Friday, November 06, 2009

I Love Wooden Veil



The Wooden Veil Awaits




Wooden Veil: Gravity Problems by Hanayo

Wooden Veil is a Berlin-based art group formed in 2007. Inspired by the shared hauntedness of their respective homelands, they combine elements from forgotten and misremembered traditions to create a microcosmic world which only Wooden Veil inhabits, complete with its own symbols, clothing, food and shelters. Performances, installations and videos are characterized by an expansive wardrobe of ritual dress, and the creation of shrines, relics and talismans used to create music.

The group consists of artists Marcel Türkowsky (also a composer, founder of Snake Figures Arkestra, Cones, Uuhuu, collaborations with Datashock and Christoph Heemann), Hanayo (known for her solo work as a photographer and singer, collaborating with the likes of Christoph Schlingensief, Merzbow, Red Crayola, and Kai Althoff), Christopher Kline (Valkenburg Hermitage, †, Night Music, and Soft Peace), Dominik Noé (member of krautrock legends Lustfaust), and Jan Pfeiffer (Songs For Rocks, Soft Peace, Purple).

To understand:

Hold right hand, cupped near right ear; turn hand back and forth slightly with wrist. Bring left hand to opposite eye with the second finger pointing in the direction one is looking. With index and thumb of right hand, form an incomplete circle, space of one inch between tips; hold hand towards the earth, then move it in a curve across the heavens and back toward the horizon.



moon & hamburg wooden veil

"The music of Wooden Veil is at once chaotically ritualistic and curiously precious. From all indications it would seem that the Berlin-based collective have gone to great lengths to reach this dichotomy. Maintaining the project as a way to create a unique world that only Wooden Veil inhabits, the group's performances bring together symbols, clothing and rituals that are to be regarded a part of this world. Borne out of half-remembered traditions and etched in the fringes of culture, the music seems tribal through the eyes of a post-catastrophic modern man. Pieces of a once great culture slip in but it seems that much of their sound inhabits a forced forgetfulness, both innocently and ferociously using the remnants of instrumentation to create a new life in music. Among the pound of drums, the scorch of drones and the wail of frightened voices some beautiful moments emerge; alive but tenuously testing to see if, how and why that's possible." Raven Sings the Blues (includes two Mp3s)


WOODEN VEIL
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"Belonging to a world that is at once pre-millenial and post-apocalyptic, Wooden Veil’s music is the drumbeat of an ancient yet technological past channeled through the sounds of a post-human race. Masked and costumed, the players invoke a musical force as a shaman would a ghost. Collecting rhythm like wind collecting a storm, Wooden Veil gives grand form to noise – they make it an event. Drums, drones, harmonies and screams clamor in their songs, erupting now and again into a plainsong that rings just long enough for a melody to take shape, before it dissolves back into sonic entropy."
- Carson Chan, Program – Initiative for Art + Architecture, Berlin

"Playing like a semiotic mist, Wooden Veil approach their performances as handmade, patchwork quilt-like structures with emphasis on showing the lines of assembly, sewing together mythologies, traditional song, craft, ritual and acoustics."
- Steven Warwick (Heatsick, Birds of Delay)


Gloom Across the Ice

Wooden Veil on MySpace

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Thursday, November 05, 2009

Princess Hijab




Awake. Today. Writing. Anything Possible.

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Wednesday, November 04, 2009

Sound in Context (Full Film)


Sound in Context (Full Film) from Sound and Music on Vimeo.



Sound in Context is a short documentary exploring the unique practice of sound within the visual arts world. Through conversations with a number of key art institutions/galleries, artists and curators working with sound in the UK, Sound in Context allows practitioners to discuss some of the issues of presenting and exhibiting sound in the gallery and contemporary art domain.

Sound as a medium is time-based and is sensitive to space, perception/experience and environment, and has become intertwined with disciplines of sculpture, architecture, installation, film and media art. The ephemeral, invisible nature of sound poses a number of challenges within cultural practice and presentation. Situated between practices of music and art, sound overflows boundaries of the gallery, disrupts line between stage and audience, moves beyond categorizations, and merges models of economy and culture industry. Sound in Context explores the place and future of sound within an expanded arts milieu, while opening up reflections for sound artists engaging in the art world, and visual artists engaging with sound in their work.

