The second issue of White Zinf, as we have come to refer to it, brings together a mostly new cast of characters who have devoted their creative energies to indulge our sometimes perverse obsession with art and food. The first issue of White Zinf was inspired by the ethos of Gordon Matta Clark’s FOOD restaurant—raw, resourceful and a celebration of New York’s downtown artist community in the 1970s.

For the second issue, we swung the pendulum in the opposite direction. Rather than the singular and novel we were inspired by the generic and banal. As a perfect marriage of pragmatism and cultural excess, the TV dinner represents a culinary baseline that spans nearly fifty years. Its origins can be traced to middle America in the early ‘60s to various processed food companies.

But the exact moment of the TV dinner’s invention is vague, not unlike the processed foods sealed within. As an archetype and common denominator of Western Pop culture, the TV dinner spans our collective nostalgia ...

The second issue of White Zinf, as we have come to refer to it, brings together a mostly new cast of characters who have devoted their creative energies to indulge our sometimes perverse obsession with art and food. The first issue of White Zinf was inspired by the ethos of Gordon Matta Clark’s FOOD restaurant—raw, resourceful and a celebration of New York’s downtown artist community in the 1970s.

For the second issue, we swung the pendulum in the opposite direction. Rather than the singular and novel we were inspired by the generic and banal. As a perfect marriage of pragmatism and cultural excess, the TV dinner represents a culinary baseline that spans nearly fifty years. Its origins can be traced to middle America in the early ‘60s to various processed food companies.

But the exact moment of the TV dinner’s invention is vague, not unlike the processed foods sealed within. As an archetype and common denominator of Western Pop culture, the TV dinner spans our collective nostalgia with conflicting sensations of comfort and disgust.

AA Bronson, the New York-based artist best known for his 25 years with the artists’ collective General Idea, has spent a lifetime queering the cultural world. Here he joins up with Toronto-based artist and academic Peter Hobbs to spin a tale in images and words of five performances, all titled “Invocation of the Queer Spirits.” From 2008 to 2010 Bronson and Hobbs brought together small groups of men—in Banff, New Orleans, Winnipeg, Manhattan, and Fire Island—in a secret group ritual that was different every time and yet always the same. Invoking the “queer” and marginalized histories of each site, the men performed something that Bronson has characterized as “a hybrid between group therapy, ceremonial magic, a séance, a circle jerk, and a quilting bee.” This book explores each site in five chapters of photographic images, primarily by AA Bronson, together with a brilliant and often humorous reflection on queer animals, forest rangers, ...

AA Bronson, the New York-based artist best known for his 25 years with the artists’ collective General Idea, has spent a lifetime queering the cultural world. Here he joins up with Toronto-based artist and academic Peter Hobbs to spin a tale in images and words of five performances, all titled “Invocation of the Queer Spirits.” From 2008 to 2010 Bronson and Hobbs brought together small groups of men—in Banff, New Orleans, Winnipeg, Manhattan, and Fire Island—in a secret group ritual that was different every time and yet always the same. Invoking the “queer” and marginalized histories of each site, the men performed something that Bronson has characterized as “a hybrid between group therapy, ceremonial magic, a séance, a circle jerk, and a quilting bee.” This book explores each site in five chapters of photographic images, primarily by AA Bronson, together with a brilliant and often humorous reflection on queer animals, forest rangers, shamanism, and park sex by Peter Hobbs. A group of drawings by Chicago artist Elijah Bergher completes the volume.

I have gathered a garland of other men’s flowers, the French philosopher Montaigne famously wrote, “and nothing is mine but the cord that binds them.” The first decade of the twenty-first century appears to belong to the collagist, for whom the creative act is not creation sui generis, but rather the collecting, cutting and pasting of the already extant. Collage, which began as an art meant to confound the brain with its disparate components, has jumped the flat surface, so that almost all musicians, designers, writers and bloggers might today be described as collage artists. “Collage Culture” contains two essays, buttressed by artworks and vividly typeset by Brian Roettinger.

The first essay, by Mandy Kahn, chronicles collage’s original forays into the realms of music, fashion, design, literature and architecture, with special attention paid to the birth and rise of sampling and mash-up in music. It will postulate why collage has become the it-expression ...

