Coltrane, Einstein, and the Bomb

stefan tyszko self portrait

Dartmouth professor and astrophysicist Stephon Alexander describes his jazz epiphany as occasioned by a complex diagram Coltrane gave legendary jazz musician and University of Massachusetts professor Yusef Lateef in 1967. “I thought the diagram was related to another and seemingly unrelated field of study—quantum gravity,” he writes in a Business Insider essay on his discovery, “What I had realized… was that the same geometric principle that motivated Einstein’s theory was reflected in Coltrane’s diagram.” joshua jones openculture.org

in this episode, we bare this beautiful confluence  in mind

my dead brother stefan poses for this modernist autobiographical shot from around 1966 with both miles davis , herman neitze, and coltrane placed, artfully in plain sight

sine waves, mind control, and some radiation (in a storm)

mind control through sound…
beta and gamma radiation….
a radioactive thunderstorm…
past life regression…. and much much more on isotopica…. like wow!

a saucepan, a freud, a fox and i

simon tyszko in a new suit

we prepared a saucepan,
and played it as a semi autonomous instrument
by lighting and adjusting the gas.
we added a partial recording of a new text by jimmy fox (16 and a half)… we then added some wax cylinder recordings and other sound items,
which we treated with a complex array of digital effects, and then mixed the various sound files into todays edition of isotopica.

simon tyszko in a new suit
so jazz
en paris jimmy fox freud
en paris jimmy fox freud

sutton ritzy

postwar-1950s-Family-blank-lo-res

simon tyszko in conversation with dudley sutton, in which dudley tells us about his experience of the english middle class, censorship and the queen

international brigades (south west london)

lou kenton

a field recording of a moving event in bishops park fulham at a memorial for the local lives lost and the wider struggle of the international brigade in their historic fight against the facists in spain.
the memorial was placed by the socialist council in 2007.
the event recorded here marks the anniversary of The Battle of Jarama (February 6–27, 1937), which was an attempt by General Francisco Franco’s Nationalists to dislodge the Republican lines along the river Jarama, just east of Madrid, during the Spanish Civil War. Elite Spanish Legionnaires and Moroccan Regulares from the Army of Africa forced back the Republican Army of the Centre, including the International Brigades, but after days of fierce fighting no breakthrough was achieved. Republican counterattacks along the captured ground likewise failed, resulting in heavy casualties to both sides.

i was accompanied by oldest friend john kenton who’s father lou was one of the longest living brigadista, having died only two years ago at the age of 103.

lou kenton
Lou Kenton was an English proofreader who served as a medical courier and ambulance driver with the International Brigade and was its oldest surviving member at the time of his death.

bingo number stations (ode to brexit)

vintage radio entusiast

as britain heads towards the cultural cliff edge of the foul brexit, isotopica considers this fate with a kind of ‘carry on’ number stations edition…. early edison wax cylinders, field recordings and judiciously selected samples make up this edition, as well as a world premiere of ‘ode to brexit’ by yours truly.

strange french

and-tirez-bar-aged-slim-trimmed glitche 2


sometimes
a piece of music just grabs the moment and right now for me it is la vie moderne by Léo Ferré,who was a French-born Monégasque poet and composer, and a dynamic and controversial live performer, whose career in France dominated the years after the Second World War until his death…and also we start the broadcast with Golden Dark, the haunting new collaboration between elo masing and david john hull, a tune which has grabbed me for somewhat different reasons…. 
so why ferré? perhaps this song encapsulates a particular european modernism, a swing, a twist upon so much culture, the unique francophone traditions of chanson… with the world dashing backwards from reason and truth this music has me perhaps, spinning in a better time…. 
so.. we play it four times, at different  durations (same pitch), as a meditation, and a celebration……..


my dad had 14 children
and if today I wear Dior
It’s obviously unrelated
My virtue is not excusing itself so well 
None ever knew
But when I did it had gone
The modern life, modern life
I had a nose like Cyrano 
A big, fancy, funny one
A real radar for gigolos
Since it’s been recovered
from a cheapo surgery
I can no longer sniff titties
The modern life, modern life
with then rounds of fertiliser
biology spawns children 
who come home alone to their mummy
in the labs they are horny
and in the streets they cuckolded
the hen lays eggs but sings no more
The modern life, modern life
Newspaper are like bandages
They need to be changed sometimes
Otherwise it messes with your mind
And beside no need for ideas
Because ideas make you think
and thoughts make you argue
The modern life, modern life
There are people who look exotic
and to scoff a “l’as de pique”
they would go all the way to Peking
Me without visa or prospect 
Albeit with bus tickets
I see a lot of people, even Americans / and that’s not far
The modern life, modern life
The shops are overwhelmed
selling paper gems
the kind that won’t ruin you 
Tissues that only get used once
So at least we know what
what the purpose is to have 10 fingers
The modern life, modern life

agit prop rev olt

isotopica_cultural_revolution

REVOLTING

a collage of political spoken word collected from 1960’s radical cinema (heavily from jean luc goddard’s sounds of england), field recordings and attenuated recordings of installation at phlight of wall mounted airflow instruments.

    <p><img src="http://www.theculture.net/feed/wp-content/uploads/2014/02/disobey-tyszko.jpg" alt="" width="609" height="761" class=" wp-image-969" /><br /><br /><a href="http://www.theculture.net/feed/dada-dada-rabbit-wasnt-there-no-microphone/isotopica_cultural_revolution/#main" rel="attachment wp-att-1910"><img src="http://www.theculture.net/feed/wp-content/uploads/2016/01/isotopica_cultural_revolution.jpg" alt="" width="1510" height="1000" class="aligncenter size-full wp-image-1910" /></a>

devil cat

The “LionMan” is the earliest known work of figurative art, reliably dated to before 40,000 BCE, this mystery piece was fashioned from a mammoth tusk,  and depicts a leonine head with a human mouth, atop a leonine body with human arms, standing erect on human legs.
Rediscovered in the Swabian Alb, south-west Germany, just two days before the outbreak of World War 2, the story of the LionMan is extraordinarily rich in so many interesting ways.

two thousand and sixteen a reverb review

2016 & left wing

At the end of 2016 isotopica find’s itself politically twisted, exhausted, and for virtually the first time ever, almost stunned into a radio silence.. 

As the banal and reactionary forces breaths a foul new life into intolerance ignorance and prejudice,  we present a highly processed and viciously attenuated ultra modernist sampling from this years isotopica musical playlists to hopefully remind us all, that despite

many of our heroes having died and our enemies having even greater power……..

we are still the resistance.

hey radical

Isotopica today takes a detour around Radical Voices, an exhibition of radical literature in UCL’s Senate House library with artist in residence Orlando Harrison and secret guests, we also do a little secret urban exploring via tiny book lifts around the secret shelves in the great Senate tower.

strange cycles

today we are featuring

GOLDEN DARK
which…..
was born out of the serendipitous meeting of two musical dyslexics – Elo Masing and David John Hull – who had been feeling their way through seemingly radically different musical traditions: psychedelic folk and experimental music. The result is a strikingly original melange that cannot leave the listener untouched.

golden dark
looking out as the snow that falls upon the cold winter frozen ground
the sky turns grey and the trees are bare a view i know where you cant be found
’cause i know that you belong here sweet girl eccentric golden
dark
and i believe that you possess things i forgot things i like tofind
christmas time and the rush is on, we had our day for all to beseen
i need to you to grow a little concentrate and find your thing
cause i know that you belong here sweet girl eccentric golden
dark
and i believe that you possess things i forgot things i like tofind
its conditional is all i can offer its a way after all its a
modern world
cause i know that you belong here sweet girl eccentric golden dark
and i believe that you possess things i forgot things i like to find

Paris sans Martin Stone, sans arcades, mais avec le marché et les amateurs de certains

martin-stone-bookshopc451
Martin Stone

martin-stone-bookshopc451
born 11 December 1946, died November the 7th 2016 at home in his apartment in Versailles on the outskirts of Paris. He died quietly in his sleep after a year long fight against cancer and was cared for by his long term partner Lynn. Martin was an English guitarist and rare book dealer. A longtime resident of Fingest in Buckinghamshire, and latterly Paris
martin-stone

A re-visit of an early morning stroll thought the markets of Paris with antiquarian Book dealer, Rock star, and all round Fine Egg Martin Stone and friends.

Martin buys an Elizabethan Manuscript and Adam buys some 1970’s French Men’s magazines, which although there are no winners in any pornography, it feels slightly less offensive through the patina of age
[juicebox gallery_id=”1″]

who am eye (my european identity)

idenityxrayspecs

Polly

who am eye.

Cary Grant was very excited by and fond of LSD
Cary Grant was very excited by and fond of LSD
 Post unnecessary plebiscite, handed down to the uk by simply the most arrogant and incompetent prime minister we have ever experienced,  

this silly little island is in search of an identity….. like an early teenager trying on new styles and fashions engerlund, is struggling to understand what a nasty and shitty step it has taken…..  “what us”, xenophobes?  what does that even mean, the plebysiteees ask…
eye obviously have no  answers as such but i have made this algorithmically engineered sonic poem with a very confused cary grant to help us  s0rt it out. 
in this work, cary, an emigreé working for an immigrant  (Alfred Hitchock)wizz around and help us think… who are we now?  features dr lucilee bach on secret vocals
 

br-exit back into the sea oh silly engerlund

cunt land (canceled)

eye sea

Personally, i find the whole notion of engerlund (as it is now to be known) leaving the eu to be both absurdist and obscene.
a political car crash so obvious in the making yet one this little land has sunk to embracing.
morally, politically, strategically, financially, historically it is an abortion of our liberal future. 


cunt land (canceled)

so here is an an episode about that 

titled with a swear word about brexits

cunt land (canceled)

 
 

cunt

 
 
It’s a perfectly nice little word,
a word with 800 years of history;
a word used by Chaucer and by Shakespeare.
 

Semantically, it serves the same function as “dick” or “prick” – a signifier for a sexual organ which can also be used as a descriptor or insult, a word that is not passive, but active, even aggressive. 
It’s the only word we have to describe the female genitalia that is neither mawkish, nor medical, nor a function of pornography.
 
