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Decoding Op. 4
the swallows are back to feast on territory
border book page 5 tuesday, important music
from a computer with audio political agenda
[must went out with expletives stands for mudder]
treated to copious amounts of ganja, animal parts the battery
may demand matches to manually administer on war torn liberia
connect administration to comply with the limits for a class b
everywhere Avermaria dumps during time everywhere the slider notes
conflicting reports arriving simultaneously from every poor town
of this summer storage allocation to our laughter having flown
away settings in the dumps pull weeds of composite metals
out of cathode ray tubes appareil numérique. Be sure you have
the controls to ninetten years! buttoning their pants and the off
underneath the down spout transferring variations in bird anatomy
if not adjustable, similar products must always be supervised
partly at the chance they remove the back from any ape so widely
reported in the media because transferring and sprays, solvents
and alcohol and abrasives carry features of this abuse to exponents
of proper human condition. december’s batteries are tuesdays page 8
turn it on again, wait five seconds, then turn it on again.
additional suggestions hung in the square.
our unmarried women includinginterference never service
never force a connector into a port. if the temperature
is always between 0 and 35 degrees…
The Man I Trust
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I’ve been fooling around with an ebay bass!
Selections from “The Fall” by Albert Camus
Here are some selections from The Fall, a book about a lawyer who confesses his pride and disgrace to a reader over a few nights. Like The Stranger, the narrator is a warning about the true nature of man– and it’s a trap! You can’t help but identify with the seductive voice and honesty of the confession.
On those he’s taken to bed –
Some cry: “Love me!” Others: “Don’t love me!” But a certain genus, the worst and most unhappy, cries: “Don’t love me and be faithful to me!”
On punishment and judgement –
“I’m not saying to avoid punishment, for punishment without judgement is bearable. It has a name, besides, that guarantees our innocence: it is called misfortune. No, on the contrary, it’s a matter of dodging judgment of avoiding being forever judged without having a sentence pronounced. … Today we are always ready to judge as we are to fornicate.
On camaraderie –
“This is so true that we rarely confide in those who are better than we. Rather, we are more inclined to flee their society. Most often, on the other hand, we confess to those who are like us and who share our weaknesses. Hence we don’t want to improve ourselves or be bettered, for we should first have to be judged in default. We merely wish to be pitied and encouraged in the course we have chosen. In short, we should like, at the same time, to
…
Noise, Lou Reed & The Thing
You have to admit that consistently doing this to critics and fans for almost 50 years is a feat.
“If you don’t think this is music, you can get the fuck out of here.” With a million happy customers every year, these are not words you associate with audiences or performers at the Montreal Jazz Festival. But John Zorn’s F-bomb from the stage was aimed at one of many agitated audience members who expressed their displeasure over the evening’s all-star trio of himself, Laurie Anderson and Lou Reed. No doubt a large part of the audience was expecting “Sweet Jane,” “Walk on the Wild Side,” or even Anderson’s “O Superman.” Instead, it was a free improv showdown that shocked the crowd, prompting dozens to walk out after two songs.
Lou Reed is at his best when people are walking out and yelling at him and having resigned himself from releasing pop music temporarily, it’s great to see him making good use of his time and embracing the Metal Machine Music within.
You would hope that the one place people wouldn’t walk out and boo at these sorts of performances would be a Jazz festival. My hope would be that those interested in Jazz would have an open mind about dissonance and improvisation, just as they have an open mind for the pop groups that perform at Jazz festivals or the other musical movements Jazz musicians have cross pollinated with. I’d also hope they’d consider the…
Decoding Op. 3
using the rules of bereaved grammar
for windows, and lock holes negate your author to
operate the negative recharge the face of the outcome
of four steps to heaven through heels and old water
and more of the same m16 copper muzzle the shift in the heel
feeling romantic the battery status; 1 in 24.
notinstalled and used unproperly—that is,
in disk, the status light on the front of accordance
with the moisture in openings expanding and closing
the aerosol movement of aerosol important more often than not
don’t use the and knot the insertion or later the erect border
so blown and limp that we look on the run to
avoid getting minutes of water on ankles and shuffle to drag songs
in harlequin turn off of one minute charged
openingautomatically when you (willing to take tasteful risks).
the most sands of west africa. the scramble to make like.
then, each time youconnect it’s causedby the computer
or one of the photos from bottom patrol the streets of baghdad
in a roundabout way. ensemble of portions the first time you
lay on the buckle of positions tied to infirmed.
a headdress and sessions with compliance and dispose the port
the first the port. dispose the port the serial number.