Interviews with:

Seth Cluett (artist), Benedict Drew (artist/curator), Barry Esson (director, Arika), Anne Hilde Neset (deputy editor, The Wire), Hans Ulrich Obrist (co-director, Serpentine Gallery), Mike Stubbs (director, FACT), David Toop (writer/curator), Richard Whitelaw (programme director, Sonic Arts Network)

Produced by: Jonathan Web and Ashley Wong
Thanks to: The Jerwood Space, Goldsmiths' University of London, Sonic Arts Network, Nicolas Sauret, Arika, FACT Liverpool, Serpentine Gallery, The Wire

Sound and Music is an arts organisation that supports innovative practice in contemporary music and sound. From sharing information at our website, to a full programme of live events and commissioned activity, we raise the profile of contemporary music and sound in its cultural context, to build support and audiences for new work in the UK.

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Tuesday, November 03, 2009

The Right to Occupy Disused Property Threatened in the Netherlands


Table Bed Chair - A documentary about the squatter scene of Amsterdam by Robert Hack and Jakob Proyer from DCTV on Vimeo.


Table Bed Chair is a documentary about the squatter scene of Amsterdam. The film combines insights into the history of the squatter movement and its particularly well developed autonomous structures and practices with a focus on the extraordinary legalsituation in the Netherlands."Squatting is taking over an empty house, basically." With this statement, cool and precise at once, the viewer is introduced to the world of the ‘krakers’, as Amsterdam’s squatters are called.

Table Bed Chair sketches a documentary portrait of the movement by inquiring into ideological approaches and real-world alternatives to existing social structures. Explosive archival footage traces the historical roots of the movement to its climax in the volatile years of the 1980s when up to 10.000 krakers lived in squatted houses in Amsterdam.Contrasting interviews are used to explore differing points of view on issues such as self-organisation, autonomy and ideology, as well as violence as a legitimate means in the struggle.

"Squatting will go on!" For decades, this has been the national rallying cry of the Dutch squatters' movement. But if a current parliamentary majority has its way, their activities will soon be dealt a swift and lethal blow. Radio Netherlands (with another video).


Dutch squatters are under fire. After a series of incidents surrounding evictions, a majority in the lower house of parliament is in favour of a ban on squatting. "They should just keep their hands off other people's property." The squatting scene is in shock.

The words of Christian Democrat MP Jan Ten Hoopen sum up the anti-squatting mood.
"Squatting has become far too blunt an instrument to combat speculation. It doesn't suit the times any more. It causes annoyance and inconvenience, and a lot of damage that can't be recouped."He has the wind behind him, following a series of turbulent evictions in Amsterdam, the bastion of the squatters' movement. Apart from being on the receiving end of what has become a traditional barrage of paint bombs, the Amsterdam police claim that unpleasant surprises awaited them once they entered the buildings. According to Chief of Police Hans Schönfeld, the police encountered "booby traps and snares, which in one case actually enabled the squatters to make the ceiling collapse". Squatting ban threatened after eviction incidents



Squatting in Holland
According to the law in Holland, just three objects are essential to declare a squat: a bed, a table and a chair. Bart and his house mates brought those things with them as they moved in.

To what extent today do you think squatters are appreciated or demonized?

"I think in Amsterdam they are still appreciated by most of the population. People will feel that squatters are kind of weird, maybe deviant people, but at the same time they recognise that they have a very important role to play. In a city that has such a huge demand for space and is so much under the threat of commercialisation, squatters do provide a powerful antidote." Uiterman Justus Uitermark, University of Amsterdam

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Monday, November 02, 2009

Charles Ess Tomorrow




Charles Ess at Århus Univeristy 'Global Convergences, Political Futures? Self, Community, and Ethics in Digital Mediatized Worlds'

Tomorrow I will be attending a seminar (and having lunch) with Prof. Charles Ess at HUMlab. While I have read Ess on new media ethics I have been looking further into his work and found something that almost excites me. He works with a concept termed 'relational self':

This takes us still further to the left – to the sense of self as relational or, in slightly different terms, “smeared out.” This is a sense of self that is characteristic of many cultures and peoples around the world, including those countries shaped by Confucian traditions, as well as indigenous peoples, e.g., in Africa (see Paterson 2007), North America, the polar peoples, etc. My friend and colleague Henry Rosemont, Jr., uses the metaphor of the onion vs. the peach. The atomistic self is something like the peach-pit that underlies an external body: while the external body undergoes change and decay – the peach-pit remains the same through time. Relationships with others for such a self are always extrinsic: even if all such relationships are removed, the peach-pit will continue to exist. By contrast, the relational self is constituted by its diverse relationships with others – e.g., friends, family, the larger community, etc. – with each relationship analogous to a layer in the onion. Such relationships are intrinsic to such a self: remove the relationships – peel away every layer of the onion – and there is nothing left.

