, and without any observable regard for the wealth of any body present.
This seemed to be an extremely dramatic performance both of what a nonplutocratic community might feel like and of resistance to the then-recent decision by the United States Supreme Court that equated the financial contributions of corporations with the political speech of embodied human beings. As the ideas of the speaker resounded through the park, everyone within earshot heard them multiple times.
Led Zeppelin Still, the music these students were singing would seem to have been a fairly innocent choice—or at least, so my students thought. Led Zeppelin is, after all, one of the classic bands of classic rock, known for blues-based songs and for innovative microphone and production effects that pointed the way to heavy metal. Because Americans from twenty to sixty-five know their songs and like them albeit often for different reasonsthe sound of Led Zeppelin songs in the night would seem, on the face of it, likely to appeal as much to passersby as to the police, a multiracial mix of mostly men in their thirties and early forties.
Possibly some of the police would have known that Led Zeppelin had once been notorious for singing among the most misogynist lyrics of classic rock, and as the band most associated with trashing entire hotel suites on their tours.
It is not just that liveness matters; it is not just that the sight and presence of laboring bodies matter; it is that the sound is a different thing, produced by a different thing and therefore producing a different thing.
What could those social relations in the sound have been, and why might they have, so to speak, amplified the echoes of Occupy Wall Street I have already tried to hear in this incident? The most immediate response I can give begins with the fact that the sounds were a transduction, through the medium of late adolescent human bodies alone, of sounds conceived and usually heard through the medium of electronic amplification. All those devices that produced the version of this song which most of us would know were, in effect, also transducers—transducing the acoustical energy put in circulation by agential human bodies into various forms of electrical energy and then transducing it back again into the acoustical energy of the cyborg sound we know.
And because the sound was acoustical energy, resonating off the marble of the Washington Square Arch, it occupied the space. How, exactly, did I come to this interpretation? Traditional musicological knowledge about the specific repertoire performed that night—the meanings available to anyone who recognized it as that song, associated with that group, with that performance history—was necessary to understand how this particular a cappella performance could be logically, musically connected to the concept of the human mic.
Performativity allowed me to think about transduction as a process that, if performed by human bodies, could go in either direction, and thus could produce as sound but not exactly condense into sound an idea of postcyborg humans in joyous community so novel—and so absolutely right as a synecdoche of the Occupy movement—that it had to be silenced.
This was not a tidy braiding of methodologies, each preserving its own identity. Rather, the methodologies almost morph into each other as, together, they move my thought along.
Perhaps, in that morphing into each other, they could seem to behave like waves of acoustical energy that set all the materials in their path in sympathetically vibrating motion. Perhaps my transduction of my thus-tuned thought into written words has tuned your own thought to a way of reflecting usefully on experience that more resembles the phenomenology of aurality than that of visuality. Yet I believe this essay, like all writing, fails to do justice to sound in two ways.
Sound holds ephemerality and its ability to produce long-lasting but essentially impermanent change in a different kind of balance, an exquisite balance that is never still, never fully silent, never so much inscribed for all time as readying the material world to resound again, and again, always a little differently. Perhaps that is, exactly, what it is to know through sound. Performativity theory entered musicological discourse from gender-and-sexuality studies primarily through the citations of Judith Butler, Gender Trouble: Feminism and the Subversion of Identity New York: Routledge, One touchstone text of such writing is Michelle Kisliuk, Seize the Dance!
Feld articulated this idea in many texts. American Quarterly 63, no. The decision, Citizens United v. Arnold, Gina. Beckles-Willson, Rachel. Brooks, Daphne. New York: Bloomsbury, Brown, Jayna. The Auditory Culture Reader. London: Bloomsbury, Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. Cleveland, Barry. May Accessed on March 3, DeGregory, Lane. November 21, Dyson, Frances.
Fast, Susan. New York: Oxford University Press, Feld, Steven. Gopinath, Sumanth, and Jason Stanyek, eds. Kahn, Douglas. Kim, Richard. October 3, Kisliuk, Michelle. Seize the Dance!
Kittler, Friedrich. Gramophone, Film, Typewriter. Kun, Josh. Audiotopia: Music, Race and America. Lanza, Joseph. Lewis, Dave. London: Omnibus Press, Reddon, Frank. Fort Erie, Ontario: Enzepplopedia, Schafer, R. Rochester, VT: Destiny Books, Schechner, Richard. Between Theater and Anthropology. Philadelphia: University of Pennsylvania Press, Small, Christopher. Music for the Common Tongue.