I have gathered a garland of other men’s flowers, the French philosopher Montaigne famously wrote, “and nothing is mine but the cord that binds them.” The first decade of the twenty-first century appears to belong to the collagist, for whom the creative act is not creation sui generis, but rather the collecting, cutting and pasting of the already extant. Collage, which began as an art meant to confound the brain with its disparate components, has jumped the flat surface, so that almost all musicians, designers, writers and bloggers might today be described as collage artists. “Collage Culture” contains two essays, buttressed by artworks and vividly typeset by Brian Roettinger.

The first essay, by Mandy Kahn, chronicles collage’s original forays into the realms of music, fashion, design, literature and architecture, with special attention paid to the birth and rise of sampling and mash-up in music. It will postulate why collage has become the it-expression of the new century, with an exploration of how the previous five decades in particular were, culturally, each a reaction against what preceeded them. The second, by Aaron Rose, examines how our current subcultural aesthetic is an amalgamation of those from movements of the 20th century, incorporating visual aspects from punk, new wave, the beats, and the hippie movement, but only externally—so that meaning, politics and message have been neutered out. What we’re left with is a collage of visual references without the guts they once had, and a generation of kids wearing clothes that express their common dissent, but without knowledge of what they are against—or, more importantly, what they are for.

An additional section of sixteen color pages includes original works of art created especially for the book by graphic designer Brian Roettinger, who, with the help of artist/programmer Chandler McWilliams, compiled 25 rules for collage-making and translated those rules into a computer application. The sixteen collages produced by the application make up the book’s center section.

Introduction by Joasia Krysa

Augusta Ada King, Countess of Lovelace and daughter of Lord Byron, was a writer who, as a young adult, developed a deep interest in mathematics, in particular in Charles Babbage’s work on the Analytical Engine. This notebook includes a full reproduction of her famous “Note G,” one of several notes that supplemented her translation of a text by Luigi Federico Menebrae about Babbage’s research. Note G contains an algorithm that functions as a software to enable Babbage’s Engine—which did not yet exist—to perform computing processes and is widely regarded as the first computer program. While Note G expresses the author’s doubt about a computer’s capability to develop what we would call “artificial intelligence,” in other places she foresees that computers could go beyond pure calculation. In her thinking, Lovelace “managed to combine scientific rationalism with subjective imagination.” Additionally to Note G, this notebook contains ...

Introduction by Joasia Krysa

Augusta Ada King, Countess of Lovelace and daughter of Lord Byron, was a writer who, as a young adult, developed a deep interest in mathematics, in particular in Charles Babbage’s work on the Analytical Engine. This notebook includes a full reproduction of her famous “Note G,” one of several notes that supplemented her translation of a text by Luigi Federico Menebrae about Babbage’s research. Note G contains an algorithm that functions as a software to enable Babbage’s Engine—which did not yet exist—to perform computing processes and is widely regarded as the first computer program. While Note G expresses the author’s doubt about a computer’s capability to develop what we would call “artificial intelligence,” in other places she foresees that computers could go beyond pure calculation. In her thinking, Lovelace “managed to combine scientific rationalism with subjective imagination.” Additionally to Note G, this notebook contains selected transcripts and reproductions of letters exchanged between her and Babbage, as well as her sonnet “The Rainbow.”

Ada Lovelace (1815–1852) was an English writer.

Joasia Krysa is a curator, academic and Agent for dOCUMENTA (13).

Once upon a time, so we are told by the atomists of ancient Greece, triangular and star-shaped, round and sickle-moon atoms whirled about in outer space, with every atom finding its orbit in free fall and accidentally hooking up with others. Wild monsters with three trunks, free-floating uteruses and interlocked brain boxes flew through the emptiness of space, tangling into universes, blazing new suns and dying planets. Potential worlds, one after the other, kept taking shape until creation found rest of sorts and – as humankind hopes – a higher meaning.

The Greek atomists envisioned the works of writers being created in the same manner. According to Democritus, letters are atoms swirling about in chaos, where clouds of pure possibility converge into real works like Homer’s Odyssey or Plato’s Dialogues. Every book is the offspring of such chance encounters.