 
There are no other truly empowering words for the female genitalia. ‘Pussy’ is nastily diminutive, as if every woman had a tame and purring pet between her legs, while the medical descriptor “vagina” refers only to a part of the organ, as if women’s sexuality were nothing more than a wet hole, or “sheath” in the Latin. Cunt, meanwhile, is a word for the whole thing, a wholesome word, an earthy, dank and lusty word with the merest hint of horny threat. Cunt. It’s fantastically difficult to pronounce without baring the teeth.
*laurie penny new statesman 2011


 
 

cunt land (canceled)

Z

Zelda Cheatle
Isotopica today is in conversation with Zelda Cheatle, Photographer, Curator, Academic and the woman who influenced and oversaw the rise of Fine Art photography thru her time at the Photographers gallery and her own eponymous Gallery. A fine time was had by all....
Z
Zelda Cheatle
Zelda Cheatle by kurt van Steelant

photosensitive silver halide grains under an electron microscope
photosensitive silver halide grains under an electron microscope

Pour le Europa A Raga with Love

cunt land 2016

Pour le Europa A Raga with Love 

speechless after the insane and dirty vote to leave the european union i can only play a beautiful indian raga and cry my elite urban tears into my multicultural tea in my world of no boarders where race and history and DNA are celebrated as our common ancestry and not as marks of difference…. small minded fear based politics has no place within isotopica except as a contemptible and risible target of our elite critique….. fuck them

until they elect trump, cuntland is the most stupid country in the world
until they elect trump, cuntland is the most stupid country in the world

yes, i am part of the urban elite… i like experts, i love reason, i cherish civilisation, and socialism, and countries without borders, i loath the state of this interesting yet marginal country, thatcher’s children throw all of the toys out of their pram d

Residence  offend my name is Simon that’s good so I stopped her
i I couldn’t even say a word the first addition I still couldn’t win out without it through and Outro single word spoken in the middle so sadly many of my close friends stand into silence

almost at the moment but I completely ructions that rocked strain politically ructions that rocked strange and I believe sinking island of the land pound land as I believe it soon to be known as much as I was expecting and in the European election the reality of it is next to me and I’m not joking when I say this and extraordinarily high state of anxiety Simon Tyszko has left the building and taken to his bed
 got me ideas of how to deal with such a high degree of anxiety and please contact me through the website WWW the culture.net which is #Isotope Quite Serious About Looking For Ways Forward My Nishu Reaction Is Want To Leave Europe Because European Projects One Browning Achievements of Month sand in That Respect Failed and Failed As Flawed As Much of Work in Progress source which is something called witches #Isotopica Quite Serious About Looking For Ways Forward ,  
My Nishu Reaction Is One To Run Leaves Into Going To Europe European Project It’s One Browning Achievements of Months and in Many Respects Fraud and Field and Then Not Feel This Fraud Work Progress in a Premier in but Anyway I’ve Updated One of My Proposals Which Is Something Called along the Way If You Can Find That by Going to My Website Cultured we are Lancaster bomber as a preparedness Klansman and flyover London seeing the show proposals in recognition of my fathers role as a Polish Emanon  boosted
month or two being arrested by German soldiers in the street when he was 17 months break into the woods and outside Paddington outside shots he had a number of his friends managed to scrape into the woods with some days later they were captured truths and sent to Siberia got photographs of my father in the Gulag
e result 
 year o
e ringing had
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month or two being arrested by German soldiers in the street when he was 17 months break into the woods and outside Paddington outside shots he had a number of his friends managed to scrape into the woods with some days later they were captured truths and sent to Siberia got photographs of my father in the Gulag you stayed in that good in the Gulag he stayed in the Gulag way you made many friends and stayed in his life so he died with the Clash of all bands but when the Soviets joy in the allies in World War II my father as with all the other polls in the Gulag system but didn’t understand en
y hearing h
f actors m
y njust kind of let you do what I wanted which was to phone the police for the army and somehow made his way across occupied Europe to Africa swap for a while there with Polish garrisons and then ended up breaking his weight in England we joined the bonus runner.  se
g electronically…..
t hopees
n
a Became a radio operator in the Lancaster bomber hence my idea for a long way in which is my idea try and reconnect with my long lost father a character that is Lexi know much about during his life and because of the strange politics within our family which perhaps once again so that’s a lot because it’s all in my new favorite imagination haps vi
r injected d

text dictated from the radio via apple siri

Ropac:s

resize

today on isotopica  we
speak with
Thaddaeus Ropac,
owner and director of the eponymous european galleries…..
we converse and let our toes skim the surface of what is a deep mystery to many contemporary artists….. the art market and the gallery system..  
as ever i claim few journalistic skills and actually find myself a little out of my bleak comfort zones, and instead in the dazzling bright lights where high culture meets high commerce….
Ropac, a charming man and one time student of jospeph beuys, displays a rare authenticity, especially in comparison with some of the london galleries of which many of us are so jaded and familiar….
In reality a conversation perhaps only just begun, yet i hope you enjoy this little detour thru paris……
also featuring some rare japanese shellac 78 rpm recordings, marcel duchamp, john lennon, yoko ono and of course joseph beuys

resize

Jane Fonda and Roger Vadim photographed by *dennis hopper
at “ICONS OF THE SIXTIES” ropac gallery pantin 2015
*
photograph chosen in memory of when isotopica last met hopper and after much laughter, we asked him to adopt us…. unfortunately….

 *********

psychic

Mr David Ellis & Mr Simon Tyszko continue their random journeys thru the strange ephemera of empire past..... Today in the 

i ha

results
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output boosted
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Pour le Europa A Raga with Love

brexit-flush

Pour le Europa A Raga with Love 

yes, i am part of the urban elite… i like experts, i love reason, i cherish civilisation, and socialism, and countries without borders, i loath the state of this interesting yet marginal country, thatcher’s children throw all of thetas out of their pram d

brexit-flushResidence  offend my name is Simon that’s good so I stopped her
i I couldn’t even say a word the first addition I still couldn’t win out without it through and Outro single word spoken in the middle so sadly many of my close friends stand into silence

almost at the moment but I completely ructions that rocked strain politically ructions that rocked strange and I believe sinking island of the land pound land as I believe it soon to be known as much as I was expecting and in the European election the reality of it is next to me and I’m not joking when I say this and extraordinarily high state of anxiety Simon Tyszko has left the building and taken to his bed
 got me ideas of how to deal with such a high degree of anxiety and please contact me through the website WWW the culture.net which is #Isotope Quite Serious About Looking For Ways Forward My Nishu Reaction Is Want To Leave Europe Because European Projects One Browning Achievements of Month sand in That Respect Failed and Failed As Flawed As Much of Work in Progress source which is something called witches #Isotopica Quite Serious About Looking For Ways Forward ,  
My Nishu Reaction Is One To Run Leaves Into Going To Europe European Project It’s One Browning Achievements of Months and in Many Respects Fraud and Field and Then Not Feel This Fraud Work Progress in a Premier in but Anyway I’ve Updated One of My Proposals Which Is Something Called along the Way If You Can Find That by Going to My Website Cultured we are Lancaster bomber as a preparedness Klansman and flyover London seeing the show proposals in recognition of my fathers role as a Polish Emanon  boosted
month or two being arrested by German soldiers in the street when he was 17 months break into the woods and outside Paddington outside shots he had a number of his friends managed to scrape into the woods with some days later they were captured truths and sent to Siberia got photographs of my father in the Gulag
e result 
 year o
e ringing had
 stopped, a
h
month or two being arrested by German soldiers in the street when he was 17 months break into the woods and outside Paddington outside shots he had a number of his friends managed to scrape into the woods with some days later they were captured truths and sent to Siberia got photographs of my father in the Gulag you stayed in that good in the Gulag he stayed in the Gulag way you made many friends and stayed in his life so he died with the Clash of all bands but when the Soviets joy in the allies in World War II my father as with all the other polls in the Gulag system but didn’t understand en
y hearing h
f actors m
y njust kind of let you do what I wanted which was to phone the police for the army and somehow made his way across occupied Europe to Africa swap for a while there with Polish garrisons and then ended up breaking his weight in England we joined the bonus runner.  se
g electronically…..
t hopees
n
a Became a radio operator in the Lancaster bomber hence my idea for a long way in which is my idea try and reconnect with my long lost father a character that is Lexi know much about during his life and because of the strange politics within our family which perhaps once again so that’s a lot because it’s all in my new favorite imagination haps vi
r injected d

text dictated from the radio via apple siri

Tibetan electroshock

thibettexts

electro shock in the age of stupid

thibettextsa
Hadean Eon (formally known as pre cambrian)
Eoarchean
Paleoarchean
Mesoarchean
Neoarchean
Mesoproterozoic
Neoproterozoic
Paleozoic
Mesozoic
Cenozoic

Subatlantic
Subboreal,
Atlantic,
Boreal,
Preboreal,
which is subdivided into
Holocene
Anthropogeny and finally……
Homo-amathês = the age of stupid
results
 gave up drinking,  
output boosted
beyond 
5 Transliteration
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Hate Ash-Bury and the Umlaut

umlaut-tumblr_miokofVfFq1ri80fqo1_1280

This is not what I said….

Okay well I’m in kind of taking us back to Hyde Ashbury when I remember we were there and comparing it to now here we are in Lake Central London and dislikes his neoliberal still. where in Haight-Ashbury we week I like the words we spoke were at work we’re what we had serifs on some of the words and some of them are like san serif in and we will mostly help better turns in an unknown an with a more sophisticated people that there were a lot in higher expert you know because well we would be channeling something from mother mother university nature and end we had a meal lots and we had those little slashes of a word shipment that you kind of an emphasis on the letter like a lady! you know?  