The concept of the relational self is similar to what I have been thinking about for quite a few years as a result of studying Australian Aboriginal narrative systems. Traditional Aboriginal narratives cannot be classified as fiction or non-fiction, they organize society in such a total and integrated way that they defy all conceptions of narrative according to Western classifications. It was precisely this that I was thinking of when I wrote a long piece Narratives of Creation and Space: Pilgrimage, Aboriginal, and Digital:

To even speak about narrative in the context of Australian Aboriginal story systems is to misrepresent the roles of story in cultural contexts. The distinction between fiction and non-fiction cannot be successfully applied to Aboriginal story systems. The language based knowledge systems that are termed in English ‘Dreamtime’ were given the name by the British anthropologist Baldwin Spencer in 1896 in relation to what he understood of Aranda culture of the Central Australian desert (Silverman 2001). The term persists today and is now used by many Aboriginal people to describe how the “actualized transiency in the present, and the perduring life of the world is carried by ephemeral life- forms. All living things are held to have an interest in the life of living things with whom they are connected because their own life is dependant upon them. Care requires presence not absence….those who destroy their country destroy themselves” (Bird xvi). Over the enormous landmass of Australia very different Dreamtime law systems developed and I am speaking generally when I discuss aspects of them here. In every system however, the individual is bound within complex networks of relationships and responsibilities to the land area from which they come, context dependent family relations, the histories of both of these and their “actualized transiency in the present”. How these relationships develop through a person’s life is expressed in visual, spatial, linguistic and sonic arts. These arts assist my general exploration of Aboriginal language based media.


My hope is that an awareness of context-dependent, relational selves will draw human beings back from the moral precepts of bourgeois individualism, what Mikhail Bakhtin described as “the culture of essential and inescapable solitude”. Is it possible? This may be a question I ask Professor Ess tomorrow.

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Saturday, October 31, 2009

Share the Media




The week peels away like the back of a Bondi surfer and I am tired but happy. Another thesis chapter was submitted this week. Autumn has flat-lined and winter appears to be ready to enter the scene. Old friends appear on social media sites and others are expected in the flesh in the coming week.
I am ready for free media as I am sure you are as well:


4 Cool Things I Found On the Internet This Week
Hal Blaine - Psychedelic Percussion - 1967 The Most Prolific Dadaist in Golden Age Hollywood
Hal Blaine: Psychedelic Percussion
Failed Pilot for 1967 Dick Tracy TV Series (with Ventures Theme Song)
Gallery of Hand Painted Movie Posters from Ghana

Psychedelic Jukebox: Sadhu Sadhu - 2009 - Live at the Hideout
Sadhu have a Live Album, self-released by the band and/or for free download (see link above). fuzzed out psychedelic rock! the sound quality is not the best, but the music quality is for sure! also have a look on their myspace site: www.myspace.com/sadhusadhu

what i like ( The House Of Fun)
Ladies and gentlemen please Would you bring your attention to me? For a feast for your eyes to see An explosion of catastrophe Like nothing you've ever seen before Watch closely as I open this door Your jaws will be on the floor After this you'll be begging for more Welcome to the show Please come inside Things I like Music Wrestling Chilling Partying sex and You.

Howard Rheingold's Vlog
One of the most knowledgeable people I have ever met. He has a vlog. His name is Howard.

What's in my Ipod
Incredible collection of the obscure and pure. Excellent Mp3 blog.

The Women of the Avant-Garde / Avant-Garde All the Time : The Poetry Foundation
Sound clips from Kathy Acker, Laurie Anderson, Caroline Bergvall, Denise Levertov, Lydia Lunch, Patti Smith, Eileen Myles, and many more.

Angus MacLise (1938-1979) Invasion of Thunderbolt Pagoda (1968) Brain Damage in Oklahoma City (rec. 1968-1972) and from Aspen No. 9
Angus MacLise (Bridgeport, Connecticut, March 4, 1938 - Kathmandu, Nepal June 21, 1979) was an American percussionist, composer, poet, occultist and calligrapher probably best known as the first drummer for the Velvet Underground. MacLise was a member of La Monte Young's Theater of Eternal Music, with John Cale, Tony Conrad, Marian Zazeela and sometimes Terry Riley. He contributed to the early Fluxus newspaper VTre, edited by George Brecht, and was also an early member of The Velvet Underground, having been brought into the group by flatmate John Cale when they were living at 56 Ludlow Street.