Tomorrow or later you listen to using
you can not object the…
Decoding Op. 2
recent developments in the occupation update application
doesn’t your computer present the latest information?
go to make him impervious to bullets, he shuffles pulls it from the fccrules.
illustrated by the mid-90s for american rap
satan as a teenager [again, this is your connection calling]
thanks to the arrival of the internet we can only purchase.
The user is obstructed from fitting. residentialinstallation.
they made us prisoners in their own applications/utilities.
if nothinghappens set the switch
plays all alone with a shiny tin can. his computer.
for fastest transfer speeds, uniform dress doesn’t mean all
wars are of the television or radio.
tribal hunters, they pluck their style and source page 17:
following measures calmly. turn the television or believe us but we swear to god this is certain amount of space
near the to disconnect your reception is suspected.
radio is visible, the battery is out of power
so have some fun with it. death is out there causing interference for our own boys in uniform.
in about two hours, send your equipment and military uniforms. you could improve performance or add features. drag and conceal your collapsible stocks– you need to get started.
become caught or trapped—forexample, while canada makes electrical statements on civil wars: “Replace all civil wars with visual manifestations of combatants pushing rafters in cycles creating gothic structures out of sheer force…
Zunguzungu v. Clapton
Over at zunguzungu, there’s much talk about Eric Clapton, electrification, manipulation, authenticity and Robert Johnson:
From the Guardian:
Eric Clapton once described Johnson as, “the most important blues singer that ever lived”…[but] nearly 50 years after Columbia first packaged his work as King of the Delta Blues, we discover that we’ve been listening to these immortal songs at the wrong speed all along. Either the recordings were accidentally speeded up when first committed to 78, or else they were deliberately speeded up to make them sound more exciting. Whatever, the common consensus among musicologists is that we’ve been listening to Johnson at least 20% too fast. Numerous bloggers have helpfully slowed down Johnson’s best-known work and provided samples so that, for the first time, we can hear Johnson as he intended to be heard.
I, like many people, only know of Robert Johnson through Eric Clapton; I know Cream’s Crossroads a lot better than Johnson’s, and like it more too. But I love the fact that the figure of origin, used to authenticate electric blues by so many white electric bluesmen like Clapton, cannot now be disentangled from studio gimmickry. Part of the Clapton thing was that he was supposed to be taking the acoustic, rural, old, and black song of the Robert Johnson figure and making it young and white and modern and urban and electric. Rock and Roll as the electrified blues is every hack music journalist’s favorite cliche. And now it turns out
…
Decoding Op. 1
Settings.note: with versions of
hours to change the battery. to strapless gucci number, or perhaps even the center of all this mayhem blows one question said to be analogous to bloomingdale’s:
If the status light blinks orange:
the device may not cause harmful interference, on dancing toes again, sparkling a service. finding the serial number of your experienced radio/television technician.
Follow the onscreen looting. Women were forced into slavery and push button three times quickly so help. rocket-propelled grenade launchers– a remarkable name!
Even when lightblinks green, check the battery.
the interior of any electrical product before west africa, contained “naked” transferred according to usb connector. border.book page 26 tuesday, your ear as shown.
If you don’t see this light, try golden and their other colour. the band was december 21, 2004 10:29 am.
Actually, that not only makes him happen. If you experience ringing, see the man is mad with love.
When the battery is charging, wait the barbarian. Animal skins and loincloths 561-684-TwentyOneHundred.
Use an authorized reseller. A used pipe for radio antenna until theinterference stops. Troubleshooting 23, if you’re attentive while driving, stop listening to illegal shoppers. Safe, proven fascists.
Movie Outline: There’s Something Not Right in Omaha
An angry girl cannot stop chewing plastic
Her front left tooth cracks
Get away from plastic!
She sells her crocs/tupperware and moves to Omaha
She moves into a cabin under construction
There is a vinyl curtain separating the outside from the inside
Temptation!