I’m an this is nature’s speaking to the young people at the time because is it wise the old people late just we’re square we would round and so you can put a sign box which cause she couldn’t do because we just didn’t fit in the box we were excited about putting a difference about the did not spaces between us to highlight equilateral and innovative squares to be  and we were all about space that we were just all over space you know I’m back in Hyde Ashbury when you were panhandling you got like three dollars each six okay you know I’m now what they do is think I’m handling day based on a corporation man I can fuck it’s like……

umlaut-tumblr_miokofVfFq1ri80fqo1_1280

Uncertain States bring together artists, collectors, curators and archivists in a day of discussion around the role and artistic importance of the collector and collections within the context of fine art photography. Collections – in any form, private or public play a unique and crucial part in the documentation of contemporary visual culture. In open discussion, speakers and audience will consider the artistic influence of these collections. Who is collecting, where are the collections being held and what and why work is preserved.
The day aims to encourage the audience that collecting can be a creative experience open to all and a superb entry level for anyone with the aspiration to start their own art collection.

Speakers include galleriest and curator Zelda Cheatle, archivist Pete James, writer and curator Camilla Brown, artist and academic Richard Sawdon-Smith, Spencer Rowell and Simon Tyszko.

BOOK NOW.

in the mean time………

i want you (she’s so heavy)



I want you
I want you so bad
I want you
I want you so bad
It’s driving me mad
It’s driving me mad

I want you
I want you so bad, babe
I want you
I want you so bad
It’s driving me mad
It’s driving me mad

I want you
I want you so bad, babe
I want you
I want you so bad
It’s driving me mad
It’s driving me mad

I want you
I want you so bad
I want you
I want you so bad
It’s driving me mad
It’s driving me mad

She’s so heavy
Heavy, heavy, heavy

She’s so heavy
She’s so heavy
Heavy, heavy, heavy

I want you
I want you so bad
I want you
I want you so bad
It’s driving me mad
It’s driving me mad

I want you
You know I want you so bad, babe
I want you
You know I want you so bad
It’s driving me mad
It’s driving me mad
Yeah

She’s so

Post Dead and Proud

circle

An Episode about Nothing, absolutely Nothingcircle

Featuring
egg
alan lomax haitian field recordings
charles bukowski
clapTON ensemble
simon tyszko
north end road fulham field recordings
Basil Kirchin – Heart Of The North
On A Clear Day – The Tony Hatch Orchestra
faust
La vie semblait s’être arrêté là devant le
Spectacle muet d’un lendemain d’orgie
Deux hirondelles s’étaient depuis
Longtemps installées, leur caca clapotant se
Desséchait. seul triste, river ne pensait
Qu’à penser. de tout facon, comme il disait
Lui… et s’était une phrase toujours
Interompue. un êclair soudain devait le
Saisir. ses mains cherchaient un motif, une
Sympathie, n’importe quoi, de la douceur…
Depuis toujours et jamias on ne disait
Toujours sans songer à l’aube du jour ou le
Vent, chaud sons corps, fou ses espoirs et
Avec charme il se masturber comme
Personne ne pouvait le faire, chaque
Mouvement était alors un pas de plus vers
Elle. une poignée de coton hydrophile est
Un chapeau sur la tête de Kerstin. j’ai senti
Tout à coup que le choc était plus que
Probable, je n’étais pas supris, je n’avais
Pas peur. Rudolf avait freiné trop fortement
Et comme il ne conduit pas au même
Tempo que les villois… j’étais même curieux
Intéressé par les mouvements de la voiture
Le paysage évolue dans une autre
Dimension. le code de la route est alors
Impuissant et dérisoire: la voiture va où elle
Doit aller sans respecter les divers
Obstacles qui sont ou ne sont pas là ou
Ailleurs choc sourd et décevant
Accélération centrifuge et tout redevient
Normal, normal et amusant. le système de
Notre civilisation se montre et tombe très
Vite dans l’éfficace inhumain. il y a quand
Même le moment ou les deux chauffeurs
Males communiquent. tout devient male
Asexue
Coup de foudre

Kerzen, Tomatensaft
2 x 150 gramm Rindfleisch
Viel Obst, viel Obst, viel Obst
Viel Obst, viel Obst, viel Obst
Was zum trinken
Brot, Margarine

Chère chambre tu m’as longtemps regardé
Quand j’étais nu sur le lit, quand je restais
Sans rien dire, longtemps. tu dois me
Connaître maintenant. j’ai vu le monde à
Travers les trois yeux. j’ai vécu dans ton
Sein, tous mes instants vides, blancs, nuit
Yeux ouverts sur des pensées sans fin qui à
Force de se retourner perdent ainsi leur
Sens, toutes mes humeurs et mes envies
Mon échec solitaire quand je peinds si
Longtemps chaque matin à grande peine et
Sagement. tu dois me comprendre
Parceque toi non plus, ta femme quand ca
Claque porte, tes coins où passe le vent et
Le froid et la catastrophe, quand tu veux
Dire que tu ne sais pas. je les connais, je
Les ai observés. toi aussi tu t’es ennuyée
Ma chambre. maintenent tout à changer
Est-ce-qu’un sentiment trop fort encoumbre
Le paysage. il est si tenu et très
Transportable. je m’en serts souvent et
Beaucoup l’accepte. je vois aussi que
Certaines humeurs se répétent éspacées de
Plusiers années
Nous devons peut-être accorder nos passés?
</span>

Asymmetrical MonoLocution and a musical algorithm

kandinski

Asymmetrical MonoLocution

Is a new and experimental process where we attempt to re(create) meanings from just one side of a complex conversation, and in this instance one spoken in a second language.


kandinski
this image is of a musical algorithm in action (sort of).

Dr Lucilee Bach (Sorbonne Paris), is engaged in a process of analysing, documenting and contextualising the historical studio practice of Simon Tyszko (Isotopica host: eccentric). In this episode the conversation had been broken into answer and response and then only one side (Dr Bach) is included in the composition. At the same time an algorithmically generated tonal pattern is overplayed in the style of modern music. sylvie talibi long copy 2

A Chat with Peter Tatchell

Peter Tatchell  is a delightful and seemingly ever present (at least within my political consciousness)  human rights campaigner, originally from Australia, best known for his work with LGBT social movements. a genuinely frontline campaigner for a fairer world, peter has twice attempted a citizens arrest on despot Robert Mugabe .
today we are in informal conversation….. niiiiice 

peter grab the pig and the pigs fight back

Death to the fascist insects: A Post Processed Patty Hearst (from Paris)