London: Calder Publications, Musicking: The Meanings of Performing and Listening. The Sound Studies Reader. Stoever-Ackerman, Jennifer. Turner, Victor. The Anthropology of Performance. And here an alien word shows through And as did a snowflake back then on a hand, It melts trustingly, without reproach. No, it is only pine needles On a grave, and in the seething foam Ever closer, closer.
I hope that this presentation, which is the result of my first attempt to write down my thoughts about writing about writing about sound, retains some of the playfulness with which my topic visited my thoughts—but, I note with interest, as I apply my playful thoughts to real situations, some of the solemnity returns.
It must return, because the situations I describe are consequential for the people involved. In the same spirit, I hope to play seriously with my topic here. This topic of mine is not really mine, of course, or at least not exclusively. My topic has been borrowed, recovered, recalibrated from the work of others. You might say that my hoary topic has been recycled like an old piece of vellum, like an old draft that has become scrap paper, like a billboard that has been tagged by a graffiti artist.
The fact that my topic has, like my words, been recycled, the fact that my topic is, in this way, like a palimpsest is actually quite felicitous, as the palimpsest happens to be my topic. Like dialogic works about dialogue and polyphonic works about polyphony, a palimpsestic work about palimpsests performs an iconicity of style that is very stylish within our discipline, as you may have noticed.
The convention is to say that theories give us new ways of seeing the world. If this is so, then metaphors, I would like to argue, are theories in miniature, in utero, even—and as such operate on a less expansive, tactical plane, opening small, ephemeral, but at times valuable discursive spaces in which we can think and sense the world anew.
Of course, we could also define the downside of theory and metaphor by rendering explicit an obvious corollary: in providing a new way of sensing the world, a theory simultaneously occludes, if only temporarily, alternative ways of sensing the world.
Metaphors, it would stand to reason, do the same thing, but less expansively, less violently. It proposes the palimpsest as a platform for undertaking a kind of reverse engineering of musical texts and listening activities. It positions the palimpsest as a structured micromethodology for thick description—a way to achieve interpretive thickness by uncovering the moments of inscription and erasure that lie beneath acoustic phenomena and auditory practices.
Before I commence, though, let me say this: I am aware that this project may strike some of you as paradoxical, anachronistic, or even slightly perverse. In 48 Writing Sound Theory the early twenty-first century, many of us are more inclined to think of sound as always-in-motion than we are to think of it as a stationary object which is, one might argue, what a textual palimpsest is at its base.
Indeed, my own intellectual proclivities have tended to bend in this direction. So why then am I tethering sound to a metaphor that appears to privilege textuality, and with it, stasis? First, as I hope to demonstrate, palimpsests are less like stable objects and more like fluid processes than other texts. Second, and more fundamentally, while I am conscious of its drawbacks several of which I discuss followingI find that the metaphor of the acoustic palimpsest simply works for me.
By this I mean that it is performing some work for me; it works within the context of my work—which is, in the end, all one can ask of a metaphor. You may know that the original palimpsests were previously inscribed sheets of vellum or other types of parchment that were reinscribed after the original writing had been erased. In the early medieval period, the original text was washed away with a mixture of milk and oat bran or scraped clean by medieval scribes using pumice dust.
This practice was largely the result of the economics of the period: the value of vellum as a commodity often exceeded the economic or symbolic value of that which was written upon it. With a large manuscript such as the Bible requiring the skins of sheep, it is not at all surprising that trade in used pages was brisk throughout the literate world in the centuries preceding the industrial production of paper Mathisen Over the centuries, as the result of oxidation and other natural processes, the original texts often began to reappear beneath the newer writing.
This fact made it possible for scholars of the palimpsest to engage in a kind of textual archaeology: ignoring the most recent layer, they peered back into the past, straining to read the words that had been effectively buried. Courtesy of the Rochester Institute of Technology. Licensed under Creative Commons Attribution 2. The acts of partial erasure and writing-upon-writing that the palimpsest presumes have inspired a vast tropology revolving around themes of temporality, memory, intertextuality, and power.
For English author Thomas De Quinceythe palimpsest was a textual model of human consciousness, which he imagined as a multilayered neural archive of experiences. Photo courtesy of the author. Figure 2. He also regards the act of multitrack recording more generally as structurally similar to the layering of discourses, subject positions, and identities that occurs in social interactions
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