Hence, it is we, the readers, who invest this chance with meaning. First, we are struck by the title, the ...

Once upon a time, so we are told by the atomists of ancient Greece, triangular and star-shaped, round and sickle-moon atoms whirled about in outer space, with every atom finding its orbit in free fall and accidentally hooking up with others. Wild monsters with three trunks, free-floating uteruses and interlocked brain boxes flew through the emptiness of space, tangling into universes, blazing new suns and dying planets. Potential worlds, one after the other, kept taking shape until creation found rest of sorts and – as humankind hopes – a higher meaning.

The Greek atomists envisioned the works of writers being created in the same manner. According to Democritus, letters are atoms swirling about in chaos, where clouds of pure possibility converge into real works like Homer’s Odyssey or Plato’s Dialogues. Every book is the offspring of such chance encounters.

Hence, it is we, the readers, who invest this chance with meaning. First, we are struck by the title, the name of the author and possibly the publisher. That alone is enough to begin imagining a story; we can already smell the word worlds like sugar candy. It takes only a few pages for us to dream our way out of the book and back into our own minds. Into imaginary inner worlds, perhaps never even waking up until we find ourselves gazing at the imaginary Library of Lutz & Guggisberg: we hold their books in our hands, and, in doing so, we weigh the weight of our own imaginations.

Yes, the feel of their books is a delight, though we can only leaf through them in our own heads. They are unborn books, or, as the Talmud tells us, the child in the womb is a book that has neither been opened nor leafed through.

Lutz & Guggisberg have been working on their imaginary Library for years. In Exercises in Style, Raymond Queneau, the grand master of wordplay, wrote a dust jacket text for an unwritten book; another Lutz, graphic artist Hans Rudolf Lutz from Zürich, and Alex Sadkowsky once put together a catalogue of opening sentences and invented beginnings for novels. But now the jacket texts and sentenc-es have become objects, patiently sawed out of wood, beautifully printed and lined up on shelves.

The books of Lutz and Guggisberg pay homage to an almost extinct literary form: the so-called blurb. After lengthy detours, this curious literary species found its last refuge on the spine of books. Condemned to attract the attention of potential readers in large letters behind transparent plastic film, the blurb as a jacket text was reduced to monosyllables, “a masterpiece” or even, as the German doyen of literature Reich Ranicki once quipped, “a great masterpiece”. But before sinking into the quicksand of idiocy, the blurb has spawned some notable purple prose. In the mid 18th century, a loose sheet of paper, a prospectus, was inserted in books, and in 19th-century France, the prière d’insérer acquired currency, a letter sent to editors-in-chief, asking them to publish the enclosed publicity text in their newspapers. Emile Zola once complained to Flaubert about the stupidity of one such text – albeit, without advising him that he himself had penned it. Flaubert kept meticulous watch on his blurbs. We imagine Bouvard and Pécuchet at the end of their turmoils, having dotted the garden of their estate with mighty watermelon heads, performed emergency operations on bloated calves and enlisted their educational methodology to raise two children and turn them into precocious criminals, we imagine them now proceeding to accumulate a kind of miscellany of the foolishness of their century by copying out bits and pieces from newspaper clippings and announcements – a scrap paper novel of surrealist proportions – before finally embarking on their ultimate hobby: inventing the spines of unwritten books. Lutz & Guggisberg may well be considered latter-day descendants of Bouvard and Pécuchet, perched behind their twin lectern in the kingdom of cross-eyed perception.

Look at them long enough and you will discover meaning in these rows of books, just as you might find meaning in the world. The name of an author makes an appearance elsewhere as a character in a novel; a blurb in one book refers to a word in the title of another. Yes, it is all here, the entire universe of chance and intent, gathered together in the free falling elementary particles of a new creation.