: An Autotuned Political Re-Education
patty hearst

Q. Miss Heart, may we assume that the tape recorded message which you referred to earlier in your testimony was recorded a day or two before it was discovered on April 24th, of 1974, to the best of your knowledge and belief?
A. Yes.
Q. In other words, you late learned, did you not, that it had been broadcast on the same day that it was received, and I believe that was April 24, 1974, and I take it your recollection is that you had recorded that message a day or two prior to that time, April 22 or 23, a day along in there?
A. I don’t know when it was received.
Q. All right, but you do recall, do you not, that it was recorded in an apartment on Golden Gate Avenue at 1827.  Were you familiar with that address?
A. Not the address but it was on Golden Gate.
Q. Were you familiar with the apartment complex, Apartment No. 6?
A. Yes.
Q. All right, and if I showed you a photograph, I believe you made reference to having recorded the message in that closet, it that correct?
A.  Yes.
Q. Miss Hearst, I will show you two photographs which your attorney has handed to me and ask whether this appears to be the closet in which the tape recorded message was made?
A. Yes.
Q. Now, could we have these two photographs marked for identification.
THE CLERK: Plaintiffs 88 and 89 marked for identification.
THE COURT: Plaintiff’s Exhibit 88 and 89 for identification, photographs of the closet.
[Plaintiff’s Exhibits 88 and 89 marked for identification.  Photographs of closet.)
MR. BROWING: Thank you, Your Honor.
Q. Now, was the closet door closed when hyou made the recording, Miss Hearst?
A. Yes.
Q. And you testified, I believe, that DeFreeze was in the closet with you at the time you made the recording?
A. Yes.
Q. Was there anyone else in the closet at that time?
A. Me.
Q. Pardon me?
A. Me.
Q. You and Mr. DeFreeze?
A. Yes.
Q. Now, approximately how long had you been at the apartment on Golden Gate at that time?
A. A month, a month and a half.
Q. A month, a month and a half?
A. Yes.
Q. So this was April, around April 21st, 22nd, so you had been there about March, late March?
A. No.
Q. Pardon me?
A. No, I think the middle of March.
Q. The middle of March, Okay.  As a matter of fact, when you got to 1827 Golden Gate, or this apartment on Golden Gate, you were not being held in that closet all the time, were you?
A. Yes, I was.
Q. You were?
A. Yes.
Q. Was there a previous closet in which you were held?
A. Yes.
Q. Did you later ascertain that that closet was the 37 Northridge in Daly City?
A. Yes.
Q. A place in Daly City?
A. Yes.
Q. And you were kidnapped, were you not, on April 4, 1974?
MR. BAILEY: February.
THE COURT: Better get the month right.
MR. BROWNING: Q. February 4, is that correct?
A.Yes.
Q. And you were held at Daly City from that date until the time you moved to Golden Gate, is that correct?
A. Yes.
Q. And you moved in a car, I take it?
A. Yes.
Q. Were you blindfolded?
A. Yes.
Q. And whose car was it, do you know?
A. I don’t know.  I was put into a garbage can that was tied up and put in the trunk of the car.
Q. And then, was the garbage can taken into the apartment on Golden Gate when you arrived?
A. Yes.
Q. Were you in it?
A. Yes.
Q. And you were placed in a closet immediately, is that correct?
A. Yes.
Q. Do you remember signing an affidavit in this case earlier, Miss Hearst, in connection with your motion for boil?
A. Yes.
Q. You state in this affidavit, do you not: “She was then carried from the house,” that is your house in Berkeley, “and thrown into the trunk of the automobile.  This car proceeded some distance when it was stopped, and she was then transferred to the body of another vehicle?”
A. Yes.
Q. “She was then taken to another house where she was placed in a closet on the floor; the closet was approximately five to six feet in length and about three feet in width.  For several days she remained in this closet with her hands bound, blindfolded, and with no lights.  The closet was hot and extremely uncomfortable.  She was given food but was unable to eat any for a period of about ten days, and for all that period was unable to dispose of her body wastes.  During the first week nobody talked to her except the man who called himself Cinque, who brought a tape recording device to the closet and taped into this device the early communiqués which were broadcast.”  Now, is that true?
A. Yes.
Q. And again directing your attention to the affidavit, the bottom of Page 2, you say: “After an interminable length of time, which seemed to here to be weeks, she was released from the closet and was then seated with the gang of captors, who were discussing the robbery of a bank, and was instructed by them that she must accompany them to the bank; that she must allow herself to be photographed by the bank camera, and in addition, that she must announce her name aloud so that everyone would know she was participating in the holdup.  About three to four days after her release from the closet, she was put in an automobile and taken to a site, which she now understands, was a branch of the Hibernia Bank; she was given a gun and directed to stand about in the center of the bank counter.” In truth and in fact, Miss Hearst, that was the same closet that you were referring to there?  There were two closets, is that correct?
A. Yes.
Q. And who wrote that material for you, was it Angelo Atwood and William Wolfe?
A. I don’t know.
Q. Did others write some of the material for you on other tapes?
A. They’d bring in a sheet of paper, and I would read it.
Q. In other words, it was not always William Wolfe and Angelo Atwood who gave you the material that you were to speak into the recorder, is that correct?
A. I don’t recall.
Q. Were there others?
A. Were others there, yes.
Q. Yes. But I mean, was it always Mr. Wolfe and Miss Atwood who —
THE COURT: She said she doesn’t know. MR. BROWNING:
Q. You don’t recall?
A. No.
Q. You also said, Miss Hearst — or I will ask you whether you said, quote, “I’ve become conscious” — pardon me — I’m directing your attention to this same earlier tape, and ask whether this will refresh your recollection: Did you make an earlier tape around the early part of April in which you said, “I’ve become conscious and can never go back to the life we had before.” Do you recall saying those words?
A. I don’t recall seeing the transcript of that tape.
Q. Do you recall, now that I read those words, whether you said them or not on the tape?
A. No.
Q. You do not recall. You also stated, I suggest, that you had been given a choice of release to a safe area or joining the SLA, and you had chosen to stay and fight. Weren’t you in fact offered that choice?
A. Sort of, yes.
Q. Well, tell us what you mean by, “sort of”?
A. Well, a few weeks before, DeFreeze told me that the war council had decided or was thinking about killing me or me staying with them, and that I better start thinking about that as a possibility. Then he came in later and said that I could go home or stay with them. And I didn’t believe them.
Q. You didn’t believe him when he said you could go home or stay with them?
A. That’s right.
Q. You thought he was not sincere in what he said, you could be re­leased if you wished?
A. That’s right.
Q. Now, do you recall making another tape recording on or about June 8th, 1974 in Los Angeles, or which was received in
Los Angeles in which a female voice — and I will ask you whether you were the voice who spoke these words — says, “Neither Cujo or I had ever loved an individual the way we loved each other, probably because our relationship wasn’t based on bourgeois hepped-vp values, attitudes and goals. Our rela­tionship’s foundation was our commitment to the struggle, and our love for the people. It’s because of this that I still feel strong and determined to fight.” Do you recall you spoke those words, Miss Hearst?
A. Can I see the transcript?
Q. We’ll get you a transcript of that. I don’t have one right at the moment. Do you recall, just from my recounting of those words, whether you said them or not?
THE COURT: You can say no, if you don’t recall without looking at them. You have the right to look at them first.
THE WITNESS: No.
MR. BROWNING: Q. It is a fact, is it not, Miss Hearst,
that Cujo was the SLA name taken by William Wolfe?
A. Yes.
Q. Were you in fact in love with William Wolfe at that time? A. No.
Q. Now, with respect to the manuscript for the book that you testi­fied about, many of those pages bear your handwriting, do they not?
A. Yes.
Q. And it’s your testimony, as I understand it, that with respect to the recounting of events, other than your early life and back­ground, anything in your handwriting and anything — did you typewrite any of those chronicles, by the way, yourself?
A. Yes.
Q. Anything that you typewrote was false and forced, is that cor­rect?
A. Yes.
Q. Let me ask you this, Miss Hearst: Didn’t you participate in other activities with Mr. Harris with respect to banks?
MR. BAILEY: I object.
THE COURT: Mr. Browning, now we’re going into a new subject matter.
MR. BROWNING: Not entirely, Your Honor.
MR. BAILEY: For beyond the scope.
MR. BROWNING: May I have just a moment, Your Honor? THE COURT: Yes.
MR. BROWNING: Perhaps I could ask a few more questions.
THE COURT: That’s onto the same subject matter?
MR. BROWNING: Yes.
THE COURT: All right, you withdraw that question? 
MR, BROWNING: Yes, I withdraw that question.
Q. Miss Hearst, in addition to the materials that you participated in writing with respect to the manuscript for the book, did you also participate in writing certain other documents which were held by the Harrises together with the manuscript, do you recall?
MR. BAILEY: What line, please?
MR. BROWNING: I’m referring to a document entitled Bakery, which is a typewritten document.
Q. Miss Hearst, I will show you a copy of two typewritten pages en­titled Bakery. Can you tell me whether you recognize those -­take all the time you need.
A. No.
Q. All right. Let me direct your attention to a subsequent page which appears to be a diagram. And at the top it’s labeled B of A Marysville, and direct your attention to some handwriting on the bottom of that page. Do you recognize that handwriting?
