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WRECK: Situationist Soundscrape

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  • ninplant@xs4all.nl
    wReck thiS meSS ~ Radio Patapoe 97.2 ~ Amsterdam Ethno-Illogical Psycho-Radiographies: no. 226: sounds©®@pe Maandag, 28 Juli 2003 (17.00 to 19.00)
    Message 1 of 1 , Aug 25, 2003
      wReck thiS meSS ~ Radio Patapoe 97.2 ~ Amsterdam

      Ethno-Illogical Psycho-Radiographies: no. 226: sounds©®@pe

      Maandag, 28 Juli 2003 (17.00 to 19.00)

      SIMUL-streaming <http://freeteam.nl/patapoe/>

      "The world we live in, and beginning with its material decor, is
      discovered to be narrower by the day. It stifles us. We yield
      profoundly to its influence; we react to it according to our
      instincts instead of according to our aspirations. In a word, this
      world governs our way of being and it grinds us down."
      o The Situationists, 1958


      My Ocean > Black Sifichi [1]
      Sub > 87 Central [2]
      Summertime [repeated ambient excerpt] > Billy Holiday [3]
      Tahiti & Blue Hawaii [incidental slide guitar moments > Hal Aloma &
      His Hawaiians [4]
      Danse Aquatique > Gordon Monahan [5]
      A Pattern of Islands > Mike Cooper [6]
      Antenne Parabolique > A. Dontigny & Dianne Labrosse [7]
      Misty [at 28 rpms!] > Fred van Zegveld [8]
      Something Spooked the Horses > Zoviet France [9]
      Portable > Tone Rec [10]
      Brutal Truth 3210 > Video Avventures [11]
      With Freddy on the Lawn > Paul Sturm [12]
      Power of Thought > Cortex Burn [13]
      My Ocean > Black Sifichi [1]
      + Crabfish > John Levack Drever [14]
      Phonographies of Exeter > John Levack Drever [14]
      Contre-Porte > Silk Saw [15]
      Skateboarding South Bank > Dallas Simpson [16]
      Sensitive Chaos > Hildegard Westerkamp [17]
      Skip Hip Hop > Paul Panhuysen [18]
      Parka Bodil > Tone Rec [10]
      An Aesthetic of Bird Calls > Mike Cooper [6]
      Nausea > A Small Good Thing [19]
      Yoga for Health > Richard Hittleman [20]
      My Ocean > Black Sifichi [1]
      Triturations > Magali Babin [21]
      Hasel44 > Mimetic Mute [22]
      Electron Gate > Zoviet France [9]
      Death of the Composer > Brandon Labelle et al. [23]
      Viva la Selva! > Natasha Barrett [24]

      [1] "Ambient Excursion" on MFS Records. The ocean becomes a hunk of
      sonic clay surging from conch shell to inner ear.

      [2] "Saxmower" on JdK <www.jdkproductions.com>. Uh oh, water on the
      floor of the power station and the guy is tickling live wires with
      his bare toes.

      [3] "The Best of Billy Holiday" on CBS, 1990. George Gershwin song by
      sung by BH it evokes the languid and approaching dog daysŠ

      [4] "A Musical Portrait of Hawaii" on Columbia vinyl. Hawaii is not a
      bowling alley but maybe it's a miniature golf course.

      [5] "Music Works 85" on SOCAN <www.musicworks.ca> Excellent
      collections and journal focused on sounds that stretch our aural
      perceptions beyond what we thought necessary. Excerpt from Monahan's
      "When it Rains" sound installation which manipulates the sound of
      raindrops falling on 24 suspended objects.

      [6] "Kiribati" on Cooparia <cooparia@...> Excellent
      manipulated ambiences from a sinking South Seas island.

      [7] "Telepathie" on No Type <www.notype.com> Intriguing scrapings
      from those intra-psyche organs located below the cerebellum that
      resemble old radio tubes.

      [8] "Dynamite" on Basart vinyl. Nerd ambient psychedelia played on a
      Hammond organ. Just saw the excellent Clint Eastwood film "Play Misty
      for Me" on tv. This is a creepy-great rendition.