“Clinamen” is what the Greeks called the curve along which atoms fall. This clinamen, a curi-ous creature, makes an appearance in a novel by the French absinthe addict Alfred Jarry: it is a novel about a very special Doctor Faust, a Faust who does not make a pact with the devil, as Goethe has it, because the real world is not good enough for him; instead, he makes a pact with chance. And because the real world is not good enough for him, Jarry’s Doctor Faustroll invents pataphysics. Pataphysics is the science of what cannot be known; it extends not only beyond physics but beyond metaphysics as well, or rather behind it: epi ta metaphysica. A “science of imaginary solutions”, in which nonexistent solutions provide answers to nonexistent or at least unaskable questions. Pataphysicians learn to exercise their minds, ensuring that what occurs to them would never occur to anyone else. Except maybe to Andres Lutz and Anders Guggisberg. For ten years now, the two artists have been bombarding our senses with whey-like configurations, exploding display cases and trinkets from invented isles, about whose animal world we receive instruction from a kind of resurrected Hans A. Traber.

Dozens of tragedies by Sophocles have vanished, the second half of Gogol’s Dead Souls went up in flames, and Nietzsche wrote Prefaces to Unwritten Works. Possibly these lost books or those that were never even written are the greatest masterpieces of all, as consummate as our fantasy in its deepest dreams. The body of a text rolls in endless rolls off the body of Doctor Faustroll: “Then the paper wallpaper came off Faustroll’s corpse. Like a score, every art and every science was inscribed in the curves of the limbs, proclaiming their perfection all the way to infinity.” One senses that infinity on getting lost in the imaginary Library of Lutz & Guggisberg. The Imaginary Library written by Stefan Zweifel (Translation by Catherine Schelbert)

Andres Lutz (1968) and Anders Guggisberg (1966) live and work in Zurich. The artist duo attracted international attention in solo exhibitions at Aargauer Kunsthaus in Aarau, at Museum Folkwang in Essen, at Centre Culturel Suisse in Paris, at Kunstverein Freiburg, at Villa Merkel in Esslingen, and at Ikon Gallery, Birmingham.

“Vision Vulkano” documents two performances by the Düsseldorf-based artists Angela Fette and Christian Jendreiko, made during their collaborative show at Kunstverein Schwerte “Orakel Konkret” in spring 2011.

The A-side contains “Orakel Konkret”, a live recording of an action commissioned for the opening. Christian Jendreiko plays a vintage Vibraphone and Angela Fette performs as a blindfolded oracle. While a chatty premiere audience is slowly settling down and beginning to listen, Jendreiko starts, using his trademark non-repetitive modal playing method, as Fette turns in circles, predicting obvious, tiny, very concrete future events that will happen in this very room.

The B-side is a playful dialogue between the artists, playing with the terminology of will and imagination in their positive and negative variations. “Yes, I am able to envision this”. “No, I am not able to envision this”. And so on, deliberately changing perspectives ...

“Vision Vulkano” documents two performances by the Düsseldorf-based artists Angela Fette and Christian Jendreiko, made during their collaborative show at Kunstverein Schwerte “Orakel Konkret” in spring 2011.

The A-side contains “Orakel Konkret”, a live recording of an action commissioned for the opening. Christian Jendreiko plays a vintage Vibraphone and Angela Fette performs as a blindfolded oracle. While a chatty premiere audience is slowly settling down and beginning to listen, Jendreiko starts, using his trademark non-repetitive modal playing method, as Fette turns in circles, predicting obvious, tiny, very concrete future events that will happen in this very room.

The B-side is a playful dialogue between the artists, playing with the terminology of will and imagination in their positive and negative variations. “Yes, I am able to envision this”. “No, I am not able to envision this”. And so on, deliberately changing perspectives and moods. The 15-minute-long piece is reminiscent of Beuys’ classic/infamous performance piece, “Jaa, Jaa. Nee, Nee.” (and/or Kippenberger’s later ironic Techno versions of the same.) The very same recording of “Die Welt als Wille und Vorstellung” was used as a backing track for a guitar performance by Fette and Jendreiko during the finissage of the exhibition.

The front cover and labels present views of the exhibition. “Vulkano” is a painting by Fette from her ongoing series based on the concepts of natural disasters, accompanied by a Jendreiko installation – a classic Flying V electric guitar placed atop bones, ancient symbols for aleatoric oracles. The inner sleeve reproduces Jendreikos action text used for “Orakel Konkret” as well as a transcription of Fette’s oracular predictions.