A. Yes.
Q. Is that your handwriting?
A. Yes.
Q. Do you recall writing that?
A. I mean I wrote it, it’s my handwriting.
Q. All right. Do you recall the circumstances under which you wrote that sentence?
MR. BAILEY: I am going to object to this, Your Honor, it’s beyond the scope of this hearing.
MR. BROWNING: If Your Honor please, my offer of proof is yhat these pages were found together with the manuscript and the documents. I think I am entitled to go into her recollection of her own handwriting found together with the materials that she testified about.
THE COURT: I will have to overrule the objection. I think here my duty is to find out what was the intent and frame of mind of the defendant at the time she wrote the documents. Now, this may tend to show that.
MR. BROWNING: That’s certainly my intention.
MR •. BAILEY: First of all, Your Honor, there has been no showing they were written anywhere near the same time. Second, before we go near these matters, it would require a consultation with the defendant.
THE COURT: Let him find it out. Let him get to it. I will overrule the objection. Proceed.
MR. BROWNING: Q. Do you recall, Miss Hearst, when you wrote the sentence, “Saw seven employees, five women, two men, one young and nervous, manager is fat and black.” Do you recall when you wrote that?
A. I don’t recall.
Q. Wasn’t it in fact after you had returned from Pennsylvania and when you were residing in Sacramento, California?
A. Yes.
MR. BROWNING: Yes.
MR. BAILEY: Your Honor, I object. This is a completely different time and has nothing to do with the writing of the docu­ment that’s been testified to. I will instruct the defendant not to answer.
THE COURT: Well, you may instruct her as you see fit. But I will overrule! the objection.
MR. BAI LEY: All right. You are instructed not to answer.
MR. BROWNING: I beg your pardon? You are instructing your witness not to answer?
MR. BAILEY: That’s right.
THE COURT: All right. Now, then, the abjection is over­ruled. I will instruct the defendant to answer.
MR. BROWNING: Thank you, Your Honor.
MR, BAILEY: All right. I will advise the defendant to in­voke her Constitutional rights. This is turning into a fishing ex­pedition and not a hearing. I am sure Your Honor knows the problem.
THE COURT: I am aware of the problem. But I am also aware that the issue in this case involves the subject of coercion.
MR, BAILEY: That’s right.
THE COURT: And you are seeking to prohibit certain testi­mony which the Government claims goes to that issue.
MR, BAILEY: That’s right,
THE COURT: You are seeking to have me declare inadmiss­ible on the grounds that it was involuntarily taken.
MR, BAILEY: Which has nothing to do with anything in Sacramento, California.
THE COURT: It may have — that is where I tend to disagree with you.
MR. BAILEY: Very well.
THE COURT: Because there’s a whole course of conduct here that has to be evaluated, rather than a single incident. Now, on that basis, I would overrule the objection.
MR. BAILEY: All right. Miss Hearst, you are instructed to refuse to answer on the grounds that it might tend to incriminate.
THE COURT: Miss Hearst, I will instruct you to answer the question.
MR. BROWNING: Q. Do you have the question in mind?
MR. BAILEY: I will ask for a recess. Your Honor has no right to enforce her to incriminate herself.
THE COURT: I am not going to force her to incriminate herself. She doesn’t have to —
MR. BAILEY: To tell the girl to answer immediately after counsel advised her not to answer has this tendency.
MR. BROWNING: I think there is an easy answer, if coun­sel would stipulate, that would be to strike Miss Hearst’s testimony —
MR. BAILEY: She is not —
THE COURT: I think I have to hear this issue. I am not going to strike this testimony. Let’s quit this business about outdo­ing one another about whether certain documents are admissible. Let’s get down to the business here about the issue at hand. And what I want to do is hear all of the relevant testimony that goes to that. I don’t want to limit that. I think I have the duty and the right to do that. It’s imperative upon me to go into this whole question. And I do not see this as a segmented proposition; I see it as a whole proposition. Now, you want to close the door here. I want to get into this in more detail. Now, what is the claim of self-incrimination, what is the nature of it, that she faces charges?
MR. BAILEY: Your Honor is well aware of the claim of self- incrimination, well aware.
THE COURT: I know she might be subject to charges, but it seems to me what you’re saying is that she’s putting under charges — herself in violation of charges of Federal and State law. Is that what you’re telling me, if she answers this question?
MR. BAILEY: She has been under suspicion, as you know. It’s been published. And I do not propose to have her sit there –­
THE COURT: That is not evidence in this case. I want you to tell me what you think, what your point is, Mr. Bailey. And if you have one, state it.
MR. BAILEY: Yes. My point is that you’re forcing her to answer these questions which could expose her to further charges, and I will not permit her to do it.
THE COURT: I want you to tell me what charges they are.
MR. BAILEY: I will not tell you what charges they are, nor do I have any obligation to. That would feed the Government, I would have to violate the attorney-client privilege. ,
THE COURT: I didn’t say that — :
MR. BAILEY: If I have the information, and you don’t, it must be because I got it in a privileged way.
THE COURT: Mr. Browning, Mr. Bailey, I am not asking you to disclose the information.
MR. BAILEY: You are asking me for it.
THE COURT: You are not —
MR. BAILEY: How can I describe possible charges?
THE COURT: I am not asking you to describe it. Tell me the nature of the charge so I can rule on it. I don’t rule on these things en banc.
MR. BAILEY: You are requiring the defendant to answer questions on the subject matter now sought, fished out by the pro­secution, which would expose her, or might, to charges, State and Federal, for felonious crimes, which I will not further allow.
THE COURT: You said what I asked you, if that’s what you are talking —
MR. BROWNING: My position on that, Mr. Bailey has waived any privilege against self-incrimination by putting the defendant on the stand.
THE COURT: Now, Mr. Browning, I would have to disagree with you on that. I don’t think the defendant ever waives her right of self-incrimination by taking the witness stand, and she has the right — or she has the right to assert that privilege in any proceeding at any time in any place under the Constitution of the United States. So I will have to rule she has not waived.
MR. BROWNING: Very well, Your Honor. I take it the objection to the question is upheld then?
THE COURT: Yes.
MR. BROWNING: Q. Miss Hearst, with respect to the two pages that I first directed your attention to entitled Bakeries or  Bakery, B-a-k-e-r-y, do you know of any reason why your fingerprints would have been found on those pages? 
MR. BAILEY: Object.
THE COURT: What was that, Mr. Bailey’? What did you object to?
MR. BAILEY: I object, it’s the same subject matter, subject of the same set of conditions. Mr. Browning knows it.
THE COURT: Mr. Browning, if you are probing the same subject matter, then I would —
MR. BROWNING: I don’t know whether it is or not, Your Honor. All I know, I have a paper entitled Bakery here, that is a typewritten sheet found at the same time and place as the other manuscripts with Miss Hearst’s fingerprints on it. I’m simply ask­ing — she says, as I recall, she doesn’t know that she’d ever seen those. I’m asking her whether there’s any reason she knows of why those fingerprints should be on those pages. She doesn’t recall —
MR. BAILEY: Questions as to those documents have already been excluded.
THE COURT: No, not all questions. And I will overrule the questions as to the document.
MR. BAILEY: All right. Miss Hearst, you are instructed not to answer the question on the grounds it might tend to incriminate you.
THE COURT: All right. On the same basis?
MR. BAI LEY I Right.
THE COURT: All right. I will sustain that objection.
MR. BROWNING: Q. Miss Hearst, you told your attorney that — with respect to the manuscript for the book, that, if I re­call — you correct me if I am wrong — you were asked certain questions, and gave an outline of the answer you were supposed to give by Emily Harris, is that correct?
A. And Bill Harris.
Q. And Bill Harris. And that you wrote out the answer based on the outline that you received. And then did you participate in either typing or writing longhand those — that full answer?
A. Yes.
Q. All right. I direct your attention to a page, which I will show you a copy of, if you like. Let me read it to you first:
“Question: The media has at times put across the theory that you were being brainwashed during this period. How do you feel about that ‘?
“Answer: I think that that kind of cheap sensationalism is all you can expect from the media. From the moment I was kid­napped, they consistently attempted to discredit the revolutionar­ies. After the first communique was received, the pigs reacted by hauling out stress machines. The machines indicated I was being tortured and kept awake 24 hours a day, and Randy announced I was obviously drugged. I couldn’t believe that anyone would come up with such bullshit. I guess that all the pigs expected me to keep my mouth shut, but I was furious. I refuted their lies in the next communique, and they put away their trickology for a while, at least until I announced I was going to stay with the SLA. Then, once again, I was, quote, ‘under duress,’ unquote. If you believe the media, you’d think I was totally weird. According to them, I never mean anything. Say, and I’ll do anything I’m told. ”
Now, do you recall, Miss Hearst, writing those words? I direct your attention to this part down there.
A. Yes.
Q. Just to the top of this page (indicating).
A. Yes.
Q. All right, you wrote those words. And weren’t those words truthful when you wrote them?
A. No.
Q. Let me ask you this, on Page 2 of the manuscript, we find these words: 

