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June 27, 2006

two years in san francisco

It was almost two years ago that I moved back to the US from Holland, not exactly a high point in my life. It was one of the hardest geocultural transitions I have ever made. What I really mean to say is, I was kicking and screaming when I figured out that I had to move back to the US. It was too difficult to get the right papers to stay in Holland. And I was completely broke.

Now I have more perspective on San Francisco, and can see (a few) things that I do like about this city. But at the same time, I still harbor plans to get back to Europe at some point, I see San Francisco as a temporary stop on the way to, well, somewhere... Antwerp, maybe? Berlin?

Sometimes I wonder if I could settle in New York. That city has been calling me for years, and I'm always happy to visit. I have friends there and it at least has pretensions to European cultural models, with new music events at small spaces in Williamsburg called Darmstadt Night, is home to the Neue Gallery and so on.

But America still makes me nervous. Anytime I'm around a TV that is turned on in this country, I start feeling jumpy and neurotic. All those crazed voices and intensely serious faces uttering the most insane rhetoric, stating it as fact. I hope that this is the storm before the quiet, the last throes of a culture veering towards an extreme form of Darwinism, right before it remembers some of its friendlier tendencies of the past and moves back toward its better nature. Watching television that was made in the 70's or early 80's, I notice how people talk about living in New York on a part-time job, making art the rest of the time. It seems that wages were high enough and the costs of living stabilized to a degree where people could focus on things besides survival. There was a liberalism to the culture at large, with Jim Henson (a Mississippi native) promoting his vision of love through his Muppet characters and Dan Rather (a national television news anchor who was recently abruptly fired) questioning and mocking Nixon on live television. It was a time when the ideals of the 60's were in some ways becoming manifest in real power. Conservatives had to take cover. Those days seem like centuries ago.

But I still feel some degree of hopefulness. Like when I am teaching a digital arts class to kids and for their collaborative online 'zine, one of the students, a 12 year old girl, writes an opinion piece on how wrongheaded Bush's stance on gay marriage is. Or when another student makes a Flash movie about Apple computer destroying Microsoft. I have to say, based on firsthand experience with people a little less than half my age, I'm feeling pretty good about the future of this country. But do we really have to wait for them to grow up before we see change?

June 22, 2006

bjork @ the stud


Apparently Bjork was dj'ing at the Stud last night. Pic via thisisjorge.

I'm kind of over Bjork these days. As I wrote earlier, her soundtrack for Drawing Restraint 9 was less than I expected. I still love Medulla though.

June 21, 2006

mannerism

A discussion I had with my friend Robert Duckworth haunted me for years afterwards. After playing one time at a live radio show on KPFA, Berkeley, we were wondering if we would be able to tell if our music were mannerist.

Since then I've thought a lot about that, and then as now, it's hard to say. Mannerism itself seems like such a modernist notion, the idea that if it happened at the end of the Renaissance it is bound to happen again, that it is the necessary winding down of artistic period.

Hans Ibelings, in his book Supermodernism, sees deconstrucivism as a kind of mannerism, a type of extreme aesthetic play for aficionados. This is a pejorative view, aesthetic play sounds lovely to me. I think it is the lack of social relevance he sees in architectural deconstructivism that bothers him most. And it is bothersome, its displacement from the greater concerns of humanity.

But then I start thinking about the music that Heather and I are making, and the music of people like the Books, and Anne Laplantine, and so on. They, and we, I think, are closer to Ibelings idea of Supermodernism, a populist form of modernism, a postmodernism that speaks to the heart, a deconstructivism in the service of the greater good.

June 17, 2006

comments

I've temporarily turned off all comments because the site totally got spammed. I've installed MT3.2, and as soon as I figure out how to set it to reject the spam I'll turn the comments back on.

June 14, 2006

agressive music

I've been thinking about aggressive music recently. I'm talking to my friend Deric about doing a piece together, a sharp pointed art event about the life and end of Freddy Herko.

herko2.jpg

Deric specifically requested fierce music, sounds that were anything but the more delicate music I've been making the last few years. I used to say that quiet music was just as aggressive as loud music, turning the volume down is just as much a power act as turning the volume up. And I still think so, but there is a difference of quality in the two acts that would be a mistake to ignore. Ryoji Ikeda is the most successful of the fierce musicians I know of, his energy and extreme strength comes from the sheer density of information in his music.

konbanwa.jpg

There are so many flavors of fierce music. Here's a question: what would music that is fiercely referential sound like? Maybe that would be music by Jason Forrest. Or music that is fiercely mundane? Maybe Gas. Aggressiveness comes in many flavors besides loud.

