the object refracts the subject and subtly, using all our technologies, imposes its presence and its aleatory form.” this is such bad academic practice but I was almost tempted to pass of the above without reference to its subject - Jean Baudrillard - as it precisely elucidates the problematic regarding ‘noise’. All metaphysics is brushed aside by this reversal of the situation where the process no longer originates with the subject. “These banal objects, technological objects, virtual objects, are the new strange attractors, the new objects beyond aesthetics, transaesthetic, these fetish-objects with no signification, no illusion, no aura, no value that are the mirror of our radical disillusionment of the world.…There lies the pataphysical irony of the situation. MUTANT APE A FINE MEMENTO (CDr by Krakilsk)
on industrial musics should appear in the situ of both a centre of industrialisation and of an individualist romantic 'tradition' should not be surprising, as here eschewing the crass American technologies the work is set in the great traditions of the country, of Marx, Hegel, Beethoven - and Krups! It would be surely a worthwhile task to embark on an exegesis of this phenomena - though I very much doubt simple cataloguing would be possible or appropriate- to catalogue what might be superficially described in Deleuze & Guattari's terms as a schizophrenic capitalism is more likely to be a new kind of Hegelian dialectic- i.e. Within what is becoming apparent not what which might have been called a 'collective' within a nexus, a rhizome there is an assemblage of apparently diverse artists, 'groups', web sites loci - events, “labels” across the German continent which represents nothing more than the achievement of the enlightenment in an equality of structure form and content which should not be easily described, but which in its radical democracy presents a volume of work which is neither propaganda or industrialised output- but a comment on this- that this commentary on…. THE SOUNDS OF EARTH/FLUTWACHT POLTERGEIST (CD by Theremin Noise Club)
#SMOKING POPES DESTINATION FAILURE RAR FREE#
Whitehead, and since Vital Weekly is a publication that encourages the free distribution of its contents, I present to you all or at least a great many of the reviews Jliat has done over the course of several years, in all of its dizzying and convivial, unrepentantly counter-intuitive glory (after the jump).įLUTWACHT/PRAYING FOR OBLIVION "SPLIT" (CD by Radio Obsolete Recordings) Instead, jliat, undoubtedly a sophisticated and well-educated man, who as a student at Falmouth School of Art crossed paths with AMM, John Cage, John Tilbury, Harrison Birtwistle, The Music Improvisation Company, and various progenitors of fluxus, electronic and tape machine workshops, etcetra etcetra, will use the admittedly open ended and unassuming medium of noise reviews to wax poetic, expounding upon various realms of art history or just seemingly belching out polysyllabic free association verbage, rather than even attempting to paint an adequate picture of what the listener might expect if she were to purchase the release in question. His reviews seem to come with the resolution that all recorded noise is basically the same (as something that communicates nothing), or it is thinly veiled music, neither of which merit a consistent level of literary acknowledgement/observation.
Paradoxically, he has been a consistent reviewer for the venerable publication Vital Weekly over the course of several years, and a shit disturber in a couple of chat forums about noise for a good while too.
To jliat, we are left with only a few outmoded post ironic creative devices set to a devalued instinct towards limp mnemonic conceptual repetition. He has also angered many a noise label for his opinions that devalue the concept of an artist/truth seeker/genius of present day with the resolution that we are in a post modern cesspool. Not only is he a person who has released CDs that exhibit the various different "kinds" of silence, CDs that are not only silent but will make speakers smoke if turned to high volume, classical music midi files repurposed with war sounds, a DVDr boxset of 233 discs containing in total 711 days of audio, an automated program that mimicked the effects chain that Merzbow had at the time of its creation, set to generate (and upload) 4 minutes of random noise every day without human intervention, and so forth. Jliat, the preferred nom de plume (purportedly came to him in a dream) of conceptual artist James Whitehead, is one that makes many people in the noise scene cringe with anger (especially what he calls "rebellious Americans") because of his vehement stance on the concept of anti music.
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