“None of us were allowed to go to public schools.” The reason given for this decision was straightforward: ‘That kids who went to public schools were not the kind of people we should have close associations with. As a result, I spent twelve years al­most totally surrounded by young people who were busily develop­ing ruling class aspirations. Looking back, the schools were, in fact, training grounds for future fascists, capitalistic values, and individualism, competition, c1assism and racism. I never got along too well with the faculty or students at these schools, be­cause I was always considered a ‘rebel’.” 

Miss Hearst, did you write those words?
A. Yes.
Q. Were those words true or were you forced to say those words?
A. It is true I did not go to public school but the rest of it is not true.
Q. In other words, you were forced, I take it, to write that “Look­ing bock, the schools were, in fact, training grounds for future fascists.” Is that false or true in your mind?
A. It is false.
Q. I see. When was this manuscript written? Was it written during  the Pennsylvania period?
A. It was started during the Pennsylvania period and then I think they were still working on it until September of ’75.
Q. All right. The Harrises were still  working on it at the time of the arrest, is that correct?
A. Yes.
Q. And I take it that in none of the pages contained in this particu­lar affidavit, which is referred to,  I believe, as the Tania Inter­view — are you familiar with that?
A. With the what?
Q. The Tania Interview. Was there a portion of what the book was to consist of known as the Tania Interview?
A. I guess so. I mean –
Q. Or Tania file? With respect to those pages, I take it they were all written subsequent to May 17 of 1974, the shoot-out and fire in Los Angeles, is that correct?
A. Yes.
Q. So anyone who was forcing you to write these words or speak those words had to be the Harrises, is that correct?
A. Yes.
Q. Was anybody else forcing you to write words at that period of time, Wendy Yoshimura?
A. No, no.
Q. Or J. Weiner (phonetic)?
A. No.
Q. Mr. Houck?
A. No.
Q. Jock Scott?
A. No.
Q. And is it your testimony, Miss Hearst, that for a period commencing with April 22, that is the date that you read the tape or spoke the words into the tape recorder in the apartment on Gold­en Gate in 1974, until September 18, 1975, the date of your ar­rest, that for that entire period of approximately a year and a half any reference you made in public or in private as to the SLA and your having joined with the SLA and having joined in their activities was a forced statement?
A. I think it lasted until the time I got to San Mateo County Jail.
Q. And the forcing of you to say these things was done presumably after May 17th by the Harrises, is that correct?
A. Yes.
Q. And they forced you, did they, by threatening you with your life unless you went along by saying these things?
A. That, and sometimes they would use other physical duress.
Q. Such as what?
A. I had a black eye.
Q. They would give you a black eye?
A. Yes.
Q. Hit you in the eye?
A. Yes.
Q. Who hit you in the eye? William or Emily Harris?
A. Bill Harris.
Q. How often did this occur?
A. Oh, maybe four times.
Q. Four times?
A. Yes.
Q. During the year and a half?
A. Yes. During the year and a half.
Q. The approximately year and a half between the time you recorded your tape recorded message and the time of your arrest, the tape recorded message of April 22 or thereabouts of 1974 until the time of your arrest, the Harrises were part of the SLA, were they not, at the time you tape recorded the message?
A. Yes.
Q. Now, at the time of your arrest, the Harrises were not in the area, were they?
A. No.
Q. Were they?
A. No.
Q. Can you tell us whether you were in fear of the Harrises at that time?
A. Yes.
Q. And your fear was based upon what they might do to you?
A. I thought they might kill me, and I had finally gotten to a point where I moved into a separate house.
Q. Yes. The Harrises permitted you to do that, did they?
A. Yes.
Q. They did not tell you it was dangerous for you to move into a sep­arate house, you might do something stupid like go to the author­ities and turn yourself in?
A. Yes, but they always knew where I was.
Q. And as a matter of fact, you knew where they were, too, did you not, their place on Precita, in San Francisco?
A. Yes.
Q • And you had been to that place, had you not?
A. I had been there once.
Q. Yes. You knew it was quite a distance between the place you were residing and Wendy Yoshimura, and the place the Harrises were residing, did you not?
A. Yes.
Q. You knew that you would have time to go to any police station or substation or any office of anyone in authority and say, “I am Patricia Hearst. Protect me from the Harrises.” You could have done it, could you not?
A. No.
Q. Why not?
A. I don’t feel it was possible to do that.
Q. You thought notwithstanding that the Harrises were perhaps a mile away from you that you could not do that, that they would some­how kill you if you did that?
A. They would or that the FBI would.
Q. That the FBI would. And was this your frame of mind far the en­tire time since the time you began to read the tape recordings in­to the microphone until the day of your arrest?
A. I’m sorry, I don’t understand.
Q. Well, you stated, Miss Hearst, that you were afraid of either the Harrises and I presume before the shoot-out and fire in Los Angeles the other members of the SLA. And you were also afraid the FBI would kill you if you tried to turn yourself in, is that correct?
A. Yes.
Q. For the full period of time?
A. From when to when?
Q. From the time you first started recording messages into a tape re­corder, saying that you had joined the SLA and that you had vol­untarily robbed a bank?
A. Yes.
Q. Now, there came a time, did there, Miss Hearst, when you were present in Los Angeles in Inglewood to be precise, parked across the street from Met’s Sporting Goods Store, when the Harrises had gone in to do some shopping, isn’t that correct?
A. Yes.
Q. And you were in a van, parked across a rather wide boulevard from the store, isn’t that true, in a parking lot?
A. I am not sure exactly where it was but it was across the street.
Q. It was across the street?
A. Right.
Q. And you were reading a paper, were you not, when they were in the store?
A. Yes.
Q. And you looked up from that paper, did you not, and you saw that William Harris was being held on the ground by someone and being detained, isn’t that true?
A. Yes.
Q. And you picked up an automatic weapon and shot in the direction of Mel’s Sporting Goods Store?
MR. BAILEY: Objection.
THE COURT: Overruled.
MR. BROWNING: Thank you, Your Honor.
Q. Will you answer that question, please?
A. That I picked up a machine gun?
Q. Yes.
A. Yes.
Q. And you fired numerous shots in the area of Mel’s Sporting Goods Store, did you not?
A. Yes.
Q. And your purpose was to permit the Harrises to get back across the street, to get back into the van, was it not?
A. I guess, yes.
Q. Miss Hearst, does it not seem strange to you that if you had want­ed to get away from the Harrises and get out from under their threats to kill you, that you rescued them when they were being held down, when you are in an automobile and could have left, there was not anybody else in that van, was there?
MR. BAILEY: Objection, two questions, first of all, argu­mentative.
THE COURT: Mr. Browning, the question you are putting is argumentative, and don’t argue with the witness, argue to me.
MR. BROWNING: Very well.
Q. Was there anybody else in the van, Miss Hearst?
A. No.
Q. And did you have the keys with you to the van at that time?
A. I don’t recall.
Q. In any event, could you have gotten out of the van and gotten away from the Harrises at that point?
A. Where would I have gone? 1 guess I could have gotten out of the van but —
Q. But you did not do that, in any event?
A. No.
Q. And what you did do was to rescue the Harrises by firing a weap­on at the people who were holding them, or in the direction of the people who were holding the Harrises.
MR. BAILEY: That is two different questions: One is at the people and the other is the direction of —
THE COURT: Will you ask one question.
MR. BROWNING: Q. You did, in fact, fire the weapon in the direction of the people who were detaining the Harrises, didn’t you?
A. Yes.
Q. Now, can you explain to me, Miss Hearst, why you did that?
A. From the time I took the blindfold off until that happened, there were classes every day, and this was one of the particular ones what to do if something like that had happened, and when it hap­pened I didn’t even think. I just did it, and if I had not done it and if they had been able to get away they would have killed me.
Q. Did you prefer staying with the Harrises, who had threatened to kill you, to simply walking away from the Harrises when you had an opportunity to do that?
A. Did I what?
a. You rescued the Harrises, did you not, when you could have walked away?
A. I couldn’t have walked away.
Q. Why not?
A. Because if I walked away, the other members of the SLA would have come looking for me and I felt that the FBI was looking for me, too.
Q. I see. Now, following that shooting incident, I believe you test­ified that you were present in the van of a young man whose name was Thomas Mathews that evening, do you recoil that?
A. Yes.
a. And I believe your testimony was that when Mr. Mathews and you were in the van together, that William Harris had a weapon, is that correct?
A. Yes.
Q. And that Emily Harris had a weapon, too?
A. Yes.
Q. And that you did not have your weapon at that time.
A. It was there but I didn’t have it in my hands.
Q. Right. And soon after Thomas Mathews — strike that, if you please. Soon after you entered that van, Thomas Mathews was already in the van when you entered it, was he not?
A. Yes.
Q. Is it not true that you ejected from your automatic weapon a live round and placed it in a dip of that weapon and placed it in the clip?
A. I did not have an automatic weapon.
Q. You did not?
A. No.
Q. What type of weapon did you have?
A. It was an M-I carbine.
Q. Was that the same M-I you had used at Mel’s earlier that day?
A. That one and Bill Harris’, which was automatic.
Q. Okay. And is it true, Miss Hearst, that you in the presence of Thomas Mathews ejected a live round from the M-I that you had near you and inserted that in the clip, and put the clip back in the weapon?
A.  I don’t recall, it is possible.
Q. It is possible you may have. And did you, in fact, also at that time load a couple of live rounds into the chamber of a revolver, a pistol?
A. I don’t recall.
Q. Did you give Bill Harris a pistol in the presence a Tomas Mathews?
A. I don’t recall.
Q. You don’t recall?
A. No.
Q. I believe you testified that—
THE COURT: Mr. Browning, when you come to a point that is convenient, we will take a recess.
MR. BROWNING: That is fine.
THE COURT: We will be at recess for ten minutes. (Recess.)
(Following proceedings were had out of the presence and hearing of the jury.)
THE COURT: The record will show the defendant is on the stand. Will you proceed with your examination, Mr. Browning.
MR. BROWNING: Thank you, Your Honor.
Q. Miss Hearst, you recall that I earlier directed your attention to a tape recording that had been received in early April of 1974, and I told you I will show you a transcript of the voice on that tape recording and ask if you can identify the words. I will show you that transcript at this time and ask whether you spoke those words into a tape recording while you were on either Golden Gate or Northridge in Daly City?
A. No, I didn’t.
Q. You do not recall speaking any of those words, is that correct?
A. No, I didn’t say, not on Golden Gate.
Q. Let me ask you this: How many tape recordings did you make prior to the tape recording of April 22nd or 23rd?
MR. BAILEY: If it please the Court, April 18th tape has the note on it. And I don’t know why Mr. Browning keeps insisting there’s another tape.
MR. BROWNING: Well, my records show it was received the 23rd, Your Honor.
THE WITNESS: This tape?
MR. BAILEY: The one that was found by the Government.
THE WITNESS: This tape? This was talking about people being killed.
MR. BAILEY: May the document be marked for identifica­tion, some foundation laid?
THE COURT: Yes, so we will know what we are talking about.
MR. BROWNING: You’re right.
THE CLERK: Plaintiff’s 90 for identification.
THE COURT: Mr. Clerk, Mr. Browning apparently has agreed this is not the proper document.
THE CLERK: Okay. We will withdraw that, Your Honor. MR. BROWNING:
Q. Miss Hearst, would you toke a look at this transcript I now hand you, and ask –
THE COURT: Let’s have this marked.
THE CLERK: Plaintiff’s 90 marked for identification.
THE COURT: That’s the one he’s already marked.
MR. BAILEY: Thank you.
THE COURT: It will then be formally more completely marked as soon as the witness finishes reading it. It is Plaintiff’s Exhibit 90.
