οι καλυτερες χρησεις των πραγματων

"…Έτσι, όπως πάντα, οι καλύτερες χρήσεις των πραγμάτων είναι συμπτωματικές. …"

[Thoreau, Journal, Vol 3, 219 - 220, μετ. Π. Πανόπουλος σε κείμενο του  Allen S. Weiss]

"Ο φίλος μου ο Τζακ Γουάγκνερ, στο Μεξικό, γίνεται συχνά vacilando: περιφέρεται στους δρομους του Μέξικο Σίτυ, αλλά όχι τυχαία· βάζει έναν στόχο, την εξεύρεση ενός ανύπαρκτου αντικειμένου, ας πούμε, κι ύστερα ψάχνει να το βρει.
     Ήθελα να φτάσω στο βορειότερο σημείο του Μέιν για να ξεκινήσω το ταξίδι μου προς τα δυτικά. Αυτός ο στόχος έδινε νόημα στο όλο εγχείρημα: όλα πρέπει να έχουν κάποιο νόημα, αλλιώς το μυαλό του ανθρώπου τα απορρίπτει. Επίσης, χρειάζονται στόχοι, αλλιώς η συνείδησή μας χάνεται. Ο προορισμός μου ήταν το Μέιν, οι πατάτες ήταν ο στόχος. Αν δεν έβλεπα τις πατάτες, ο ρόλος μου ως vacilador -νά που έφτιαξα ουσιαστικό από τη μετοχή- δεν θα εκπληρωνόταν. Τελικά είδα περισσότερες πατάτες απ' όσες χρειαζόταν: βουνά από πατάτες, ωκεανούς από πατατες, περισσότερες πατάτες απ' όσες φανταζόμουν ότι θα κατανάλωνε ο πληθυσμός της Γης σε εκατό χρόνια."

[Steinbeck, Ταξίδια με τον Τσάρλυ, Αναζητώντας την Αμερική, μετ. Σ. Τριανταφύλλου]

…

Το αγόρι με το λαθρόχειλο
Ονειρεύεται την κουνελόκολλα
Σε μπαιν μαρί να κολυμπά…

…

Υπάρχει και το σύρμα το θέμα του πλέγματος
κάπου πρέπει να στεριωθεί
όλο αυτό. Να έχει έναν
σκελετό

Απλώς το καθετί
είναι τόσο έντονα κάτι
που σ' εμποδίζει να συνεχίσεις
αποκτά σημασία
κι αποκολλάται από τη διαδικασία
μεταβαλλόμενο σε αποτέλεσμα

Ο  μίστερ Terry Αητόπουλος
γράφει για το χόλλυ terror
που' ναι κι αυτό ένα είδος
χόλλυ wood

[Βασίλης Νούλας, από την ποιητική συλλογή "Η κατασκευή της φωλιάς", εκδ. Γαβριηλίδης 2010]

Holly Herndon interview for 06:00 am

06: Let us talk a bit about your future contribution with a book on the embodiment in electronic music performance. An image comes to memory of two people 'performing' but instead of laptops they have open pizza boxes. Would you like to introduce us to what has been a main focus on your practice and thinking?

I’m a little confused and intrigued by the pizza reference, you will have to explain that one further! As far as embodied electronic music performance goes, I chose this as my master thesis topic while I was studying at Mills College. I wanted to get to the crux of what makes a performance embodied, because I simply did not accept that acoustic instruments were any more natural or embodied than electronic instruments. Since then, the conversation has been more directed toward the laptop as an instrument, which is my primary instrument. It is a problematic performance instrument for many people, so I try to address that in both my performance and in discourse.

06: What is there in between a human body and “its” voice?

I don’t think there is anything “in between” the human body and the voice, I think it is a continuation. This is exactly why the voice is such a compelling way to incorporate the body with what are sometimes seen as disembodied or alien technologies.

06:What would you like your audience in a performance of yours to deforest and enjoy?

What role does the audience play during your entire creative process?

I want them to be aware of themselves in the shared time/space of the performance. There is certainly a physicality to the music, I use a lot of bass frequencies, etc. While there are some moments of suspended reality, I tend to shy away from complete abandon. I don’t try to create a mystical immersive environment, rather, I try to inhabit the same time and space as the audience and hope ppl are aware of their bodies as a part of that.

06:What is more important for your music, to be conceived or to be experienced? To be processed as information of to be 'information', or something else, lived-through sound in

space?