      [9] "The Decriminalization of Country Music" on Tramway. Soundings
      and manipulations of an industrial space from the masters of warm
      spiritual analog ambiences and strange loops that seem to
      syncreticize nature and rusting industrialŠ One of my all-time fave

      [10] "Coucy-Park" on Sub Rosa. Working in the sonic dumpsters of
      discarded sounds just below the acceptable thresholds of audibility
      and aesthetic appreciation.

      [11] Negativland retrievals in France. Playful and mendacious snipping.

      [12] Paul Sturm has made some incredibly evanescent subsonic
      explorations of subliminal and ulterior experiences outside the realm
      of normal consciousness. Beautiful stuff. Off an old 1992[!] WFMU WTM
      radio show tape.

      [13] "ŠDe Pelos" on Black Note <www.deconstructionist.com/blacknote>.
      A sonic snip snip cut and paste and lots of turntable vs mixer
      deconstructions but surprisingly fluid, melodic, river flowing with
      lots of echo and reverb.

      [14] "Phonographies: Glasgow, Frankfurt, Exeter" on Sound-Marked
      <www.sounding.org.uk>. Excellent sonic canvases and portraits of 3
      areas that portrays the Human in the world of sound. How to make
      sense of our place and how we digest sound.

      [15] "4th Dividers" on Ant-Zen <www.ant-zen.com> Excellent dialog
      between man, gadgetry, and indifferent surroundings.

      [16] "London Soundscapes" on Waterpump
      <waterpump@...>. DS is one of the more intrepid and
      honest of the soundscape scrapers. His human intrusions are always
      delightfully earnest.

      [17] "Site of Sound: Of Architecture & the Ear" a compilation/book on
      Errant Bodies <www.smartpress.com> includes many sonic
      investigations. HW reminds me of what Henry Thoreau might have been
      doing had he been alive today. Brandon Labelle in "Architecture of
      Noise": "the SI structured their architecture on a theory of noise,
      dissonance, one which is inherent to the natural conditions of urban
      life... The SI aimed to combat not only architecture as a form but as
      an extension of capitalism and its apparatus of productivity. It
      intentionally embraced detritus and debris, the overlooked and the
      ruined remnants of old Paris."

      [18] "Mexican Jumping Beans" on Apollohuis <apollohs@...>. The
      first music of beans that has nothing to do with flatulence or back
      talk. These beans hop like something off the skins of Max Roach.
      First duet ever between beans and man!

      [19] "Solar: A Music Travelogue vol. 1" on Soleilmoon
      <info@...>. Also includes Rapoon, Paul Schutze, Jorge
      Reyes and a hi-fi market in Bangkok.

      [20] "Yoga for Health" on YFH vinyl. While you imbibe on a
      cornucopeia of sound you too can become a guru in your own ADHD-RSI

      [21] "Chemin de Fer" on No Type <www.notype.com> Sounds produced by
      percussive metallic instruments recycled and reinvented by Magali.

      [22] Negative" on Prikosnovenie <prikos@...> Wedged between
      industrial, ethnic beats, post-world, and noisy ambiences that

      [23] "Social Music" on Errant bodies <www.errantbodies.org>. Where
      does sound take us and why?

      [24] "Isostasie" on Empreintes Digitales <www.electrocd.com>. These
      sounds from a forest offers an idea of perspective, distance,
      mechanics of communication among and between species of animals and
      insects. NB: "the change in dynamics over a 24-hour period, and my
      experience venturing through a dense jungleŠ"


      o Ralph Rumney: A March 2002 Obit
      (via Tosh at TamTam Books <http://www.tamtambooks.com>)

      Andrew Hussey who wrote the Guy Debord biography "The Game of War"
      wrote this obit of Ralph Rumney for the Independent.

      The artist-writer Ralph Rumney was one of the founding members of the
      Situationist International.

      A recent book by Alan Woods, The Map is Not the Territory (2001),
      gives a lucid and witty account of Rumney's encounters and arguments
      with key figures in the history of the 20th- century avant-garde,
      such as William Burroughs, Georges Bataille, Yves Klein, Félix
      Guattari and, most significantly, Guy Debord. Above all it reveals
      Rumney as an imaginative and singular artist, a fact which until
      recently had been largely forgotten in his home country.