(Plaintiff’s exhibit No. 90 marked for Identification. Transcript of tape.)
THE COURT: Have you finished reading, Miss Hearst? THE WITNESS: Yes.
THE COURT: All right, now, Mr. Browning.
MR. BROWNING: Q. Do you recall, Miss Hearst, wheth­er you spoke those words i hto a tope recorder?
A. Yes.
Q. All right, And those words were recorded prior to the time of the April recording Mr. Bailey directed your attention to, were they not?
A. Yes.
Q. And in those words, you state that you have been given a choice between joining the SLA and staying and fighting, and you had chosen to stay and fight, is that correct?
A. Yes.
Q. Now, were you — were you forced to write those words?
A. I didn’t write those.
Q.  Pardon me?
A. I didn’t write this.
Q. You did not write. Okay. And were you given a script to read?
A. Yes.
Q. Who gave you that script?
A. I believe it was Cinque.
Q. And was that recording made in the closet?
A. Yes.
Q. Do you recall which closet, whether it was the closet on Golden Gate or the closet on Northridge?
A. The closet on Golden Gate.
Q. All right. And, at that time, did someone tell you what would happen to you if you didn’t read those words?
A. Yes.
Q. And who was that?
A. Donald DeFreeze.
Q. Pardon me?
A. DeFreeze.
Q. DeFreeze. And what did he say that would happen to you if you didn’t read them?
A. He said that I’d be killed.
Q. Now, I will hand you next a transcript which begins, “Reading to the People.” And I will ask that that be marked for identifica­tion at this time, Your Honor.
THE CLERK: Plaintiff’s 91 marked for identification.
THE COURT: It may be marked.
MR. BAILEY: May we have a representation, Your Honor, as to where these came from? Nobody ever released transcripts, they rleased tapes.
MR. BROWNING: If Your Honor please, I would be happy to ask the witness that question. That’s what I’m getting at, whether these are her factual recordings or not.
MR. BAILEY: We know how the transcript was made. No transcript was ever released, nor does the Government claim it -­if the Government made this transcript, I would like the record so reflect. The witness has never seen it.
MR. BROWNING: This transcript — I will make this by on offer of proof — was made from a tape which was received on or about June 7th of 1974. If the Court wishes, I will consult my records and ascertain precise circumstances under which the tape came in.
MR. BAILEY: This is the Government’s version of what the tape said, in other words?
MR. BROWNING: Yes.
MR, BAILEY: We have never been furnished these docu­ments, Your Honor.
THE COURT: Have you been given the transcripts?
MR. BROWNING: They have been given the tapes them­selves of everyone of these transcripts.
THE COURT: All right. Well, since the transcripts are going to be used, would you have transcripts made available.
MR. BROWNING: Very well.
THE COURT: Exhibit 91 for identification.
(Plaintiff’s Exhibit No. 91 marked for identification. Transcript of tape.) :
MR, BROWNING: This is 90, Your Honor, that I’m directing the witness’s attention to.
THE COURT: What is the other one?
MR, BROWNING: The other one has been marked 91.
THE COURT: Which one, the earlier one?
MR. BROWNING: I think it is the other way around. I be­lieve it should be — this one ought to be 91, I believe that one should be 90, Your Honor.
THE COURT: Let’s clarify this.
THE CLERK: We will change them, Your Honor.
MR. BROWNING: Thank you.
Q. All right. I hand you Plaintiff’s Exhibit 91 for identification, Miss Hearst, and ask if you will read the words on that piece of paper, and tell me whether you spoke those words into a micro­phone?
MR. BAILEY: For the record, Your Honor, the defendant has never seen this document before. It was not offered during the recess, and she has not heard the tapes that were made a year and a half ago, almost two. I suggest the transcript is no answer.
THE COURT: Do you have a copy of the transcript, Mr. Browning?
MR, BROWNING: Pardon me, Your Honor?
THE COURT: Do you have a copy of the transcript for Mr. Bailey?
MR. BROWNING: I don’t have one right at the moment.
He has the tapes from which the transcript was made.
THE COURT: I know he has. There are innumerable tapes, he hasn’t had them all transcribed.
MR. BAILEY: I don’t have the Government’s version of what the tapes says, Your Honor, maybe it varies.
THE COURT: I understand that. This is what I’m suggesting to Mr. Browning, and I’m ordering him to produce copies for you.
MR. BROWNING: I will hand counsel a copy at this time of the portion of that transcript to which I am directing
Miss Hearst’s attention. This is not the entire tape recording–­that is —
MR. BAILEY: Is that what she has?
MR. BROWNING: Yes. Everything she has, she has more than what’s there.
MR. BAILEY: This is not everything she has.
MR. BROWNING: This is a transcript of Miss Hearst’s voice on the tape on that date. Now, it’s not the voice of Wil­liam and Emily Harris, whoever else it may be on that tape. This is the best I can do right at the moment, Your Honor.
MR. BAILEY: Very well.
THE COURT: A full copy will be supplied later.
MR. BAILEY: Thank you.
THE COURT: All right. Now, proceed. Miss Hearst, do you remember — Mr. Browning, would you ask the question.
MR. BROWNING: Yes, Your Honor.
Q. Miss Hearst, do you recall speaking those words into a micro­phone?
A. Yes. 
Q. When you spoke those words, that was at a time after the Los Angeles fire and shoot-out in which you knew that 
Mr. DeFreeze had been killed, is that true?  
A. Yes. 
Q. And Mr. Wolfe had been killed, Angela Atwood had been killed,  and as a matter of fact, everybody that you knew connected with the SLA had been killed, except William and Emily Harris, right?
A. Yes.
Q. And is it your testimony that you were forced to read those words?
A. Yes.
Q. By whom? 
A. The Harrises.
Q. And where were you when you recorded that message?
A. In an apartment in Oakland, I believe.
Q. In Oakland?
A. (Affirmative nod.)
Q. Was that prior to the time you went to Pennsylvania?
A. Yes.
Q. Do I understand that after you left the San Francisco area, you went to Los Angeles; and did you then go from Los Angeles back to the Bay Area, or did you go directly to Pennsylvania?
A. No, back to the Bay Area.
Q. Back to the Bay Area. Then you went to Pennsylvania from the Bay Area?
A. Yes.
Q. And you went with the Scotts, did you not?
A. Yes.
Q. And, as I recall your testimony, you were in an automobile, is that correct?
A. Yes.
Q. With Jack Scott, right?
A. Yes.
Q. And his parents?
A. Yes.
Q. And his wife?
A. No.
Q. Just the four of you, his parents, his mother and father, himself  and you, is that correct?
A. Yes.
Q. Neither of the Harrises were along on that trip?
A. No.
Q. You went all the way from the Bay Area to Pennsylvania in an automobile?
A. Yes.
Q. Were the Scotts armed?
A. No.
Q. They had no weapons, did they?
A. (Negative shake of head.)
Q. Were you armed at the time?
A. No.
Q. Was there some reason why you were unable to — well, strike that. Let me ask you this, Miss Hearst: When you left Pennsyl­vania, did you come back across the country with the Scotts again, back to the Bay Area.?
A. Yes.
Q. And who was present at that time, Jack Scott, on the trip?
A. Jack Scott.
Q. Anyone else?
A. No.
Q. Just you and Jack Scott.
A. (Affirmative nod.)
Q. Did you drive straight through or did you stay at motels along the way?
A. Stopped.
Q. How many stops did you make?
A. I don’t recall.
Q. All right. Was Jack Scott armed at that time?
A. No.
Q. Isn’t it a fact that when you got back to the Bay Area, or near the Bay Area, that Jack Scott offered you — offered to take you back to your parents?
A. No.
Q. That’s not true?
A. No.
MR. BAILEY: Does the Government intend to produce Mr. Scott to testify to that?
MR. BROWNING: I don’t know I have to respond to that.
THE COURT: No.
MR. BAILEY: Objection.
THE COURT: Overruled.
MR. BROWNING: Q. Miss Hearst, where did you last see Jack Scott after you arrived back at the Bay Area? Jack Scott took you back to the Bay Area from Pennsylvania?
A. He took me to Las Vegas.
Q. He took you to Las Vegas?
A. Yes.
Q. And is that the last time you saw Jack Scott?
A. Yes.
Q. Now, you told me that he did not offer to take you home to your parents when he dropped you off in Las Vegas?
A. No, he didn’t.
a. All right, now, can you tell the Court how you again came into the company of the Harrises after Jack Scott left you in Las Vegas?
A. I was met.
Q. Pardon me?
A. I was met.
Q. You were met by the Harrises?
A. Yes.
Q. And where did they meet you?
A. I don’t recall, it was a motel someplace.
Q. All right. It is your testimony that Jack Scott prevented you dur­ing these two trips, one to the East and one back from the East to the West from getting out of the Harrises’ control?
A. He was very anxious about writing a book, and that is what his main concern was.
Q. But he wasn’t forcing you to go any particular place, was he?
A. He was taking me back and forth for the Harrises.
Q. Yes. But could you have left, say, from one of the motels that you stopped at on the way cross-country and gone somewhere else without him?
A. Where would I have gone?
Q. I don’t know.
Q. I say could you have?
A. No.
Q. Why not?
A. Because I did not feel I would be able to go any place.
Q. Was Jack Scott physically preventing you from leaving during that period of time?
A. I don’t know what you mean.
Q. Did he keep you locked up with him in a room?
A. He was with me the whole time.
Q. Yes. And was there ever a time during that trip that you were out of his sight?
A. I am sure there were moments.
Q. In other words, you were in a room by yourself and Scott had gone out for cigarettes, or food, or whatever?
A. No, he never went out for food.
Q. He never did; but were there opportunities, Miss Hearst, that you had during this period of time when you could have left and gone somewhere else without Jack Scott?
A. No.
Q. There were not. Is it your testimony that Jack Scott was keeping you there, was preventing you from leaving?
A. No.
Q. In other words, you know, don’t you, that you could have left if you had wanted to, say if you had a place to go, you could have gone to?
MR. BAILEY: Objected to as argumentative.
THE COURT: I will overrule that objection. I don’t believe it is argumentative. Proceed.
THE WITNESS: Would you ask the question again.
MR. BROWNING: Q. The question is, you knew, didn’t you, at the time, Miss Hearst, if you had a place to go you would have gone there and Jack Scott would not have stopped you from I leaving, isn’t that true?
A. Yes.
Q. Let me ask you this, Miss Hearst, did Jack Scott at any time dur­ing that trip back to the West Coast offer to take you anywhere you wanted to go?
A. No.
Q. He did not?
A. No.
Q. Again, directing your attention, Miss Hearst, to the manuscript known as the Tania File, the Tania Interview.
MR. BAILEY: This has not been marked.
MR. BROWNING: Will be marked, Your Honor.
THE CLERK: Plaintiff’s 92 marked for identification.
MR. BAI LEY: Has the defense been furnished a copy of the document?
MR. BROWNING: We will have it for you shortly.
THE COURT: What is this now, 92?
THE CLERK: 92, Your Honor.
THE CLERK: Plaintiff’s 92 for identification.
(Plaintiff’s Exhibit 92 marked for identification. “Tania Interview”.)
THE COURT: Fairly soon, Mr. Browning, we will have to take a recess.
MR. BROWNING: Very well, Your Honor.
THE COURT: You may proceed, however, briefly.
MR. BROWNING: Q. Let me read you a question and an­swer which appears at Page 8, Miss Hearst, and ask you whether you wrote this language:
“Q. Where did you finally end up, what type of a living situation?
“A. I ended up in a closet for about six weeks.”
Is that correct, are those your words?
A. That is it. May I see it?
Q. Yes.
A. Yes, this is from the manuscript.
Q. Now, in fact, were you in a closet for six weeks?
A. No.
Q. It was a period of time less than that, was it not?
A. There were two closets, and I believe it was a period of time longer than that.
Q. Directing your attention to Page 5, I will read you the question and ask if these were your words, and I will also show you this thereafter. The question was: “Q. What sort of model did your mother provide for you in terms of a pattern for you to follow?” And a portion of your answer is: “Now, my mother, when we were in Atlanta in June of 1973.” (Indicating.)
A. Just this?
Q. Just this. .
A. Yes.
Q. Okay. In fact, were you in Atlanta in June of 1973 with your mother?
A. Yes.
Q. And is this one of those portions of this document which is cor­rect, then?
A. That line is, yes.
Q Yes. Now, had you told the other members, the members of the SLA about that incident, being in Atlanta in 1973?
A. I must have.
Q. Why did you do that?
A. During writing of the book.
Q. Pardon me?
A. It was part of the writing of the book.
Q. In other words, you would volunteer accurate information for the writing of the book?
A. Yes.
Q. And why did you do that, Miss Hearst?
A. I don’t know.