There are so many types of noise as well. The last time I was actively exploring that world was when I would head out to Bar Aoyama around 1999, checking out the harsh noise of Tokyo artists, like Koji Tano (who just died last year).

I guess what I'm saying is, the quiet, subtle, implied, and less than obvious is where my heart really lies. But I'm still fascinated by things that are brash, fast, and explosive. I'm excited about those possibilities.

June 13, 2006

2& web

The 2& website is live, and includes a wonderful manifesto from Heather to start things off.

June 12, 2006

2&



Heather and I right before our gig at Neighborhood Public Radio in the ATA Gallery, San Francisco.

street art from berlin // flickr




! »☺►/streetart#───█ -_- ©██ has a fun photostream of berlin images on flickr.

June 8, 2006

rendering files + washing dishes

The nice thing about working on music in the kitchen is you can put away dishes while those big files are rendering.

DSCN3976.jpg

What big files might I be rendering? Big sound files to get ready for 2&'s little radio show at Artists' Television Access in the Mission on Saturday, at 3:00, at the corner of 20th (or 21st?) and Valencia.

June 3, 2006

some more thoughts on san francisco and the bigger world

I keep thinking about San Francisco, trying to pin down what this city is about. When I was young, I grew up with an idea that the city was home to a rare combination of progressive politics and cutting edge art. But in fact, it's really a conglomerate of villages controlled by an elite of some of the richest people in the world, who are amused by the spotty idealism of the city's residents. In a deeply schizophrenic way, this elite is able to reconcile its slash-and-burn capitalist activities with its vaguely liberal notions by passively tolerating occasional outbursts of populist activism. And by making an occasional donation to giant organizations like HRC, which have completely let go of any progressivism with their current support of anti-gay legislators.

This kind of passive tolerance is in direct odds to central European countries like Holland, Belgium, and Germany which, to use a very American term, proactively work to create cultures of tolerance, where an openly gay man can be elected mayor (Berlin), cities pride themselves on their active inclusiveness of foreigners and outsiders (Hamburg), become the first countries to allow gay marriage (Belgium and Holland), and generally work towards cultures that value life, relaxation, and peace, and actively resist the corrosively suicidal-pop-culture-government-policies of the United States.

Dissonance between what America professes to stand for and its death-wish tendencies has always existed, I don't actually think the country has changed much. But what has changed is that we now have a "Keystone Cops" (to quote Vonnegut) executive branch hell-bent on dragging this country through the mud and a popular resistance that took six years to materialize. I think one of the best analyses of the deeply dark side of this country was made by Lars von Trier in his film Dogville. I saw it in the Hague while I was living there. My only complaint at the time was the obviousness of his use of David Bowie's Young Americans as the closing-credit music. But in retrospect, I forgive him of that, it was a necessary brashness matched only by the movie's subject.

June 2, 2006

a few thoughts about matmos and influence

I've been thinking about Matmos recently. I'm afraid that people will hear 2& and think that we were very influenced by them. But in fact, neither Heather nor I have listened to enough of their music for this to be true.

I just can't listen to their music for extended periods. It's like after the first 5 minutes or so I get most of the jokes. And the suggested deep authenticity (the fact that they really did record the sounds of people really getting plastic surgery and that piano really was drug across the desert and recorded) doesn't sustain their work for me. I guess I'm more interested in the sounds themselves than their professed point of origin.

I understand their appeal, and I love the fact that they've totally incorporated the San Francisco absurd-slapstick aesthetic into their work, and Drew's pretty cute especially when he does that little head-bob dance thing he does on stage. But really, is all that work necessary to get the texture of sound they're looking for? Well, as long as they think so, I guess it is.

Speaking of influences, here are a few people I really admire:

Pierre Bastien
Luciano
Un Caddie Renversé dans l'Herb
Robert Ashley
Laurie Anderson
Hans Otte
Alemu Aga
Alva Noto
Luc Ferrari
William Basinski
Alvin Curran
Klaus Nomi
DAT Politics
Oval
Boredoms
Ligeti
AMM
Ryoji Ikeda
Yoko Ono