Painter and poet Angela Fette is known for her powerful, sharp paintings, installations, and mask performances. Recently, Christian Jendreiko’s large-scale actions have been realized in a number of different cities and countries, involving the collaboration of large collectives over several hours. For “Vision Vulkano” he returns to a singular, individual form of his signature playing style.

Text by Volker Zander

Five pieces for Computer Controlled Modular Synthesizer and Digital Signal Processing. Composed and recorded from February 2010 – April 2011 in Brooklyn, New York. ‘esstends-esstends-esstends’ is a collection of spatial compositions in which audio focal points shift between external and internal emanation sources. The intent with this work is to escape the stereo image and create an activated listening space of expanded spatialization. Using just intoned pitch combinations to produce difference tones and harmonic distortions, sound materials are created that emanate from both the playback speakers and inner ear of the listener. By engaging the listener’s sense of aural perception and sound localization in relationship to compositional structure, these pieces act to reframe the listening experience and encourage an engagement with, not only the form and aesthetic of the music, but the sonic space a recorded piece of music projects. Higher amplitude will help to reveal. ...

Five pieces for Computer Controlled Modular Synthesizer and Digital Signal Processing. Composed and recorded from February 2010 – April 2011 in Brooklyn, New York. ‘esstends-esstends-esstends’ is a collection of spatial compositions in which audio focal points shift between external and internal emanation sources. The intent with this work is to escape the stereo image and create an activated listening space of expanded spatialization. Using just intoned pitch combinations to produce difference tones and harmonic distortions, sound materials are created that emanate from both the playback speakers and inner ear of the listener. By engaging the listener’s sense of aural perception and sound localization in relationship to compositional structure, these pieces act to reframe the listening experience and encourage an engagement with, not only the form and aesthetic of the music, but the sonic space a recorded piece of music projects. Higher amplitude will help to reveal.

Ben Vida is a composer, improviser and sound artist who lives in Brooklyn, NY. Ben led the group Town and Country and experimented with world musique concrète under the name Bird Show. In collaboration with Keith Fullerton Whitman and Greg Davis he explores cross control voltage integrated improvisation and real time automatic group composition. Ben has worked with artists Hisham Bharoocha (duo as Soft Circle), Siebren Versteeg, Doug Aitken, Nadia Hironaka and Mathew Suib. He has played in ensembles led by Tony Conrad, Rhys Chattam, and Werner Dafeldecker. As an improviser he has performed with Milo Fine, Fred Lonberg-Holm, Chad Taylor, Kevin Drumm, Yamatsuka Eye and C. Spencer Yeh among many others. He has released over twenty records on such labels as Thrill Jockey, Drag City, PAN, Amish, Bottrop-Boy, Hapna and Kranky. In 2011 Ben was Composer in Residency at Diapason Space, NYC and at EMS Studios, Stockholm and was awarded a Swedish Arts Committee Travel Grant, ISSUE Project Room Emerging Artists Commission and Museu d’Art Contemporani de Barcelona “Composing with Process” Exclusive Works Commission. As both a solo artist and in collaboration Ben has presented his work in the United States, Canada, Europe, South Korea and Japan.

The LP is mastered and cut by Rashad Becker at D&M, pressed on 140g vinyl and comes in a poly-lined inner sleeve. It is packaged in a pro-press color jacket which itself is housed in a silk screened pvc sleeve with artwork by Kathryn Politis & Bill Kouligas.

Set in post-9/11 New York City, Reena Spaulings was written by a large collective of writers and artists that bills itself as The Bernadette Corporation. Like most contemporary fiction, Reena Spaulings is about a female twenty-something. Reena is discovered while working as a museum guard and becomes a rich international supermodel. Meanwhile, a bout of terrible weather seizes New York, leaving in its wake a strange form of civil disobedience that stirs its citizens to mount a musical song-and-dance riot called “Battle on Broadway.” Fashioned in the old Hollywood manner by a legion of professional and amateur writers striving to achieve the ultimate blockbuster, the musical ends up being about a nobody who could be anybody becoming a somebody for everybody. The result is generic and perfect—not unlike Reena Spaulings itself, whose many authors create a story in which New York itself strives to become the ultimate collective experiment in which the only thing shared is ...