Both. The creation process is really special, but it becomes so much more real when I get to share it with people. This is my debut album, so this realization is really pregnant with me now.

06: Is listening connected with obedience? To 'actively' listen means to obey?

I dont subscribe to that sort of old school audience performer dynamic; we live in a different era, where interactivity is all around us. I think if you do something that is interesting, then you can capture ppls attention and they will listen- I’m not really sure who is controlling who there. I don’t think of composers as alchemists, it is a person taking part in a cultural conversation that certainly does not happen in a vacuum.

06: When did you get the first hints about your inclination towards music?

I began writing songs when I was really young for a fake feminist radio station that my friend Alice and I had. We made cassettes with interviews, commercials and pop songs for Women’s Radio. My parents were always singing around the house; music was a big part of the church I grew up in as well.

06: Were/are your parents related to music? What is/was their profession?

Oh, I got ahead of myself there. My mom was a school teacher and then became a homemaker. My dad is a lawyer and a preacher. They are both fun loving individuals who sing and dance around the house. My mom is a little tone deaf, but sings really loud anyways. My dad can carry a tune and sings a lot of old soul and beach beat.

06 :Do you take under consideration other's peoples opinions?

I would be lying if I said I did not. I made a lot of bad music before this release and luckily I had people in my life who were able to encourage me to keep trying, but also didnt lie and tell me it was great. I also studied music, so that would be pointless if I was not at least considering my mentors opinions.

06: Through which processes did you make the 'CAR' recording on ThirdSex in Chicago, and what do you think is the connection between enjoying music and being in motion?

I asked Philipp, who runs the label, to ask his newsletter where they listen to tapes. The majority answered that they listen in their cars. I wanted to make something specifically for the label, so this made the most sense. It was a really fun project to delve into. I did field recordings while driving (not the safest thing in the world) I researched resonant frequencies of cars, etc It took me in directions that I never would normally go.

06: Why does music concern and interest so many people?

It is inherently captivating. It's an overused reference, but Jacques Attali wrote "Music is prophecy. Its styles and economic organization are ahead of the rest of society because it explores, much faster than material reality can, the entire range of possibilities in a given code. It makes audible the new world that will gradually become visible, that will impose itself and regulate the order of things; it is not only the image of things, but the transcending of the everyday, the herald of the future". That resonates a lot with me. Take the bus in any major city and hear the future unfold around you.

06: To know a woman well somebody has to know well her father?

That sounds pretty arcane to me. I dont see what the personality of a parent of one gender over another has to do with this. People are influenced by the folks that they grow up around, whether that be two moms, two dads, one mom, etc.

06: Have you ever been jealous of the work of another?

Jealous is a negative word. I have been impressed and inspired by other ppl work for sure; I’m pretty sure  I started making music, because of all the amazing music that came before me. I can get disappointed when something that deosn’t warrant attention gets too much attention because of extraneous actors, ie wealth, gender, race, nepotism

06: Is there something that causes you sorrow now?

Politics.

06: Have you understood what is the reason of the existence of art in our lives?

Communication and curiosity.

06: Is there someone that you would like to meet if you could?

Maryanne Amacher

06: What is the internet for you?

Just beginning.

http://hollyherndon.tumblr.com/

killer

μερικα ωραια του 12

o kostis o kilymaros

More Noise Ahead is an assemblage of tones, noises and 
auditory responses. A confrontation in ten parts containing 
live recordings, home experiments, and brief compositions. 
It attempts an acceptance towards the hidden and the 
arbitrary.

  why not give tape recorder parties every guest arrives 
  with his recorder and tapes of what he intends to say 
  at the party recording what other recorders say to him 
  it is the height of rudeness not to record when addressed 
  directly by another tape recorder and you can't say any-
  thing directly have to record it first the coolest old tape 
  worms never talk direct
    what was the party like   switch on playback
    what happened at lunch   switch on playback

  —William S. Burroughs

Kostis Kilymis works on audio feedback systems and re-
presentation. His practice touches upon music, performance, 
installation work and video — developed using a mixture of 
electronic and acoustic approaches. He has collaborated with 
musicians such as Lucio Capece, Nikos Veliotis, Leif Elggren, 
Phil Julian, Sarah Hughes and Patrick Farmer. He also runs 
the Organized Music from Thessaloniki music label.

