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#cut-up
matookahitaki · 11 months
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thefugitivesaint · 1 year
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Brian Biggs, 'Cut Up', ''Death Rattle'', Vol. 3, #1 & #2, 1995
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William S. Burroughs sonic warfare
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burlveneer-music · 2 years
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Carl Stone - We Jazz Reworks Vol. 2 - 6 pieces crafted from the music of 10 albums from the We Jazz catalog
We Jazz Reworks is an idea that repurposes some of the label’s output 10 albums at a time. That is, we invite producers whose music we love on board, and one by one, they tackle 10 albums worth of source material, of which they are free to use as much or as little as they choose. The series evolves chronologically, so this volume being number two, the source material is pulled from We Jazz LPs numbers 11 through 20. The artist has complete freedom. Volume 2 in the series happens with Carl Stone, a legendary figure in creative music. His career spans decades of unlimited musical innovation. Stone’s recent output on Unseen Worlds, the label who has also been instrumental in issuing some of his remarkable earlier work, ranks among the most original art of our time and renders notions such as ”genre” virtually meaningless. Here, We Jazz originals by Terkel Nørgaard, OK:KO, Jonah Parzen-Johnson and more are met here with a fresh sense of discovery, spun around and delivered ready for the turntable once again. Carl Stone says: ”It was wonderful that We Jazz gave me carte blanche to work with any materials from the set of ten releases in its catalog. This freedom to work with everything could have been a mixed blessing though, as it could be a challenge to try to deal with so much musical information. In the end I did what I almost always do: Let my intuition be my guide and to seize upon any musical items that seemed to fit into an overall approach.” ”To make a new piece I usually start with an extended period of what really is just playing, the way a child plays with toys. Experimentation without necessary expectation, leading to (hopefully) discovery of things of musical interest, then figuring out a way to craft and shape these into a structured piece of music. Each track uses a different approach, which I found along the way during this play period.” This conceptual approach becomes complete with the design, in which album graphics are treated in a similar fashion, reworking what’s there. This time around, the artwork is reinvented by Tuomo Parikka, a great friend of the We Jazz collective and a regular cover collage contributor for the We Jazz Magazine.
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marcogiovenale · 1 year
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cut up / prosa / ecc.: riccardo cavallo su compostxt (nel 2010)
https://compostxt.blogspot.com/2010/05/cut-up-agencyidee-dela-prosa.html
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samble-moved · 8 months
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post itself
false flags
trans/adjacent tags
accessibility features
tumblr live post (thanks for the link, @problemnyatic)
flashing / strobing / lights
unblockable flashing ad
buying ad free
staff @/macmanx guilt trip
list of staff + more issues
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speakingparts · 1 year
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Mono no aware (物の哀れ) An inflatable sex doll suddenly develops human feelings one day.
eye: Air Doll (空気人形, Kūki Ningyō), Hirokazu Koreeda ear: Max Richter, The Quality of Mercy
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textosaleatoriosbr · 7 months
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Textos Aleatórios A Beleza da Improvisação Literária
Textos Aleatórios A Beleza da Improvisação Literária Textos aleatórios são como fragmentos de pensamentos soltos ao vento, palavras que dançam sem um propósito aparente, mas que muitas vezes revelam a beleza da improvisação e a liberdade da mente. Textos Aleatórios A Beleza da Improvisação Literária Eles podem surgir de uma mente criativa, de um devaneio passageiro ou de uma inspiração súbita,…
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https://archive.org/details/Vol5No2/page/n51/mode/2up
Abstract -
During the summer of 1972 William Burroughs, author of Naked Lunch (1959), began an "operation" against the Moka Bar, a Soho coffee shop. He made recordings and took photographs of the premises at 29 Frith Street before intercutting the tapes with noise from other locations. Burroughs then returned to Frith Street for play- back in situ whilst he took more photographs. After repeating the exercise Burroughs claimed that the Moka Bar lost trade and finally closed down on October 30th, 1972. First documented in 'Playback from Eden to Watergate' (1973), this episode has become a favourite of biographers and those who present Burroughs as a countercultural 'guerrilla'. That's to say, the details of the 'op- eration' and the existing recorded and photographic evidence demonstrate a trajectory that moves beyond the expected boundaries of the cut-up; a shift from theory to practice in which Burroughs actualizes the conspiratorial, magical and combative strategies originally discussed in, and applied to, the Nova texts (1 96 1- 1 964, 1 964- 1967). This article argues that although such a reading is expressive of Burroughs's positive cultural reception, it is critically problematic. The plotting of a teleological movement from word to street, covertly reads Burroughs's compositional praxis as a qualitative semiotic hierarchy. Speculative manipulation of the symbolic word seems to precede the efficacy of a materialized engagement with indexical recordings and iconic photographs. In contrast, my argument reads the interaction of image and sound in the Moka Bar operation as exemplifying a wider theory of recording that integrates the specific material zones of text, tape and photograph.
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teaboot · 6 months
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You need to make art that nobody else likes. You need to make art that speaks to you alone. You need to cradle a serpent that eats its own tail and you need to love it until it loves you back
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deathpalettezom · 8 months
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Lew Welch Birthday Cut-up
From “Wobbly Rock“ Random number of syllables turns out to be 42. So, to Bard:  (there is no separation)
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marcogiovenale · 2 years
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cts ryan on the cut up technique
https://www.briongysin.com/cut-ups/
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