Set in post-9/11 New York City, Reena Spaulings was written by a large collective of writers and artists that bills itself as The Bernadette Corporation. Like most contemporary fiction, Reena Spaulings is about a female twenty-something. Reena is discovered while working as a museum guard and becomes a rich international supermodel. Meanwhile, a bout of terrible weather seizes New York, leaving in its wake a strange form of civil disobedience that stirs its citizens to mount a musical song-and-dance riot called “Battle on Broadway.” Fashioned in the old Hollywood manner by a legion of professional and amateur writers striving to achieve the ultimate blockbuster, the musical ends up being about a nobody who could be anybody becoming a somebody for everybody. The result is generic and perfect—not unlike Reena Spaulings itself, whose many authors create a story in which New York itself strives to become the ultimate collective experiment in which the only thing shared is the lack of uniqueness.

About the Author

The artist-collective Bernadette Corporation was founded in a night club in 1994. In the beginning the group organized spontaneous, purposeless events in public space. In 1995 they morphed into a fashion label, then a self-publishing company that from 1999 to 2001 published an art magazine called Made in USA. Bernadette Corporation has also produced films, including Hell Frozen Over (2000), and Get Rid of Yourself (2003), as well as exhibits at art galleries and museums throughout the world.

Side A (33 RPM)
1. Awakening Day (8:37)
2. Light Ships (11:32)

Side B (33 RPM)
1. City of Love (8:43)
2. Freeflow (7:35)

Bonus downloads:

1. Somebody Scream (35:03)
2. Astral Jam (17:21)

Volume 8 in the ongoing FRKWYS series on RVNG Intl. is a double album-length collaboration between Blues Control and Laraaji.

Following the “fodder first” tradition of previous FRKWYS installments, Vol. 8 was birthed over e-mail dialogue between RVNG and Russ Waterhouse and Lea Cho of Blues Control. Blues Control’s evolved output gracefully arcs with influence and innovation that gleams electronic, New Age, and hard rock terrains. Laraaji’s name came up early in that conversation and felt intrinsic to Waterhouse and Cho’s own musical calling.

After learning various instruments in his formative years and studying composition at Howard University, Laraaji eventually found his musical conduit in an electronically-modified zither. Laraaji’s 1979 album Celestial Vibration (recorded ...

Side A (33 RPM)
1. Awakening Day (8:37)
2. Light Ships (11:32)

Side B (33 RPM)
1. City of Love (8:43)
2. Freeflow (7:35)

Bonus downloads:

1. Somebody Scream (35:03)
2. Astral Jam (17:21)

Volume 8 in the ongoing FRKWYS series on RVNG Intl. is a double album-length collaboration between Blues Control and Laraaji.

Following the “fodder first” tradition of previous FRKWYS installments, Vol. 8 was birthed over e-mail dialogue between RVNG and Russ Waterhouse and Lea Cho of Blues Control. Blues Control’s evolved output gracefully arcs with influence and innovation that gleams electronic, New Age, and hard rock terrains. Laraaji’s name came up early in that conversation and felt intrinsic to Waterhouse and Cho’s own musical calling.

After learning various instruments in his formative years and studying composition at Howard University, Laraaji eventually found his musical conduit in an electronically-modified zither. Laraaji’s 1979 album Celestial Vibration (recorded as Edward Larry Gordon) places the stringed instrument at the forefront on two side-length excursions in rhythmic ambiance. The 1980 album Ambient 3: Day of Radiance, produced by Brian Eno for his ambient record series, further documented Laraaji’s zither explorations alongside Eno’s soundscaping. Laraaji continues to pursue music both in its recorded form and as a healing tool.

Blues Control and Laraaji convened at Black Dirt Studio in upstate New York on December 9th, 2010. Over the course of a single studio day, the three musicians (accompanied on certain jams by Laraaji’s “musical friend” Arji Cakouros) improvised on several themes, providing nearly four hours of material and the basis for FRKWYS Vol. 8. After meticulous note taking, sharing, and rough edits among Blues Control and Laraaji, the album was fully fleshed out.