Mastered by Jacques Beloeil

morenoiseahead.tumblr.com
kostiskilymis.com

Kostis Kilymis CD preview at Tiny Mix Tapes

Edition of 200 copies
Co-released with Organized Music 
from Thessaloniki (T20)

Release date: 12 December 2012

buy

childish music

"Children like to be silly. Secretly, adults like to be silly too. Here's a space to be silly, with the children." (David Toop)

childish music

Lee Gamble Interview for 06:00am

What is the feeling that a person gets when she dances and in which points do you believe it differs from the feeling that the DJ has while she mixes? Is it the same what they feel?

I can’t know. There is some sense of an injection and the injected here though. Qualia.

How was your childhood and which experiences you had as a kid influenced you greatly?

It was great really, lots of older people to hang about with. My family had(s) a huge influence on me. People who you know give a fuck about you.

In your interview for FACT magazine you describe many of the processes of conceiving ideas for producing your music. For Diversions 1994-1996 you bring up the importance of the pauses between the rave tracks, later on you mention as an inspiration the neurological symptom of 'release hallucinations' and before that the importance of the 'game' mode. Through all this, have you found your main personal impulse, your drive, or a core that drives your creativity?

These processes are symptomatic of the drive to create something. It’s a circular thing. There has to be a drive – not like supplication or something.. If I’m not excited about what i could potentially create, I can’t expect anyone else to be fussed about it either. There were some number systems that instigated two of the tracks on ‘Tvashar’ – sometimes the drives to engage, and make something, can seem/be very abstracted from the things themselves (the outcome).

Are there things in your work that you feel good about and you believe that they will last through time?

I have absolutely no idea whether or how they will last. Of course, in some form they will - It would be amazing if you could encode some music in a kind of Panspermic spore though and fling it out there…

You belong in a generation which has lived through rave parties. How does this make you feel today?

It doesn’t make me feel anything today really, I’m not at all nostalgic. Nostalgia is yourself lying to yourself via a hallucination of your own smiling face.

How do you imagine your life after 40?

I haven’t..

If you suddenly lost your memory, what wouldn't you want to forget?

My family and closest friends

Do you have obsessions?

Of course, I’m a human.

Is terrorism a kind of revolution?

What is your rational and justified mode of attack/defence? The term ‘Terrorism’ is not easy to define..

When was the last time you have been to the cinema? What did you watch?

Couple of months ago to watch ‘Berberian Sound Studio’ by Peter Strickland

Does it matter for you how many people finally will buy your music?

When you’re with a label that spends money on mastering, promotion, artwork, pressing, then yes, there is a financial aspect. I would make music if this wasn’t the case anyhow though..

Do you watch TV?

Occasionally there is interesting stuff on TV.

How do you perceive the concept of myths? Do you think that myths are essential for living?

We are absolutely surrounded by myth. ‘The World’, or our version of it is full of myth. The entire universe is non-human, so, to accept that you’re here at all is to some degree, to accept myth. You don’t have to believe in the Tooth-Fairy or God or be a psychologist to know that humans are dreamers, existential mythmakers, liars… It’s I think why ‘atheism’ is a tricky term. Where do you start/stop being totally scientific and super-rational? I mean, were just apes with massive brains plopped out without question into a universe we can’t be sure we are equipped for, and that we have little clue about.

Do you remember your first trip far from your home? Do you travel often?

Yes, it was to Ireland. I was very young, I had the most remarkable, memorable and lucid hallucination of a huge man following us up the motorway for hours, he was purple, he was walking fast to keep up with the car. I was encouraging him. He was about the same size as the tall trees.

What does it mean 'to be having a good time'?

To be in a mental state where you are not burdened by the stuff that usually burdens you.

What is the craziest thing you have done, ever?

I was born. That really must be an intense experience. Being in such an intimate, dark and secluded place for 9 months, akin to an insect. Then to be suddenly confronted with a bright white room, huge people in white robes and masks, an entirely new sound and visual world, a plummeting temperature, the smell of a hospital ward etc…

Can you send us a picture of you and a picture of something/place that best illustrates your current state of mind?

(see picture in the beginning of interview and the following: )

  Lee Gamble 'Plos 97s' (PAN 36) by •PAN•

  Lee Gamble 'Emu' (PAN 33) by •PAN•

Lee Gamble

μια βόλτα στο δάσος

Μια ενθουσιώδης κουβέντα για ήχους πτηνών και συνθετικά ηχοτοπία οδήγησε στην ιδέα για μια ζωντανή σύμπραξη ιδιότυπων ηλεκτρονικων όργανων, εικονικών ηχο-περιπάτων και ψηφιακών κραυγών.

