1. I Just Want To Have Something To Do 12:03 (original release: 2:42) [listen]
2. I Don't Care 6:26 (original release: 1:39) [listen]
3. We're A Happy Family 12:46 (original release: 2:47) [listen]
4. I Wanna Be Sedated 12:14 (original release: 2:30) [listen]
5. Bad Brain 17:14 (original release: 2:25) [listen]
6. Teenage Lobotomy 10:46 (original release: 2:01) [listen]
7. Judy is a Punk 8:20 (original release: 1:33) [listen]
8. Beat on the Brat 10:59 (original release: 2:33) [listen]
9. I Wanted Everything 15:30 (original release: 1:33) [listen]
10. Pinhead 20:13 (original release: 2:46) [listen]
1. They, The People [listen]
2. This Side of the Pleasure Principle [listen]
3. Johnny-Head-In-The-Air [listen]
4. Every Work of Art Is an Uncommitted Crime [listen]
It's just a bad idea, and it began when I was mentioning to a friend about how funny it is that all those old anti capitalist punk albums with the "PAY NO MORE THAN $3" warnings can now be Ebay-ed for a $100. For some reason, we then both thought of Greil Marcus's book Lipstick Traces. How he made a glib aside about Marxist theorist Theodore Adorno and his exhiled-in-1940s-America memoir, Minima Moralia. With its bleaker-than-black humour and dismantling of modern life, Marcus said it would have made an excellent punk album. Why not take this pop wish and make it come true?
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-- FROM THE ARTIST'S STATEMENT
Light composition currently on view at ZKM Karlsruhe. Description below from ZKM's site:
With HYPERION_Fragment, and in addition to HELIOS (to be seen at the ZKM_Cube) another of rosalie's works is to be presented at the ZKM. The work was created as a collaborative project between the Stuttgart artist and the composer, Georg Friedrich Hass, on the occasion of the Donaueschingen Music Festival, in 2006. With its presentation at the ZKM_Foyer, it has now attained a new dimension but, at the same time, a new level of meaning as a unique example of light sculpture. 3.150 computer-guided lighting units display a continual river of light between the most diverse color nuances.
In dialogue with "Light Music for a Large Orchestra" by Georg Friedrich Haas, this river of light represents the visual counterpart to the continual sound tapes of Haas' composition. At the ZKM, however, the music will no longer be sounding. HYPERION_Fragment has far more become an autonomous work of art - almost as if light itself has been composed once again. At the Foyer, the light installation, with a scale of c. 9.25 x 27 m, is given new, monumental arrangement.
createdigitalmusic.com will pair up with Etsy.com, Make Magazine, and XLR8R.com tonight for "Handmade Music" at 3rd Ward in Brooklyn. This free event will showcase, Science Fair-style, an array of eclectic homemade instruments and the tinkerers behind them. For a lengthy preview with images and videos, check the CDM site.
As promised, I attended last week's "24-Hour Program on the Concept of Time" at the Guggenheim and wrote the following report, which attempts to convey both the variety of approaches participants took to the symposium's broad topic as well as the experience of being present and alert for the full duration, with just a break for breakfast and a few power naps.
The HUO-year is a unit of time invented by art critic Jennifer Allen to measure how far in the future a name will be remembered. You get one year for each project, two for an exhibition, seven for an interview, etc. HUO expands to Hans Ulrich Obrist, the curator whose intellectual hyperactivity inspired Allen to write a wry essay predicting that Obrist's omnipresence in the present will guarantee him more future name-recognition than John Cage, even as a performance of the latter's ORGAN2/ASLSP (As Slow As Possible) continues to hum through the year 2639. Obrist racked up a few dozen more HUO-years at the "24-Hour Program on the Concept of Time," as did the event's organizer, Guggenheim chief curator Nancy Spector. With an eye to the future, the entire Program was recorded, and at this moment the Guggenheim's curatorial staff is surely working to label, transcribe, and catalogue those videos for posterity. In the meantime, here's an elliptical and incomplete summary.
The symposium began with a talk by philosopher Ted Sider, who gave a lucid description of the theory of static time, which proposes that entities are permanently present at points in space but are only visible to us at certain points in time. Next was Joshua Viertel, president of Slow Foods USA, an earnest nonprofit administrator ...
Paul D. Miller, the artist, remix theorist, and DJ parenthetically known as DJ Spooky, is among the latest flood of artists to take interest in Antarctica. Representing the world's highest, driest, and coldest desert, the often misunderstood continent lured some of the film medium's earliest documentarians who were in search of something new and continues to entice new media artists concerned about its disappearance. Those who are liberal in their use of the word "remix" might say that this long-contested territory is now being remixed. In a sad twist of irony, the continent with no permanent residents has fallen victim to the environmental effects of global human pollution. Paul Miller's work grows out of DJ culture and a love of music, but has in recent years been concerned with the evolving relationship between media and culture. In 2004 he remixed Birth of a Nation, D. W. Griffith's white supremacist feature film that nonetheless propelled cinema as an art form. In his new North/South installation, the artist responds to material ranging from filmic narratives about polar expeditions to John Cage's Imaginary Landscape #1 (1938)--which he cites as the first-ever turntable composition--to tell his own story about Antarctica. The work exhibited is presented as an acoustic interpretation of the continent's place in international politics, and the "Great Game" of national interests as states claim territory and define their identity. A timely topic, considering Russia planted a flag in the North Pole's seabed to claim the natural resources underneath it. The show opens tonight at New York's Robert Miller Gallery. - Marisa Olson