Apopthelema Entry 4 Part 1 by Kyle Nonneman
[Note: this was composed in prison where proof-reading facilities are notoriously bad. Please don't hold that against the author. You can contact Kyle through the link listed at the end of this entry.]
Apopthelema Entry 4 Part1
THE AMERICAN NOISE SCENE AND THE ATROCITY EXHIBITION: PART ONE
(THIS IS THE WAY STEP INSIDE....)
FIRST HERE'S A WORD FROM OUR SPONSORS:
"IN BATAILLE'S MYTHOLOGY,THE ECSTASY OF THE TORTURE VICTIM LENT WEIGHT TO THE ECSTASY OF THE GREAT SADISTS GILLES DE RAIS,ERZSEBET BATHORY DE NASSADY,DONA CATALINA DE LOS RIOS OR AGAIN TO THE MAN WHO WANTED TO SEE THE TORTURED BODIES OF WHICH PLATO SPEAKS, TO THE ITHYPHALLIC FLAGELLATORS OF CHRIST"-J.M. LO DUCA
*
"THIS URGE,WHAT IT COMES DOWN TO IS, "WHAT IS THE BODY?
IN WESTERN CULTURE,PEOPLE ARE SO BODY CONSCIOUS THEY DONT KNOW THEY ARE LIVING IN IT. THE ONLY TIME YOU CAN START TO FIGURE THAT OUT IS WHEN YOU START PIERCING,TATTOOING ,PLAYING WITH IT, MODIFYING IT. THAT IS THE ONLY TIME YOU FIND OUT WHO YOU ARE.THAT SHORT INSTANT WHEN THE NEEDLE IS GOING THROUGH YOUR FLESH,YOU MAY HAVE A REALIZATION OF WHO YOU ARE. THE NEEDLE IS GOING THROUGH MY BODY BUT ITS NOT GOING THROUGH ME. SO IT DOESNT HURT.
[...] WE ARE AT THE LOWEST STATE OF CONSCIOUSNESS THERE IS. EVEN ANIMALS HAVE A HIGHER STATE OF CONSCIOUSNESS THAN MOST OF THESE PEOPLE RUNNING AROUND IN THREE PIECE SUITS.
THE POINT IS,THE IDEA OF MORTALITY AND IMMORTALITY IS ALL MESSED UP AND IS VERY UNREAL. IT ALL STARTED WITH ST.PAUL AND THE PERVERSION OF THE TEACHINGS OF CHRIST."-FAKIR MUSAFAR
**
"In a 1994 essay, published in the underground music magazine G-Modern,Mikawa Toshiji of Incapacitants criticized overseas comps for creating & enforcing the categories of Japanoise. Mikawa argued that japanese noise was presented to foreign audiences as a landscape of radical incommensurability, which forced Noisicians to define themselves against an Orientalist projection.
His examples are the covers of Extreme Music From Japan, Land of the Rising Noise, and Come Again II,. Many of the Japanese performers on these compilations were frustrated and disturbed by the artwork chosen to represent the Japanese Noise scene. Shocking images of sexual bondage and physical violence were used on the covers of several early recordings by Japanese Noise artists in the 1980s. Primarily Merzbow. Most famously on his Music for Bondage Performance cd. Associations with deviant sex quickly became an important part of overseas knowledge about Japanese Noise. Especially in the 1990s, as hentai filtered into underground media circulation such as the Urutsukidoji series.
Noise Artists North America began to use images inspired by Merzbow,often borrowing from Japnese pornography {..}
"japanoise became a mirror ball of distorted perspectives that could only reflect the projections of an outsider back into their own view"-Novak
*
"It wouldn't be totally irrelevant to say that the bias that is preoccupying the producers is encapsulated in these images. That Noise should remind us of some sort of torture;and then that being exposed to these sounds transforms torture into pleasure-and then that idea is related to these images that evoke torture victims; then it goes without saying that beyond the diversity of the works included the images add a framework to these compilations which takes power over the minds of their buyers. This distorted perception of Noise was mapped onto its creative sources as Japanese artists were forced to define themselves in relation to a Japanese noise scene. then changed their work to avoid being categorized under those terms.
