i meant to leave

your scarf in the woods

at half past breakfast-

but time is a social construction

and i lack the social skill

to define 'half'

bead cluster/ beat clutter

can a string of beads have a discrete shape? the nature of manufacture dictates that in order to produce thousands of mardi gras beads, there must be some formula to make them. how does this formula reflect into the recontextualized (i use that word a lot) bead formations? is anything retained once ten beads are stuffed into a bag and sold for 1.99?
geometrically, a string of beads can only take 2 forms: broken or unbroken. regardless of the folds, it still retains its original shape. yet the definition of the bead string is entirely dependent on the environment around it. as with any product, a bead is defined by its USE.

SLIGHTLY HELPFUL

here is some of my solo sound work. i've uploaded some sounds here:
SLIGHTLY HELPFUL
philosophy: i focus on repetition and the slow decomposing/recomposing of loops and samples. i'm indebted to the nature of the effect: taking a sound, and recontextualizing that sound. multiple effects can completely remove the sound from what it once was, creating layers of sound all within one sample. multiple samples at once create more layers. providing feedback delay to the entire output adds one last volatile layer to the sound.

equipment i use:
BOSS SP-303 SAMPLER
the cradle for the entire process. samples, recontextualizes, and loops any source i want. i draw most of my samples from old records, field recordings, and a bass synthesizer.
BOSS DD-6 DIGITAL DELAY PEDAL
this is extremely integral. i use the delay to create feedback loops that every sound i make dumps into. the feedback loop is tempo-overlaid (sometimes) with the sampled loops to create a pulse. the dd-6 often creates sounds that i can't necessarily control, giving the sound output organic/spontaneous life.
BOSS SYB-5 BASS SYNTHESIZER
i "play" this pedal by holding the cable in my mouth to create and manipulate synth waveforms. this often feedbacks into the delay loop.
BEHRINGER EURORACK 802
a simple 4-track mixer, yet this provides a funnel for any input i wish. in a way, the mixer embodies the entire philosophy of my music inn that it creates a plane in which to manipulate and combine previously seperated conditions.

please comment/collaborate/MYSPACE ME

FRAME FORMATIONS

1. what are the effects forced upon a frame when it is cut into an open system rather than a closed system? what if it's cut, wound around itself, etc?

2. how can different frames recontextualize the  meaning of a work?

VERBAL COMMUNICATION VS. HORIZONTAL COMMUNICATION

verbal communication: individual struggle towards an idea. the vertical scroll of a blog. wholly personal, and in many ways secretive.

horizontal communication: collective ideas forming through discussion. blog-to blog communication (comments, video responses, textual response, class, etc.) horizontal communication is in many ways more honest than vertical communication because the idea is seperated from the ego.

i hope for you all to erase my ego, and hopefully i can erase yours.

unless ego is your thing.

now that i think of it, ego might be my thing also.

double television

some friends and i sometimes enjoy watching two tapes at once with the sound muted on one. here is a photo of sophie's choice and bring it on playing at the same time.

note the parallel narrative structure (having sex=============thinking about sex while brushing teeth) that has been created by pure chance of the two tapes aligning.

is this entropic alignment the only worth you can draw from this? in what other ways can you harvest this medium? idk

google reader

nothing too art fart... i use http://reader.google.com to organize and stream all of your wonderful thoughts continuous. long live the intertwining of face to face conversation and bloggersation!