She eats the vinyl and starts to see large microorganisms
They are called “Grubs”
They live in the forrest
They knit clouds out of water
“I think I like it here”
Poof!
She is awake and is missing all her teeth
She gets metal teeth and sits in the forrest
Can she stand a life without plastic? NO!
She tries to go to town, but she can’t take it anymore
She pulls over and eats her tires!
She drives to Walmart on her rims, grinding the road sending off sparks
She chews her way into Walmart
She eats through the back wall
She eats through the door and begins eating the stock
She eats dozens of inflated balloons (POP)
An employee hits her with a tranquilizer dart
The Grubs descend from the ceiling
They wrap her in clouds and send her into space
She arrives at the International Space Station
There is a sickly tree in the center of the station surrounded by red gas.
Movie Outline: I Want My Charger Back!
repo
inheritance
buy a charger
maniac former owner
“I want my Charger back!”
cafes & cross country chase
crooked cops
“this title’s not legit.”
car taken back
new owner victim of whims/desires of truck drivers
revenge!
destroy the truckers
track down former owner
in a different element
family/shiny floor/house
sadism!
Destruction of Apparatus
Helicopter Quartet
I’m making my way through Krautrocksampler, the out of print Julian Cope book about the first German rock movement, and I happened across a this helicopter string quartet. Stockhausen decided to record and film a string quartet traveling in separate helicopters performing an original composition. The blades cutting the air make trance-like percussion supporting the gliding strings.
Part1: Part 2:
Musically, I’m not sure if the piece is that interesting with the conceit of the helicopters removed, but the point of the piece is surely the removal of conceit itself. It was no coincidence, in fact it seems barely an insight, that Stockhausen and Cage achieved prominence at the same time as American Pop Art.
In Cope’s Krautrocksampler, he writes of the outrage in response to a Stockhausen composition that was based on ideas taken from the American Pop Art movement. At certain points, the composition Hymnen takes national anthems and toys with them. What caused a great deal of distress in West Germany was the use of their national anthem in the composition. Cope writes, “The German public ALL furry-freaked. The left-wing didn’t see the funny side at all and accused him of appealing to the basest German feelings, whilst the right-wing hated him for vilifying their pride and joy, and letting the Europeans laugh at them.”
In this regard, Stockhausen is again borrowing from Pop Art, particularly its infuriating lack of orientation…
Waterproof Jacket & Gonna Gay Marry You
Waterproof Jacket
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I’ve been working on this for a while, but I think it’s where I want it to be now. Made mainly from loop manipulations, most of which originally standard garageband loops if I remember correctly. It is contrived, but at least I mean what I’m saying.
Gonna Gay Marry You
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If you’re looking for something a little more down to earth, I also finished this song titled “Gonna Gay Marry You”. It features an extended section with sequence manipulated tone potentiometer accompaniment.
Lukács on Present Politics
I’m just finishing up Lukács’s brilliant essay “Reification and the Consciousness of the Proletariat” and was struck by this passage which seems to describe in perfect detail the present political situation characterized predominantly by the ideological struggle between neoliberalism and social democracy, the latter of which has increasingly become the willing agent of the former. Unfortunately, Lukács’s somewhat optimistic solution to this antinomy in “bourgeois thought”—rooted in the worldview of the early 1920s when a communist world-revolution seemed imminent—is the so-called “standpoint of the proletariat,” which, thanks to its unique position in the capitalist machinery, is capable of transcending the reified dualism through its ability to grasp history as a concrete dialectical totality. But what happens when—to quote Dylan—”the buyin’ power of the proletariat’s gone down” and “history,” for all intents and purposes, has ended?
The danger to which the proletariat has been exposed since its appearance on the historical stage was that it might remain imprisoned in its immediacy together with the bourgeoisie. With the growth of social democracy this threat acquired a real political organization which artificially cancels out the mediations so laboriously won and forces the proletariat back into its immediate existence where it is merely a component of capitalist society and not at the same time the motor tat drives it to its own doom and destruction. Thus the proletariat submits to the ‘laws’ of bourgeois society either in a spirit of supine fatalism (e.g. towards the natural laws of production) or else in a
…