Digital Workflow

Michael Garrison

1979 In the Regions of Sunreturn

Peter Brötzmann, Han Bennink, Fred Van Hove and Albert Mangelsdorff

1974 outspan nº1 info

“Today, most of us think of computers—and all of our digital devices—in terms of the applications…”
“Today, most of us think of computers—and all of our digital devices—in terms of the applications they offer: “What does it already do” instead of “what can I make it do?” Likewise, instead of teaching computer programming in school, we teach kids how to use Microsoft Windows. This difference is profound. It exemplifies the core difference between a society capable of thinking its way beyond its current limitations, and one destined to repeat the same mistakes until it drives itself to extinction.”

– Rushkoff, Douglas. “NET EFFECT: It’s not too late for humanity to survive the digital” Arthur. 2009.

John Cage (1912 – 1992) – I-VI 2xMC (Harvard University Press, 1990)

Without doubt the most influential American composer of the last century, John Cage has had an enormous impact not only on music but on art, literature, the performing arts, and aesthetic thought in general. His insistent exploration of “nonintention” and his fruitful merging of Western and Eastern traditions have made him a powerful force in the world of the avant-garde.

There have never been lectures like these: delivered at Harvard in 1988-89 as the Charles Eliot Norton Lectures, they were more like performances, as the audience heard them. Cage calls them “mesostics,” a literary form generated by chance (in this case computerized I-Ching chance) operations. Using the computer as an oracle in conjunction with a large source text, he happens upon ideas, which produce more ideas. Chance, and not Cage, makes the choices and central decisions. Such a form is rooted, Cage tells us in his introduction, in the belief that “all answers answer all questions.”

Acting as a kind of counterpoint to the six texts here are transcripts (edited by Cage) of the provocative question-and-answer seminars that followed each presentation. Included with the book are two audiocassettes, one of Cage reading a mesostic (IV), allowing the listener to experience it as it was delivered, and one with a lively selection from the question-and-answer seminars that conveys the flavor of the event. The illustrations consist of fifteen different chance-determined prints from a single negative by Robert Mahon of the first autograph page of Cage’s Sixteen Dances (1951).

I-VI is, in short, an experience of John Cage, where silences become words and words become silences, in arrangements that will disconcert and exercise our minds.

a1 Questions And Answers
b1 Questions And Answers
c1 Reading Mesostic IV
d1 Reading Mesostic IV

ISBN 0-674-44007-2
John Cage Database

Propeller Island – The Garden (Artgallery, 1995)

All music produced, sampled, composed, performed, recorded and mixed by Lars Stroschen (Propeller Island) between 1989 and 1992.

Remastered and edited in 1995.

01 Nach 25 Stunden
02 The Ho(R)rologium
03 The Train
04 Steps
05 The Door
06 Ballet Dangereux Download: Here
07 Der Froschkönig
08 La Porte Du Temps
09 BambooA
10 The Raven
11 Monks
12 The Owl
13 Mystery Au Revoir
14 Der Wunsch

AG 055 CD
Propeller Island Web Site

VA The Silly Beatles
VA – The Silly Beatles

IK Mux – A Alma Do Insecto (Polygram, 1993)

Gravado nos Estúdios Som, Lisboa de Julho a Setembro de 1992.
Produzido por André Roquete e António Ricciardi com IK Mux.
Participação especial de Nuno Roque (Baixo) em “Chuva Ácida”.

Este Disco é o produto da vitória do 1º Concurso Rock PEPSI-RFM.

Paulo Coelho: Voz.
Armando Teixeira: Guitarra.
Luis Paiva: Teclas e Programação.

01 Lugosi E Garbo
02 Chuva Ácida
03 Shirley
04 Germe
05 Em Chamas / A Alma Do Insecto

IK Mux MySpace

The Durutti Column – Dry (Materiali Sonori, 1992)

Tracks 1 to 10 recorded at Sporadic Studios, Manchester, and Out Of The Blue Studios, Manchester.
Tracks 11 to 14 were recorded live at Womad ‘88, St. Austell, Cornwall and first appeared on Womad Live (Factory FACD 234).
Track 15 recorded live at La Cigalle, Paris.

01.Dry
02.Paradise Passage Road
03.Rope Around My Neck
04.Short
05.Boat People I
06.Boat People II
07.Our Lady (Version)
08.Grade 2 Duet
09.Octaves
10.Out Of The Blue
11.Otis
12.English Landscape Tradition
13.Finding The Sea
14.Bordaux Download: Here
15.The Beggar

MASO CD 90024
The Durutti Column Web Site, MySpace
Materiali Sonori Web Site

Pinkie Maclure – Favourite (Placebo Recordings, 1995)

All songs written and arranged by Pinkie Maclure.

2, 3 & 6 Recorded & Mixed by Simon Walker at The Loophole, Brighton, 1994.
1, 4, 5 & 7 Recorded at Bang Bang, London.
Produced by John Wills And Pinkie Maclure, 1995.