Without context, it’s hard to imagine that these musicians never creatively collaborated before this juncture. The dynamic breadth (and breath) of the album feels both effortless and epic, a line usually straddled only after years of playing together. It’s clear a cosmic force is at play, and that this playfulness is the creative mediator of the music.

Over two album sides, the listener is transported from the urban sound garden of “Awakening Day,” through the soulful yow of “Light Ships,” into the texture bliss of “City of Love,” and finally the reflective pool of “Freeflow”. The first bonus track “Somebody Scream” demonstrates Laraaji’s dexterous zither-playing over thirty-five minutes of music, while the second, “Astral Jam,” starts with a Wu-like beat (courtesy of Laraaji) and warps into a rolling snare trance.

The limited edition LP version of FRKWYS Vol. 8 is packaged in thick black jackets with a two-color adhesive wrap, both printed on post-consumer goods papers at Stumptown Printers. 50 subscriber LPs come packaged in leatherette jackets.

Side A (33 RPM)
1. People of the Wind Pt. 1 (12:26)
2. Internet Gospel Pt. 1 (5:59)

Side B (33 RPM)
1. People of the Wind Pt. 2 (4:55)
2. Internet Gospel Pt. 2 (8:18)
3. Twilight Pacific (7:20)

Bonus track (CD track #6): Just A Little Pollution (5:23)

The full-length player of FRKWYS Vol. 7 features pieces improvised in various forms by David Borden, James Ferraro, Samuel Godin, Laurel Halo, and Daniel Lopatin.

When Lopatin (Oneohtrix Point Never, Ford & Lopatin) and RVNG Intl. began discussing this FRKWYS collaboration, Borden’s work in Mother Mallard’s Portable Masterpiece Co. and his seminal Music For Amplified Keyboard Instruments album were mutually / ecstatically acknowledged. While rooted in academia, Borden’s minimalist compositions deal in natural themes, evoking expansive environments.

The idea to grow the project to include additional collaborators was inspired both by Borden’s accomplishments in ensemble improvisation and by a basic desire for collective ...

Side A (33 RPM)
1. People of the Wind Pt. 1 (12:26)
2. Internet Gospel Pt. 1 (5:59)

Side B (33 RPM)
1. People of the Wind Pt. 2 (4:55)
2. Internet Gospel Pt. 2 (8:18)
3. Twilight Pacific (7:20)

Bonus track (CD track #6): Just A Little Pollution (5:23)

The full-length player of FRKWYS Vol. 7 features pieces improvised in various forms by David Borden, James Ferraro, Samuel Godin, Laurel Halo, and Daniel Lopatin.

When Lopatin (Oneohtrix Point Never, Ford & Lopatin) and RVNG Intl. began discussing this FRKWYS collaboration, Borden’s work in Mother Mallard’s Portable Masterpiece Co. and his seminal Music For Amplified Keyboard Instruments album were mutually / ecstatically acknowledged. While rooted in academia, Borden’s minimalist compositions deal in natural themes, evoking expansive environments.

The idea to grow the project to include additional collaborators was inspired both by Borden’s accomplishments in ensemble improvisation and by a basic desire for collective energy and levity. Atlantic Sound Studio in DUMBO, Brooklyn became the meeting destination for Lopatin and Borden, alongside musicians Halo, Godin, and Ferraro.

Over two days in August 2010, the ensemble played infinitely. During tour breaks the following fall and winter, the endless hours of recordings were paired down to the selections of FRKWYS Vol. 7. The music of the album represents full session takes, edited only for time. The cosmically dense but dynamic nature of the recording reveals the diverse ingredients seasoning the spatial stew. “People of Wind” Parts 1 and 2 were amongst first takes from the two-day session. The pieces exhibit the ensemble in early harmony, allowing each other textural counterpoint play while avoiding rigidity. “Internet Gospel” Parts 1 and 2 demonstrate the players at ease and taking turns at solo accompaniments, ending in a Fourth World freak out. “Twilight Pacific” and “Just a Little Pollution” are compiled from middle points of the session – structured statements in solidarity.