Νίκος Κυριαζόπουλος και Μαρίνος Κουτσομιχάλης LIVE !

Κυριακή 2 Δεκεμβρίου, 18.00, στον καινούργιο χώρο της Frown Tails, Αγ Ελεούσης 14 Ψυρρή

marinoskoutsomichalis.com

soundcloud.com/nikoskyriazopoulos

frowntails.com

noise-below.org

Dec. 1st // Presque Rien & Romvos present:

Arnaud Rivière

Valerio Tricoli

Chris Chondropoulos

Balinese Beast

Larry Gus

Σάββατο 1η Δεκεμβρίου

Knot Gallery, Μιχαλακοπούλου 206 & Πύρρου (είσ. από Πύρρου)

ώρα έναρξης: αυστηρά 20:30!!!

είσοδος: 10 €

link

patrick farmer | try i back

“This book is written to be read out loud and outside” Patrick Farmer

organized music from thessaloniki

Sarah Hughes & Kostis Kilymis · The Good Life

The Good Life


Sarah Hughes

Kostis Kilymis

3ο Φεστιβάλ Εθνογραφικού Κινηματογράφου της Αθήνας // 30 Νοεμβρίου & 1 Δεκεμβρίου 2012

Φέτος το φεστιβάλ θα προβάλει την ταινία «Αλλη Ευρώπη» (Other Europe) της Ροσέλα Σκιλάτσι η οποία κέρδισε το πρώτο βραβείο στο 12ο φεστιβάλ εθνογραφικού κινηματογράφου του Ινστιτούτου Ανθρωπολογίας RAI (Royal Anthropological Institute).  

ΑΝΑΛΥΤΙΚΟ ΠΡΟΓΡΑΜΜΑ

με δελτίο τύπου αυτο εδω απο πανω το ροζ ειναι λινκ

Για περισσότερες πληροφορίες:

Κωνσταντίνος Αϊβαλιώτης / Νίκος Σφακιανάκης

τηλ: +30 210 6544917 / 6945104788

email: : info@ethnofest.gr / ethnofest@gmail.com

site: www.ethnofest.gr

Exile Room

12 Athinas St,
3rd Floor,
Monastiraki (opposite the Metro Stop)
Tel: 210-3223395

*Η είσοδος θα είναι δωρεάν. Θα τηρηθεί σειρά προτεραιότητας.

Οι προβολές θα έχουν μόνο αγγλικούς υπότιτλους

και ξεκινούν στις 17:00   

STEPHEN O'MALLEY // ATTILA CSIHAR // An Club 18.01.2013

Παρασκευή 18 & Σάββατο 19 Γενάρη 2013

STEPHEN O'MALLEY

[SUNN O)))), BURNING WITCH, KTL, KHANATE]

ATTILA CSIHAR

[MAYHEM, SUNN O)))), VOID OV VOICES, TORMENTOR, BURIAL CHAMPER TRIO, GRAVETEMPLE, PLASMA POOL, ABORYM, KOROG]:

Ένα μοναδικά ακραίο Double Bill. Δύο μεγάλες φυσιογνωμίες της σύγχρονης ηλεκτρικής ζούγκλας μαζί! Παρουσιάζουν 1η φορά επί Ελληνικού εδάφους 2 αποκλειστικές κι εντελώς διαφορετικές μεταξύ τους performances ο καθένας, σερί για 2 νύχτες με 1 και μόνο κοινό εισιτήριο. Επιπλέον, θα υπάρξουν άκρως ιδιαίτερα DJ Sets με σούπερ σπέσιαλ μουσικές ειδικά επιλεγμένες για τις περιστάσεις και τις δύο νύχτες στο Drugstore, αμέσως μετά από κάθε show.

- Main Show: Παρασκευή 18.01.2013 @ AN Club.

- Low-Key Show: Σάββατο 19.01.2013 @ THE DRUGSTORE (Αραχώβης 10 & Ιπποκράτους 69, τηλ.: 211-4015779).

Εισιτήρια για τις 2 εμφανίσεις - ένα και μόνο κοινό εισιτήριο και για τις δύο μέρες- προπωλούνται ήδη (σημεία προπώλησης: The Drugstore,www.ticketarena.gr, www.ticketpro.gr, Ticket House Αθηνών & Θεσσαλονίκης).http://www.facebook.com/events/160381730772555/