Pinkie Maclure: Voice, Keyboards & Samples.
Gary Jeff: Bass Guitar on 1, 4 & 5.
The Friendly Hermit: Drums, Gongs, Trays & Tea Urn on 1, 4, 5 & 7.
Boleslaw Usarzewski: Bass Guitar on 2 & 3.
Lou Ciccotelli: Drums & Percussion on 2 & 3.
Nick Smith: Accordion on 2 & 3.
Lee Cusick: Harmonica on “Heartsease“.
Raymond M.Dickaty: Clarinet on “You Become Moonlight“ and Saxophone on “Rose Flavour Talc“.
The Empress Amelia: Additional Keyboards on “Garden Of Delights“.

01 Hedonistic
02 The Rain Is Out
03 Heartsease
04 Garden Of Delights
05 You Become Moonlight
06 Risqué
07 Rose Flavour Talc

PILLMCD 7
Pinkie Maclure Web Site, MySpace

V/A – Très Hors 2 (Prikosnovénie, 1995)

Compilation for ex-Yugoslavia.

01 Clair Obscur – Les Autos Tamponneuses
02 La S.T.P.O. – Sarajevo-Stepanakert
03 Klimperei – Entre Deux Eaux
04 Dada’s Noise – Combien De Temps
05 N.L.C. – Fantaisie Dissidente
06 Cherche-Lune – Irhya
07 Denis Frajerman – Un Bouda Aux Pommes
08 Raksha Mancham – Cafe Sonja
09 ?M? – Minotaure (L’Île)
10 La S.T.P.O. – Orange
11 Le Loup Garou – Pepi Va A La Cruz
12 XVII° Vie – Lorna
13 Endraum – In Grauer Stadt (Unreleased Mix)

PRIK006
Prikosnovénie Web Site

Pinkie Maclure & John Wills – Cat’s Cradle (Trefingle, 2005)

Pinkie Maclure & John Wills have made five albums since they met in the late 1990s after Wills left his first band, hypnotic noiseniks, Loop.

The Cat’s Cradle is thoughtful and reflective, a canny combination of laments, soundscapes woven around strong poetry.
The quality of playing and the blend of instruments tell you that there is something different about this. It’s as vital as the acid croft movement, but going off in a very tangental way.
Lyre, concertina, melodeon and voice combine with more familiar guitar and drums to find a style that references a lot of traditional folk, but manages to find a different route to the goal.

Pinkie Maclure: Vocals, Concertina, Accordion and Bells.
John Wills: Guitar, Strings (Lyre) and Drums.

01 The Bending Wood
02 Slowy, Slowly, The Water Flows
03 Cat’s Cradle
04 Good Luck Look Upon You
05 Fine Flowers In The Valley
06 I Take The Long Way Round
07 Over And Over And Over
08 Lay Down Your Arms

TreCD101
Pinkie Maclure & John Wills Web Site, MySpace

Walter Franco

1973 – Ou Não

1976 – Revolver

LastFM

Muslimgauze – Gun Aramaic (Soleilmoon Recordings, 1996)

“Saladin Mercy” begins Gun on a familiar touch, perhaps almost too familiar; while a certain consistency to Muslimgauze’s work is no surprise, Bryn Jones generally varies things from album to album just enough to create distinct, different listening experiences for each release. Still, “Saladin” feels like something which easily could have been on his previous Soleilmoon/Staalplaat release Maroon, with its blend of the drones from earlier pieces and the more recent tweaking and heavy variety in the rhythms throughout the song. The following track, the first “8 am, Tel Aviv, Islamic Jihad,” sets things more to rights, with a combination of sharp pulses, echoing roars, and what sounds like a domestic squabble between a couple caught on tape – a characteristically strange combination which again works out quite nicely in the end. A little more than most Muslimgauze releases, Gun is very environmental in terms of its composition; the reliance on conversational snippets throughout almost turns the album into a soundtrack for a non-existent film. As is often the case for Muslimgauze, the most fascinating elements of Gun often are the simplest, such as the persistent, slow-rising beat in the first “Opiate and Mullah,” or the shift from near silence to an elegant, slightly creepy keyboard arrangement about thirteen minutes into “Oil Prophets (pt. 1, 2, 3).” Gun wraps things up on a very moody note with the dark rumblings concluding “Oil Prophets (pt. 4, 5)” and the quite brief but deep, moody drones of the second “Opiate and Mullah,” making for a slightly unexpected end to a fair album.

Bryan Reesman (Alternative Music Press)

All tracks written/played by Muslimgauze, Manchester 1994/1995.
Engineered by John Delf.
Mixed by Muslimgauze and John Delf.

01 Saladin Mercy
02 8 AM, Tel Aviv, Islamic Jihad
03 Opiate And Mullah
04 Oil Prophets (Pt 1, 2, 3)
05 8 AM, Tel Aviv, Islamic Jihad
06 Lazzaream Ul Lepar
07 Oil Prophets (Pt 4, 5)
08 Opiate And Mullah

SOL 27 CD
Soleilmoon Recordings Web Site, MySpace

SURPRISE!

OMG!

Muslimgauze – From The Edge (Chlorophyl Recordings, 2004)

Original track by Muslimgauze.

01 From The Edge (Spacetime Continuum Remix)
02 From The Edge (Higher Intelligence Agency Remix)
03 From The Edge (The Silver Wizard Remix)
04 From The Edge (Legion Of Green Men Remix)
05 From The Edge (Bostich Remix)
06 From The Edge (The Turing Test Remix)
07 From The Edge (Neutral Remix)
08 From The Edge (Chris And Cosey Remix)

CHL-202