1 3 / 0 6 / 0 3:
hmmm... "the more one studies these things, the more one realizes that sound is the creative principle. it must be regarded as primordial. no single phenomenal category can be claimed as the aboriginal principle. we cannot say, in the beginning was number, or in the beginning was symmetry, etc. these are categorical properties which are implicit in what brings forth and what is brought forth. by using them in description we approach the heart of the matter. they are not themselves the creative power. this power is inherent in tone, in sound." quote from hans jenny's book "cymatics, volume 2," page 100; publisher: basilius presse basel." "the following video clips demonstrate how sound has the ability to create and animate three-dimensional shapes" check em out: http://www.harmonyera.com/1.2.research.htm
spent most of last week playing the card game 'shithead': each player is dealt three cards face down and in a row. each player is then dealt three further cards face up, placed on top of the previous three; (forget these six cards for now). finally the players are dealt three cards face down which they hold as their 'hand' (the player may, if he or she wishes, exchange higher cards in their 'hand' for lower cards from the three laying face up). the remainder of the pack is placed in the centre of the table. any player with a black three starts (or, if no player has a black three then a player with a red three starts, if no red three then black four etc. etc.) playing in an anti-clockwise direction each successive player must lay a card of a numerical value higher than, or the same as, the card laid by the player before them. if the player has more than one of a kind, he can lay them all at once. aces are high. when a player decreases his 'hand' below three cards, he must pick up enough cards to bring back up the number that he holds to three (until of course there are no more cards from the pack to pick up). if a player cannot lay a card of the same or higher value then he must pick up all of the pile laid by his fellow players. ok so far? if four cards of the same value are laid consecutively (even if by more than one player) then the pile of cards is 'dead' and is removed from play; whoever laid the final of the four cards gets to start again with any card he chooses. a ten can be laid at any time and also renders the pile 'dead'. a two can also be laid at any time and of course the following player must then lay a card of the same or higher value. if a seven or sevens are laid, then the following player (and only that player) must lay a card of the same or lower value. if a jack or jacks are laid then the direction of play is reversed (from anti-clockwise to clock-wise and vice versa). when a player has been able to lay all of his 'hand', he must then attempt to lay his remaining cards (remember, the six i told you forget about?). he starts by trying to lay those face up (only one at a time even if he has two of the same value) following the usual rules explained above. if he makes it as far as the face down, or 'blind', cards he must simply pick one when it is his go and chance that it is higher or the same than the card previously laid. (don't think i've left anything out...) the last one left with cards is pointed at by all other players and loudly dubbed: "shiiiiiiiiit-heeeeeeeaaaaaad!". get it? go forth and do likewise.
why not take the rorschach test? http://www.deltabravo.net/custody/rorschach.htm
went to see a terrible terrible film called 'the hunted' starring tommy lee jones and benicio del toro. i won't bore you with the reasons it was so god-awful but it got me thinking about what i like to call 'artistic drop off'. this film was directed by william friedkin, the man who brought us the 'french connection' and 'the exorcist', both great films, but what else has he done that's been any good? does this mean that those two films were good purely by chance? or has he suffered from 'artistic drop off' and can just no longer cut it? and if so why does this happen? is it age? becoming established? does success do this to you? answers on a post card.
spent an entire bus journey to camden yesterday with an old scottish wino calling me a prick, a monkey, and the devil. he also told me that i wasn't 'real' -his most inventive insult i thought. apparently he'd asked me for the time and i'd ignored him (actually i hadn't understood his alcoholic mumblings) and yet he could see the watch on my wrist (damn my short sleeves!). i'm actually surprised he could see anything. what is it that makes people think that you owe them even the tiniest fragment of your time? it was all i could do not to laugh and laugh and laugh.
a snippet of conversation overheard at a gig by hostess elisabeth: "i'll let you fuck her but you can't come inside her." o the lives people lead.
i was asked today if 'partial nudity' was a problem for me. i told them it wasn't, then they reminded me that it was my partial nudity they were talking about. um...
it looks like device (a side project i've been working on for some time with jon in japan) may actually come to fruition. may. quite linear in its approach, the sounds currently under construction tend to be fashioned from loops, sometimes rolling slowly and developing incrementally as the track progresses, sometimes stretched into one long cacophonous hubbub. this is somewhat less dynamic music than the norm, which should either soothe or be horribly insidious in its effect on the listener (hehehehe). with a working title of 'seism recurring' the album began life with jon's experiments sampling, dis-ordering and processing the recorded sounds of earthquakes. since then, other associated sounds have been used: emergency broadcasts, field recordings of quake sites etc. and the project has grown into something of an epic, which, it seems, will either sound wonderfully relaxing and ambient, or cripplingly intense and ominous, depending on the volume you listen to it and your attitude to sound.
and speaking of attitude to sound... my bloody radio alarm won't pick up anything but heart f.m., the most cliched, god-awful, dreary middle-of-the-road toss ever to be broadcast over the airwaves. i wake up to the morning show 'the time tunnel' presented by that revoltingly chipper and all-consumingly vacuous cunt pat sharpe. radio sucks.
go out and buy or hire the film 'irreversible' today. do it now. both in uncompromising content and literally dizzying visual style, this film cannot be beaten. you may feel like you've been hit by a truck by the time it's over but trust me, you'll be a better human being for it (those with delicate constitutions and an aversion to subtitles need not apply).
recommended: (audio) the sound of mobile phones hitting paving stones / (comestible) chinese chips and curry sauce/ (visual) 'irreversible' directed by gaspar noe on dvd/ (sensorial) someone else brushing my hair
reviled: (audio) heart f.m./ (comestible) cheap powdery ice-cream/ (visual) anyone in 'gap' clothing / (sensorial) wearing a fake moustache that prevented me from eating the cream cake i so badly wanted, needed and d e s e r v e d
and to end, a review from those nice people at vital weekly:
"unsong - the frailty of angels, the treason of people (cd by macrophonies) behind unsong is one mason ball and 'the frailty of angels, the treason of people' is his debut. i have no idea wether mason did other musics before (apperentely he did sound design for the london theater company furnace memoirs, such as 'stories from the bleedhinder', 'the killing of fat kid', 'beak' and 'the gospel according to mr. punch'), but it might be so, since it sounds very well put together. the input in his music are electronically generated tones, processed field recordings, disassembled voices and household stuff. i gather this all goes in to one large sampler, maybe harddisc and well boiled it serves us unsong. dark, atmospheric music, that however doesn't tend towards something like dark ambient (with tons of digital synths), but more into the sound research areas of the hafler trio (circa how to reform mankind), coil or andrew liles. one of the better pieces on this is the lenghty title piece, which is a slow beast moving onwards until a loop drops in and changes the slightly the atmosphere of the music. sometimes the music falls below the point of hearing, but it always creeps back from under the carpet, right into your face. scary music, this is. music that could be easily used for some thriller film production. very spooky but very well made. i am told that through the website of unsong it is possible to order from each song a lenghty remix (one track per cdr), in case this wasn't enough... (fdw)"