We want to sing what the birds are singing: Henning Christiansen, Walter De Maria, Eno, Roland Kirk, Pauline Oliveros, Francisco Lopez, Chris Watson, Harold Budd, Bernie Krause, Hildegaard Westerkamp, Roedelius, Debussy, Satie, Basil Kirchin, Evan Parker, Joanna Newsom, Todd Dockstader, Werner Herzog, a kid down our street who won't stop bashing his drums, John Cage, Laurie Spiegel, Marcel Broodthaers, Adrian Self, The un in unnatural, Moondog, Peter Cusack, The Vegetable Orchestra, Scanner, Steve Reich, Terry Riley, Alvin Lucier, Francois Bayle, Don Cherry, Cocorosie, David Thomas, Thai Elephant Orchestra, Penguin Cafe Orchestra, Popol Vuh, Messiaen, Alice Coltrane, Vashti Bunyan, Roxanne Shante, William Wegman, Bill Viola, Ths Singing Canaries, This Heat, David Rothenberg. All the decomposers and detritivores of the world.
Becoming Animal are a group of organisms who create sound using field recordings along with collaborators such as the arctic fox, black vulture, pot-bellied pig, eagle owl, canada goose & turkey. They've been together, on and off, for decades.
thanks for the add! particulary i like fall bay because it is so wide and reminds me at being on a beach, but your other soundscapes/interactions are also very nice. greetings, neubau
Non-pulsed time you can only conquer, and because of this I insist on the inequality of status: in a certain manner, pulsed time will always be given to you, or it will be imposed on you, you will be forced to comply with it and from another side, it will order you; the other must be wrested.
If the sound block has a becoming-animal as its content, then the animal simultaneously becomes, in sonority, something else, something absolute, night, death, joy—certainly not a generality or a simplification, but a hæcceity, this death, that night. Music takes as its content a becoming-animal; but in that becoming-animal the horse, for example, takes as its expression soft kettledrum beats, winged like hooves from heaven or hell; and the birds find expression in gruppeti, appoggiaturas, staccato notes that transform them into so many souls (à propos. Marcel Moré dans: Le dieu Mozart et le monde des oiseaux. Paris: Gallimard, 1971). It is the accents that form the diagonal in Mozart, the accents above all. If one does not follow the accents, if one does not observe them, one falls back into a relatively impoverished punctual system. The human musician is deterritorialized in the bird, but it is a bird that is itself deterritorialized, 'transfigured,' a celestial bird that has just as much of a becoming as that which becomes with it. Cpt. Ahab is engaged in an irresistible becoming-whale with Moby-Dick; but the animal Moby-Dick, must simultaneously become unbearable pure whiteness, a shimmering pure white wall, a silver thread that stretches out and supples up 'like' a girl, or twists like a whip, or stands like a rampart. Can it be that literature sometimes catches up with painting, and even music (as Burroughs suggested)? And that painting catches up with music? (Moré cites Klee's birds but on the other hand fails to understand what Messiæn says about bird song.) No art is imitative, no art can be imitative or figurative. Suppose a painter 'represents' a bird; this is in fact a becoming-bird that can occur only to the extent that the bird itself is in the process of becoming something else, a pure line and pure color. Thus imitation self-destructs, since the imitator unknowingly enters into a becoming that conjugates with the unknowing becoming of that which he or she imitates. One imitates only if one fails, when one fails. The painter and musician do not imitate the animal, they become-animal at the same time as the animal becomes what they willed, at the deepest level of their concord with Nature. Becoming is always double, that which one becomes becomes no less than the one that becomes—block is formed, essentially mobile, never in equilibrium, just as Mondrian's is the perfect square, balancing on one corner to produce a diagonal that half-opens it closure, carrying away both sides.
--the above extract is from Deleuze & Guattari's Capitalisme & schizophrénie, v.2: 1000 Plateaux.
Brian Massumi's 1987 translation of "Chapter 10, 1730: Becoming Intense, Becoming Animal," and we might add, becoming-history, becoming translation...
THANK YOU FOR SHARING THESE SOUND-IMAGES AND HOSTING THIS PROFILE!
I just uploaded a teaser track entitled "double 12 double 7" from the pre-mastering mix of the forthcoming release with the Christian Munthe & Roger Turner Duo on KNING DISK. The actual CD will be out in march 2007 and will be named "OCHE" (pronounced "ockee"). This particular track was recorded live at Lilla Cafét in Malmö, Sweden, march 23, 2006.
Earth Monkey and Talking Monkey bring you The Resting Bench remix project. All the original sound files are now available to download under creative commons licence. They are yours to remix, remould and generally have fun with.
The best of the bunch will be released as an album on Earth Monkey - if you want to get involved get downloading and send your finished entry in high bitrate mp3 to - remix@earthmp.com
Online!