Regardless of whetber one accepts these visual choices or is disgusted by them, the use of these images has affected the minds of the individual artists on these albums.{..} so now what has been represented as japanese noise at first by exaggeration based on the lack of sufficent information in the early period,then labeled with attributes that summarized the group from the distant perspective of overseas reception and then represented by the glut of information in later periods-is forced to define itself"
Sunday, August 14, 2016
THE AMERICAN NOISE SCENE AND THE ATROCITY EXHIBITION: PART ONE
(THIS IS THE WAY STEP INSIDE....)
FIRST HERE'S A WORD FROM OUR SPONSORS:
"IN BATAILLE'S MYTHOLOGY,THE ECSTASY OF THE TORTURE VICTIM LENT WEIGHT TO THE ECSTASY OF THE GREAT SADISTS GILLES DE RAIS,ERZSEBET BATHORY DE NASSADY,DONA CATALINA DE LOS RIOS OR AGAIN TO THE MAN WHO WANTED TO SEE THE TORTURED BODIES OF WHICH PLATO SPEAKS, TO THE ITHYPHALLIC FLAGELLATORS OF CHRIST"-J.M. LO DUCA
*
"THIS URGE,WHAT IT COMES DOWN TO IS, "WHAT IS THE BODY?
IN WESTERN CULTURE,PEOPLE ARE SO BODY CONSCIOUS THEY DONT KNOW THEY ARE LIVING IN IT. THE ONLY TIME YOU CAN START TO FIGURE THAT OUT IS WHEN YOU START PIERCING,TATTOOING ,PLAYING WITH IT, MODIFYING IT. THAT IS THE ONLY TIME YOU FIND OUT WHO YOU ARE.THAT SHORT INSTANT WHEN THE NEEDLE IS GOING THROUGH YOUR FLESH,YOU MAY HAVE A REALIZATION OF WHO YOU ARE. THE NEEDLE IS GOING THROUGH MY BODY BUT ITS NOT GOING THROUGH ME. SO IT DOESNT HURT.
[...] WE ARE AT THE LOWEST STATE OF CONSCIOUSNESS THERE IS. EVEN ANIMALS HAVE A HIGHER STATE OF CONSCIOUSNESS THAN MOST OF THESE PEOPLE RUNNING AROUND IN THREE PIECE SUITS.
THE POINT IS,THE IDEA OF MORTALITY AND IMMORTALITY IS ALL MESSED UP AND IS VERY UNREAL. IT ALL STARTED WITH ST.PAUL AND THE PERVERSION OF THE TEACHINGS OF CHRIST."-FAKIR MUSAFAR
**
"In a 1994 essay, published in the underground music magazine G-Modern,Mikawa Toshiji of Incapacitants criticized overseas comps for creating & enforcing the categories of Japanoise. Mikawa argued that japanese noise was presented to foreign audiences as a landscape of radical incommensurability, which forced Noisicians to define themselves against an Orientalist projection.
His examples are the covers of Extreme Music From Japan, Land of the Rising Noise, and Come Again II,. Many of the Japanese performers on these compilations were frustrated and disturbed by the artwork chosen to represent the Japanese Noise scene. Shocking images of sexual bondage and physical violence were used on the covers of several early recordings by Japanese Noise artists in the 1980s. Primarily Merzbow. Most famously on his Music for Bondage Performance cd. Associations with deviant sex quickly became an important part of overseas knowledge about Japanese Noise. Especially in the 1990s, as hentai filtered into underground media circulation such as the Urutsukidoji series.
Noise Artists North America began to use images inspired by Merzbow,often borrowing from Japnese pornography {..}
"japanoise became a mirror ball of distorted perspectives that could only reflect the projections of an outsider back into their own view"-Novak
*
"It wouldn't be totally irrelevant to say that the bias that is preoccupying the producers is encapsulated in these images. That Noise should remind us of some sort of torture;and then that being exposed to these sounds transforms torture into pleasure-and then that idea is related to these images that evoke torture victims; then it goes without saying that beyond the diversity of the works included the images add a framework to these compilations which takes power over the minds of their buyers. This distorted perception of Noise was mapped onto its creative sources as Japanese artists were forced to define themselves in relation to a Japanese noise scene. then changed their work to avoid being categorized under those terms.
Regardless of whetber one accepts these visual choices or is disgusted by them, the use of these images has affected the minds of the individual artists on these albums.{..} so now what has been represented as japanese noise at first by exaggeration based on the lack of sufficent information in the early period,then labeled with attributes that summarized the group from the distant perspective of overseas reception and then represented by the glut of information in later periods-is forced to define itself"
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