      Debord and his fellow Situationists believed that, for the first time
      in history, human beings were no longer participants in but rather
      spectators of their own lives. This was because in all spheres of
      human activity reality is consistently being replaced by images. (The
      process is best described in Debord's 1967 book La Société du
      spectacle, which most heavyweight commentators in France now agree
      was the key text of May 1968.) Rumney himself gave a neat description
      of "Situationism" as "artistic, political and philosophical games
      which provoked an extreme reaction, and which put you back in touch
      with real experience, real life".

      Rumney was born in 1934 in Newcastle and raised in Halifax, where his
      father was a vicar. His career began when he encountered the works of
      Karl Marx and the Surrealists as an adolescent in Halifax public
      library. He went on to order the complete works of the Marquis de
      Sade, not realising that at that time any student of the works of the
      "Divine Marquis" needed dispensation from the Archbishop of
      Canterbury. Rumney's father was outraged to receive a letter from the
      Bishop of Leeds enquiring after the moral health of his son and even
      more outraged to find that his son was a pervert.

      To add insult to injury, Rumney was also subsequently dismissed from
      his local Communist Party for a lack of moral rectitude. Aged 18, and
      already with a semi-criminal past, via a brief escapade in Sicily,
      Rumney washed up in the early 1950s in the cafés and bars at the
      heart of avant-garde Paris.

      He was described by a friend who knew him then as "an innocent
      abroad". But Rumney also possessed a sharp intellect and artistic
      ambitions. It was not long before he fell in with equally sharp and
      ambitious minds in the form of Gil Wolman, the film-maker and artist,
      and then Guy Debord, drinker and would-be poet.

      I first met Rumney in 1996 as I was writing a book on Guy Debord.
      Rumney's opinion of the man was clear:

      "Guy Debord was the most intelligent man that I ever met. It was an
      honour to have known him."Š In 1957, at a bar Š in the Ligurian Alps,
      Debord founded the Situationist International. Ralph Rumney was
      present ... "We were fanatics," he says, "but we weren't wrong."

      Rumney's own career as an artistic revolutionary was cruelly
      interrupted when "real life" intervened in his personal game-plan. On
      8 March 1967, at their exquisite flat on the Ile Saint-Louis in
      Paris, his wife Pegeen, daughter of the millionairesss and art
      collector Peggy Guggenheim, killed herself with an overdose. Rumney
      had married her in Venice in 1958. He immediately found himself
      inexplicably loathed by Guggenheim and her acolytes. "My only crime
      was that I wasn't a sycophant and Peggy had to be surrounded by
      sycophants," he said. "I spoke to her like an equal, like a grown-up,
      because that was how I'd been brought up, and she simply didn't like

      The night that Pegeen died was only the beginning of the nightmare
      for Rumney, who found himself accused by the Guggenheims of aiding
      and abetting her suicide. Their prestige, reputation, money and
      lawyers made it impossible for him to overcome the vicious slurs. He
      was forced to live undercover in Paris, where he was none the less
      trailed constantly by Guggenheim's private detectives. On the advice
      of a friend, he finally made for London, where, penniless and
      desperate, he was obliged to take a job as a telephone operatorŠ

      Rumney later married Michèle Bernstein, Debord's first wife and one
      of the most rigorously intellectual and courageous of all the
      Situationists. Although they were to divorce, the relationship
      remained amicable and intimate. By the mid-1990s, after periods in
      Italy and England, Rumney decided to return to his avant-garde

      The impulse for this return was his notion that in recent years, as
      Debord predicted, the term "society of the spectacle" had itself
      become a cliché, entering the post-modern lexicon to describe any
      contemporary process from the playful pursuit of designer
      consumerism, globalisation, New Labour, the internet and celebrity
      worship. "You have to remember," he remarked recently, "that at Cosio
      we were declaring a war against the modern world, not celebrating it."