The limited edition LP version of FRKWYS Vol. 7 is packaged in thick black jackets with a two-color adhesive wrap. 50 subscriber LPs come in leatherette jackets. The CD resembles a miniature version of the LP. Both LP and CD will be available July 17th, and digital download will be available July 30th at igetrvng.com and through the usual storefront suspects.

In times when the exchange with the world largely takes place on the Internet, the search engine Google primarily regulates the parameters and formats of this conversation. For the philosopher and media theoretician Boris Groys, Google thus takes on the traditional role of philosophy and religion. Philosophical precursors for the dissolution of different kinds of discourses, the emancipation of words from grammar and accordingly their equalizing, as Google produces it, span from Plato to Saussure’s structuralism to Derrida’s deconstruction. Another analogy is the twentieth-century avant-garde’s production of word clouds that are freed from their context, in particular the Conceptual art of the 1960s and ’70s. As a result of the radical freeing of words, Groys names “the struggle for a utopian ideal of the free flow of information—the free migration of liberated words through the totality of social space.”

Philosopher, art critic, and media theorist Boris Groys (*1947) ...

In times when the exchange with the world largely takes place on the Internet, the search engine Google primarily regulates the parameters and formats of this conversation. For the philosopher and media theoretician Boris Groys, Google thus takes on the traditional role of philosophy and religion. Philosophical precursors for the dissolution of different kinds of discourses, the emancipation of words from grammar and accordingly their equalizing, as Google produces it, span from Plato to Saussure’s structuralism to Derrida’s deconstruction. Another analogy is the twentieth-century avant-garde’s production of word clouds that are freed from their context, in particular the Conceptual art of the 1960s and ’70s. As a result of the radical freeing of words, Groys names “the struggle for a utopian ideal of the free flow of information—the free migration of liberated words through the totality of social space.”

Philosopher, art critic, and media theorist Boris Groys (*1947) is Global Distinguished Professor in the Faculty of Arts and Science at New York University

“Cranfield and Slade: 12 Sun Songs” is a yellow vinyl album made up of covers of pop songs about the sun. Aping a 1970s concept album, Cranfield and Slade present twelve songs arranged to represent a day, beginning with songs about sunrise and winding down with songs about sunsets. Tracks range from classics such as George Harrison’s “Here Comes the Sun” and The Kinks’ “Waterloo Sunset,” to the lesser-known “Sun” by singer-songwriter Margot Guryan or “Where Evil Grows” by Vancouver’s The Poppy Family. The album combines field recordings made in various Vancouver locations with electronic sound and acoustic and electric instruments.

Based in rainy Vancouver, Cranfield and Slade is made up of visual artist Kathy Slade and artist/musician Brady Cranfield, working with musicians including Larissa Loyva (Piano, Kellarissa), Johnny Payne (Victoria Victoria, The Shilos), and Chris Harris (Piano, Parks and Rec, The Secret Three, ...

“Cranfield and Slade: 12 Sun Songs” is a yellow vinyl album made up of covers of pop songs about the sun. Aping a 1970s concept album, Cranfield and Slade present twelve songs arranged to represent a day, beginning with songs about sunrise and winding down with songs about sunsets. Tracks range from classics such as George Harrison’s “Here Comes the Sun” and The Kinks’ “Waterloo Sunset,” to the lesser-known “Sun” by singer-songwriter Margot Guryan or “Where Evil Grows” by Vancouver’s The Poppy Family. The album combines field recordings made in various Vancouver locations with electronic sound and acoustic and electric instruments.

Based in rainy Vancouver, Cranfield and Slade is made up of visual artist Kathy Slade and artist/musician Brady Cranfield, working with musicians including Larissa Loyva (Piano, Kellarissa), Johnny Payne (Victoria Victoria, The Shilos), and Chris Harris (Piano, Parks and Rec, The Secret Three, Womankind); and special guests John Collins (The New Pornographers, The Evaporators) and artist Rodney Graham (The Rodney Graham Band, UJ3RK5).

The liner notes for “12 Sun Songs” were written by celebrated Canadian poet and critic Peter Culley.