regional order forms    
¥ $
comatonse recordings shop

album text

package design


terre thaemlitz means from an end
ミーンズフロムアンエンド (1998)


Terre Thaemlitz: Means from an End | Full-length CD Album | Released 1998 | Germany: Mille Plateaux, MPCD44

Terre Thaemlitz's second album (first computer music album) for Mille Plateaux.

    Inelegant Implementations
      1. G1.A-J 2:01
      2. G6.A-S 2:05
      3. G3.A-L 2:50
      4. G3.A-L 1:34
      5. G7.A-T 2:19
      6. G5.A-S 2:33
      7. G4.A-S 2:09
    Resistance to Change
      8. Commentary 1:12
      9. Resistance 0:49
      10. Resignation 3:20
      11. Transformative Nostalgia 3:09
    Still Life w/Numerical Analysis
      12. Still Life w/Numerical Analysis 8:27
    Means from an End
      13. Means from an End 10:28
      14. Reduction of Contents 3:11
      15. Reintroduction of Contents I 1:09
      16. Means to a Means 7:40
      17. Reintroduction of Contents II 0:35
      18. End to a Means 8:24

Excerpt from Album Text Introduction

Computer synthesis allows for the analysis and resynthesis of input sound sources - or to put it otherwise, it allows for the generation of a means (middling) from a previously constructed end point. Such generations use numeric equivalents of sound waves to establish ranges of numbers which are then edited or used as variables in equations applied to other sound sources. Associations between sound sources can be made more or less obvious, depending on one's technique and desire for explicit referentiality. This process bears similarities with general processes of social recontextualization, wherein previously constructed histories (end points) are filtered and reconstituted to advocate a particular cultural agenda (means, or middling of past events with transformative desire). As all analyses of such processes of social recontextualization take their footing in interpretive abstractions, any attempt for a total comprehension and/or control of socio-material processes is an impossibility of no interest to this project. Once this most traditional presupposition of popular Western cultural analysis is disposed of (as it has been countless times over the past century), one finds there is a vast difference between cultural processes which actively engage a multiplicity of constructed contents, and those which promote a rarefied and linear teleology of historical processes intended to conceal the construction of contents. It is hoped that these recordings contribute to a developing discourse of the former.