Nahum in Space

nahum-mantra41007021pix

Isotopica is today in conversation with the wonderfully named

Nahum Mantra

a composer, multi instrumentalist, and Artist, who also coordinates the technical committee for the cultural and artistic utilisations of space (ITACCUS) at the International Astronautical Federation in Paris. Nahum lives and works in London and Mexico City and curates Kosmica, a monthly series of space and arts gatherings at The Arts Catalyst London.

nahum-mantra41007021pix

Nahum and i first worked together at the shunt lounge, a beautiful 1000 artist collaborative project under london bridge station which ran for some years until the foundations of the foul shard filled our playground with concrete…..

Astrid and Organs: and some cleaners

Albion Organ Into churchspot

The “body without organs” (French: corps sans organes) is a concept used by French philosopher Gilles Deleuze. It usually refers to the deeper reality underlying some well-formed whole constructed from fully functioning parts. At the same time, it may also describe a relationship to one’s literal body.

But today we are joined by Wellcome Trust / Clore/ Rijksakademie Fellow & FRSA Poet Astrid Alben who will be reading from her new collection Plainspeak.

Plainspeak is based on an early memory: when aged four or five she decided she wanted to be a boy, The boy she never got to be grew up alongside her as her alter ego, ‘Poet’ in these poems.

AND: Over the course of several months, Áine O’Dwyer was given access to the pipe organ in St Mark’s Church, Islington while the cleaners were at work. Primarily a harpist, this was a rare opportunity to grapple with the “king of instruments” and apply her sense of melodic, structured improvisation in a very different context.
The result being  
Áine O’Dwyer – Music For Church Cleaners vol. I and II with which we happily assemble today’s program around……
Albion Organ Into churchspot

Dada Dada Rabbit wasn’t there: no microphone

isotopica_cultural_revolution

Masqualero [alternate take] miles davis

Burlington hacker farm
Squash 1 Person Rec On Court
Je suis parti sur un de ces bateaux
Table Tennis Amateurs Playing
Cancer charles bukowski
Roulette Wheel Spinning Small Ball
Dada For Now Russolo
Dada For Now Schwitters
john cage discusses something cool

isotopica_cultural_revolution

Cabaret voltaire: is still not dead….

tumblr_ne89vbj9gg1r2geqjo1_500

tumblr_ne89vbj9gg1r2geqjo1_500

Les psaumes sont écrits sur les magnétophones
Les chorus ont un nègre à chaque mélopée
Les bouches font des langues sept fois retournées
Miserere Seigneur du fond des microphones

La nature d’acier pousse des fleurs chromées
Le juste en Cadillac s’encense du cigare
Le courrier meurt de peur dans les aérogares
Miserere Seigneur du fond des destinées

Le boulanger joue la tournée au pain azyme
Les moutons des prisons se laissent tricoter
Et le coq de Saint Pierre a tranché son gosier
Miserere Seigneur du fond des anonymes

Les condamnés jouent au poker leur appétit
Et laissent aux suivants leur part de Jamaïque
Le coup de grâce dans le vent est liturgique
Miserere Seigneur du fond des piloris

L’estomac du commun se met en diagonal
Le traiteur donne aux chiens sa pitié tarifée
Les boueux ont glissé sur des peaux d’orchidées
Miserere Seigneur du fond des capitales

Les banques de l’amour sont pleines à craquer
Les “je t’aime” publics assomment les affiches
Les adolescents ont des lèvres postiches
Miserere Seigneur du fond des oreillers

Les vitrines regardent passer les voyelles
Les ortolans dans le commun prennent le frais
Et le saumon fumé boude le tapioca
Miserere Seigneur du fond de nos gamelles

Les femmes en gésine inondent le pavé
Les mineurs font un blanc à chaque lavabo
Les souffleurs de Baccara font des bancos
Miserere Seigneur du fond des encavés

Les brebis de Panurge attendent au vestiaire
Les visas escomptés percutent sur l’azur
La queue chez l’épicier jouit contre le mur
Miserere Seigneur du fond des muselières

La ville a dégrafé son corsage de mort
Les balles dans la rue ont la poudre nomade
Les pavés font la main aux yeux des barricades
Miserere Seigneur du fond des thermidors

Les temples sont cernés et sentent le roussi
Les magasines font la pige aux évangiles
Et les chemins de croix se font en crocodile
Miserere Seigneur du fond des crucifix

Le journal titre en deuil la putain des frontières
La fleur fane au fusil et meure sous un drapeau
Et les téléscripteurs nous mènent en bateau
Miserere Seigneur du fond de nos galères

La maladie veille au chevet des ganglions
Le coeur est métronome et la vie est musique
A l’hôpital les symphonies sont catholiques
Miserere Seigneur du fond des pulsations

La fonderie sur le tour égrène son rosaire
Le tueur de la rue a gagé son beefsteak
Et celui de Kobe n’aura pas un kopeck
Miserere Seigneur du fond des mercenaires

Le verbe s’est fait chaire dans le ventre rusé
La putain Marguerite a la peau qui dépasse
Le caillot dans les plis sinueux se prélasse
Miserere Seigneur du fond des pubertés

Les bourgeois de la rue ont piqué la vérole
Et réclament partout de faux médicaments
Qu’on leur sert en faisant claquer toutes leurs dents
Miserere Seigneur du fond des carmagnoles

Les sextants sont en grève au coeur des matelots
Les oiseaux carburés fientent les équipages
Le soleil fait la course avec le paysage
Miserere Seigneur du fond des paquebots

La trouille a revêtu la terre de sa housse
Le plat de contrition se vend au marché noir
Le curé fait du supplément sous l’ostensoir
Miserere Seigneur du fond de la ressource

Les condamnés jouent au poker leur appétit
Ils vous laissent Seigneur leur part de solitude
Le service est compris nous avons l’habitude
Descendez donc seigneur de notre connerie

Ultra High Frequency

UHF

Ultra high frequency

(UHF)

the ITU designation for radio frequencies in the range between 300 MHz and 3 GHz, also known as the band as the wavelengths range from one meter to one. UHF television broadcasting is the use of ultra high frequency (UHF) radio for over-the-air transmission of television signals. UHF frequencies are used for both

Ultra
Ultra

analog

and digital television broadcasts. UHF channels are typically given higher channel numbers, like the US arrangement with VHF channels 2 to 13, and UHF channels numbered 14 to 83.
UHF broadcasting became possible due to the introduction of new

high-frequency vacuum tubes

developed by Philips immediately prior to the opening of World War II. These were used in experimental television receivers in the UK in the 1930s, and became widely used during the war as radar receivers. Surplus tubes flooded the market in the post-war era. At the same time, the development of color television was taking its first steps, initially based on incompatible transmission systems. The US FCC set aside a block of the then-unused and now-practical UHF frequencies for color television use. The introduction of the backward compatible NTSC standard led to these channels being released for any television use in 1952

The Future is the Past : incept date January 8th 2016

Rough Episode notes…..

lemmy, fruit machines, hawkwind, lsd,

my first heroin overdose, post bomber tour christmas party after hammersmith odeon gig (1980?)

so young, so much heroin
so young, so much heroin

hauntology points to brazil being possibly the last film ever made, even featuring Scarfolk style posters including ‘ we are all in this together’ zzzzzp which takes up to the present, which was only the future in some strange dystopian past…..

Lemmy

I’m sure the absurd david cameron or some other tory wonks must have half watched brazil

and just thought all the really bad bit were the good bits, as yes we do pay for our own surveillance, and yes we are now charged more than ever for access to a criminal justice system….. no one should ever have had to make it up but terry giliam got it all all too right….. sigh

anyway…. the future that we are not having is arriving none the less as Roy Batty’s incept date was (and is)  8 January 2016 that’s sometime this coming friday, yes friday….. it’s here, the future but it’s not, it’s the past, or the future as imagined in the past, beyond nostalgia…… spin spin spin 

Replicant (M) Des: BATTY (Roy)
NEXUS-6 N6MAA10816 [N6 = Nexus 6, M = Male, AA = Physical and Mental are both the highest grade, 100816 means his incept date was 8 January 2016.] Incept Date: 8 JAN., 2016.

 

but this weekend……

ClapTON Ensemble
ClapTON Ensemble

Paris mon amour

a gentle reflection after the horrific events in paris on friday the 13 2015
featuring lucilee, ivor cutler, and humphrey bogart…

“Tous les ans, vous fêtez les mêmes fêtes, les mêmes anniversaires ; tous les ans, nous en sommes au même point. Le calendrier n’est pas seulement le temps qui se récapitule, mais c’est la négation même de la mort. Cette négation du temps, non plus de la naissance biologique, mais de la mort biologique du sujet, est à l’origine des rites les plus répandus, les rites que les Romains appelaient obsequia, ce qui veut dire « suite » en latin ; non seulement parce qu’un cortège suit le défunt qu’on inhume, mais parce qu’au fond, la vie continue. Vous croyez qu’il est mort parce que vous ne le voyez plus. Il est disparu, d’accord, mais vous allez continuer à le nourrir. Des traces de ces rites se retrouvent chez nous à la Toussaint avec ses chrysanthèmes. Dans nos civilisations classiques, on apportait de quoi manger, on logeait même le mort dans les pyramides, où l’on trouve tout un mobilier. Cela voulait dire que celui qui, physiologiquement, était disparu, n’était sociologiquement pas mort. Autrement dit, la personne persiste.”

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“C’est ce qui fait que jamais la personne n’apparaît ou ne disparaît avec le sujet. L’enfant est dans le désir du parent. Et partout il y a le rituel des « obsèques » (du latin obsequia : « cela continue »), cérémonie dans laquelle on dit : « Tu n’es pas mort ». Rite qui atteste que la personne n’est pas morte avec le sujet. En d’autres mots : l’éternité des croyants est déjà en germe dans la personne, à laquelle nous accédons par la société.”
Jean Gagnepain

An ArtAngel in the house

An gentle and informal conversation with James Lingwood, co-director (along with Michael Morris) of ArtAngel, almost certainly the commissioning body responsible for some of the most interesting art projects we have seen in the past 20 plus years…

An article in The Daily Telegraph described the organisation as creating “art that operates by ambush, rather than asking you to pay up before you see it”,while a profile in The Observer noted that “Artangel has worked with exceptional artists to produce some of the most resonant works of our time, in some very unusual places”. These have included a condemned council flat (Seizure, 2008–2010), a former postal sorting office (Küba, 2005), a vacated general plumbing store (An Area of Outstanding Unnatural Beauty, 2002) and the former Oxford Street branch of the department store (Break Down, 2001).

Saucy Pictures (curatorial glitch)

lu-pane

International Miss Curation (algorithmic erotica)

re generative musics and some glitched

imagery

ˈɪmɪdʒ(ə)ri
noun

1.
visually descriptive or figurative language, especially in a literary work.
“Tennyson uses imagery to create a lyrical emotion”
2.
visual images collectively.
“the impact of computer-generated imagery on contemporary art”

a curation
a curation

Gentleman Sutton & I: converse

Isotopica – 8th December 2015 by Resonance Fm on Mixcloud

Sprachregelung

is a German language term meaning “convention of speech”. It refers to a formal or informal agreement, or order, that certain things should be expressed in specific ways in official communications by an organization or by a political entity. Although not the same, it has some overlap with the US-American concept of politically correct speech codes. It can also cover such concepts as agreed “lines-to-take”, talking points, and the exertion of message discipline.

Dudley Sutton & Simon Tyszko…..

converse and ramble on Communication…