Comets on Fire. The Black Cassette

The Comets On Fire "Black Cassette". This sucker is so rare and forgotten I didn't even give it a catalog release number on my Silver Currant label when we made them. Just its number out of 21 made. Most often in Comets, Noel or I would make these at 2:30 am the night before heading out on tour and we'd just pull old rehearsal recordings from out of a box of hundreds that we have and find a couple killer 20 minute free jams and dub one on each side and there you go. So that's what this is. The cover is made of black lightweight construction paper, the comet symbol is burned into the paper by bleach, the Comets title is silk screened in gray ink and it was numbered in pencil.





Its not where you think it is.........

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vast multiplicities of ideas and images





“Sartre and Kerouac attempted to organize vast multiplicities of ideas and images through some forms of totalizing structure. This was Sartre’s project in The Critique, and it was also the function of the theory of spontaneous-bop poetics. Sartre used Hegel and Marx to try and achieve a “theory of practical ensembles”; Kerouac and the other Beat writers used jazz or Mahayana Buddhism to work through spontaneity or improvisation to produce self-organizing texts. In both cases, the writers tried to find a way of going beyond meaning. This was the great challenge of cybernetic culture - the idea of “the net” being its most current form. Sartre and the Beatniks stand on two sides of the great divide opened up by post-World War II civilization: Sartre trying to hold on to rationalism, even as rationalism decimates larger and larger human populations, while the Beats flee into the transcendental East – both fueled by over-the-counter stimulants”
Marcus Boon, 'The Road of Excess: A History of Writers on Drugs’ p201.

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Friday, October 30, 2009

Charles Ess in HUMlab




Seminar in HUMlab November 3rd 1:15pm (CET)
Professor Charles Ess
Ess is a distinguished researcher and pioneer in internet studies. Recent
publications include Digital Media Ethics (Polity Press, 2009). See for
http://www.drury.edu/ess/about.html and http://www.drury.edu/ess/ for more
information.


HUMlab. Date/time: Nov 3, 1.15 pm. The seminar is open to everyone.

Trust and Democracy Online?

Trust is an essential requirement in human existence generally and specifically in our social and political engagements with one another.

At the same time, however, our lives - including our political lives - increasingly take place in online environments that raise notorious difficulties for establishing and maintaining trust. In response to my title question, I will review some representative characterizations of trust, followed by three major obstacles to trust and democracy in online settings. I conclude with some reasons for optimism that trust - but perhaps not democracy - can be fostered and sustained online.

The seminar will also be streamed live on http://live.humlab.umu.se/ (link opens at time of seminar) and archived on http://stream.humlab.umu.se/.

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Sunday, October 25, 2009

There are Always Videos


Things have not been exactly hectic on this blog in recent months. Doing the final stages of a PhD thesis is cutting into my time to write about anything else. However, I have no intention of giving up blogging. In fact in recent weeks I have been reawakened to the amazing opportunities and learning experiences that blogging makes possible. At the same time, it is time that restricts my ability to produce content here. I have a lot of ideas (too many) but bringing them to form and fruition is not something I can invest in at the moment. This has resulted in an increased focus on my Vlog. Video blogging is not logocentric in the same way a written journal-type blog is. Blogging videos is quick and there is no end of inspirational films on the net. So, I urge any readers of this blog who have found some resonance with what I am concerned with and their own interests to check out Soul Vlog. Here is a taste of my taste in the moving image;



9 is a computer animated short film by Shane Acker released in 2005 as a student project. Tim Burton saw the film and was so impressed by its artistic vision that he went on to produce an almost feature-length adaptation called 9 (2009), directed by Acker and distributed by Focus Features.

A lot more is HERE

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Tuesday, October 20, 2009

Free the Space Hijackers




“The vehicle, owned by anarchist pranksters the Space Hijackers, bore a number of fake CCTV cameras bolted onto its turret, a plastic pipe with holes in it for a gun and a bumper sticker that read “How Do You Like My Driving? 0800 F**K YOU”. It blared Wagner’s Ride of the Valkyries from a sound system. If you can show me a police force that does all that, I can show you a police force on acid.” Leah Borromeo
Continental Drift

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