      Rumney's return to form was marked most clearly in the summer of 2000
      when, under the aegis of the original London Psychogeographical
      Committee, which he founded in 1956, he brought "psychogeographers"
      from five countries to Manosque, the small town in Haute Provence
      where he lived, for a month of drink, debate and artŠ

      o Power to the Psychogeographers

      Simon Parker, February 22, 2002, The Guardian
      (via Dave M <http://www.wfmu.org/~davem>)

      Those who think of the Situationists at all probably associate them
      with the Paris riots of 1968. This obscure group of artists and
      drunks were among those who occupied the Sorbonne and plotted
      revolution. Their fame is based upon a handful of books and a couple
      of natty slogans painted onto the walls of Paris - "Free the
      Passions", "Never Work", "Live Without Dead Time".

      What is less well known is that Guy Debord and his disciples were
      also radical town planners, whose ideas are only now beginning to
      come back into fashion. The Situationists were a group that wanted a
      revolution in urban design, allowing citizens themselves to decide
      what kind of spaces and architecture they wanted to live inŠ

      Debord's analysis of the city was based on psychogeography - which
      the Situationists defined as the study of the effects of geographical
      settings, consciously managed or not, acting directly on the mood and
      behaviour of the individual. Putting people in control of planning
      might sound like simple common sense, but many contemporary
      psychogeographers argue that even today's town and city planners have
      failed to learn much from Debord's theoriesŠ

      The problem for urban designers is that people always want to break
      the rules that planners try to set them. The design of the great
      council estates of the 1950s and 60s was a failure, suggests Mr
      McKay, precisely because planners sought to create communities
      without bothering to examine how people wanted to live their livesŠ

      Contemporary psychogeographers put a great deal of emphasis on
      examining the myriad experiences people have of living in a city. A
      sports supporter might see a city in terms of the route to the
      football ground, and the quality of his or her experience might be
      defined in terms of what they hear, see or do on the way. This is why
      some groups of psychogeographers are keen on "mood mapping" -
      charting cities by the way they make people feel rather than their
      physical layoutŠ

      At the more radical end of the scale a group of artists calling
      itself the Nottingham Psychogeographical Unit argues that there are
      already too many buildings and calls for all new developments to be
      stopped immediately. Recent new buildings should be torn down
      according to popular demand from local residents, they say, and
      citizens should be given total administrative power over development.

      The aim is to allow the city to grow in an organic way, guided by
      local needs and "opening ourselves and our cities up to the
      possibility of experiencing higher moments of life". Some
      psychogeographical groups have also brought the occult into their
      study of the city, becoming obsessed with ley-lines and other new age

      The avant garde founding fathers of psychogeography would probably be
      horrified at the mainstream and moderate uses to which their
      philosophy is being put. But Mr McKay does have one radical proposal
      of which Debord would have been proud. "I really believe that if
      planners were required to live in the conurbations they plan, and
      some are, their awareness of the subtle psychogeographies at work
      would quickly come into focus," he said.

      o Brooklyn Psychogeographical Association + Glowlab
      (http://www.glowlab.com) = Psy-Geo-Conflux an event of some months
      back that featured psychogeographers from around the world. There's
      been a surge in interesting and creative psychogeographical activity
      going on in the past year in the U.S. and Europe, mainly urban walks
      using various kinds of algorithms, but a lot of other things as well.
      more details: <http://www.glowlab.com/psygeocon_intro.html>

      o Also check out Wilfried Hou Je Bek's [Willy Shut-yer-Mouth]:


      Send all sound material for airplay and review to:
      Wreck This MeSS
      Radio 100 / Radio Patapoe
      bart plantenga
      Zeilstraat 23 / II
      1075 SB Amsterdam
      the Netherlands

      o "plus another few hundred when it hits the BSI list!" Ezra
      o Historic playlists archived at <http://www.wfmu.org/~bart/>
      o Recent selected Playlists [early stages] at
      o Special playlists can be found at 3am Magazine
      <http://www.3ammagazine.com> under the title "Radiophotogram: Visual
      Radio". Also posted is a depth-of-focus interview with Judy Nylon and
      excerpts from my quasi-eroto-geographical paris novel, PARIS SEX TETEŠ


      CONTACT ninplant@... FOR REMOVAL

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