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Artist: DJ Sprinkles (a.k.a. Terre Thaemlitz)
Title: DJ Sprinkles' Deeperama
Genre: Deep House | Fagjazz | Dance
URL: http://www.comatonse.com/thaemlitz/grammy.html
Performance: CD DJ with effects
Duration: 2 to 6 hr.
Description:
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NYC 1989: Deeperama began as a series of tapes from DJ Sprinkles' deeper-than-Deep House sets focussing on small, underground labels. DJ Sprinkles soon became the resident DJ at the infamous transsexual club Sally's, where he received an underground grammy award for "Best DJ of the Year." Often ahead of the times, DJ Sprinkles' Deeperama frequently broke tracks six months before major DJ's. The price - DJ Sprinkles was consistently fired for focussing on the unknown and refusing to play major-label shit. Years pass, turning many of those "unknown" and "unwanted" cuts into cherished classics that fill today's dance floor. Today, DJ Sprinkles' Deeperama moves between Europe and Japan. Come to DJ Sprinkles' Deeperama for deeper-than-Deep House - from historical classics to today's deep sound, as well as DJ Sprinkles' original releases. Enjoy... before he gets fired again.
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1989年ニューヨーク。アンダーグラウンドなレーベルをフォーカスし、Deep Houseよりも、もっとdeepなハウスセットというDJ Sprinklesのテープシリーズに端を発した "Deeperama"。直ぐ、トランスセクシュアル系クラブSally'sのレジデントDJとなり活 躍、アンダーグラウンド・グラミーDJ受賞。時代に先駆けることしばしばで、同時代のメージャーDJ達がプレイする半年前に、すでにDJ Sprinklesがそのトラックをブレイクさせていた事も。しかし、彼はメジャーレーベルのシットトラックをプレイする事を拒絶し、知られざるトラックにフォーカスを当てることに常に燃えていた為いつも最後にはDJを首に… 時が流れ、これらの知られざる、また、望まれざる曲達が今ではダンスフロアを満たすクラッシクスへと変貌を遂げている。Deep Houseよりさらにdeepなハウスを体感できるDeeperama、DJ Sprinklesのオリジナルリリー スはもちろん、クラシックスの数々から今日のディープサウンドま で楽しめる。 さあ、また首になる前に楽しもう。
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Technical Rider (to be arranged by organizer):
- 2 Pioneer CDJ 1000 (or newer)
- 1 Vestax DCR-1200 frequency isolator (or similar, placed post-main out)
- 1 Pioneer EFX-500/800/1000 series effector (placed post-main out)
Contact: info(at)comatonse.com
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Artist: Terre Thaemlitz
Title: Lovebomb / 愛の爆弾
Genre: Electroacoustic | Computer Music | Ambient | Experimental | Noise
URL1 (MP3 samples/images): http://www.comatonse.com/writings/lovebomb.html
URL2 (video stills): http://www.comatonse.com/releases/d001.html
URL3 (日本語): http://www.comatonse.com/writings/ainobakudan.html
Language: English & 日本語
Performance: Oral introduction | Audio-Video | Audience Q&A
Duration: 90-120 min. as requested or time allows
Description:
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"Lovebomb/Ai No Bakudan" is an analysis of love as a cultural mechanism which enables otherwise unacceptable acts of violence, as demonstrated by domestic violence, a terrorist's love for her cause and America's vengeful love of freedom. Digitally processed spoken word samples narrate various scenerios of global violence... from a posthumous association between the roots of Italian Futurism and the 1906 lynching of three black men in Terre's home town, to the social abuses and neglect emburdened on the last lingering survivors of atomic blasts in Hiroshima and Nagasaki, to Terre's personal post-queer-bashing traumas. Sharp video edits of animation, collage and found footage add new layers of depth and dark humor to the "Lovebomb" audio project.
The performance is generally 90 minutes long, but can be cut or extended. This includes a brief introductory lecture (in English), followed by the video/audio performance (typically mixed from the rear of the room/theatre), and concluded with audience Q&A.
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宗教的愛。祖国愛。家族愛。友愛。チーム愛。キリストの、エホバの、アラーの、イスラムの、ヒンドゥー教の、仏陀の、ジム・ジョーンズの、オウム真理教の、ローマ法王の愛。自由への、金銭への、商業の、生活様式としての愛。狩猟的な、男／女漁りの、ナンパの、殺しの、性交への、叫びの、拳の、ナイフの、唾の、突き飛ばすことの、階段から転げ落ちることの愛。ビート（殴打）の愛。
ビート（強いリズム）。「地球規模のダンスフロア」。 なんて無意味な縄張りの主張なのか。他の国家同様に、ハウス国家も「愛」のサンプルの集中攻撃でもって、ぼろ儲け、まずい契約、横領、搾取、麻薬、組織化された犯罪の雑音をかき消している。ライブ会場の所有者、プロモーター、オーガナイザー、パフォーマー、その他の関係者がすべて犯罪者だなどと仄めかすつもりはない。それどころか、この私も、コミュニティー建設の様々な幻想に動機付けられた良心的な多くの人々が持つ寛容さと思慮深さを持ち合わせていると申し上げる次第だ。しかしながら、制御された本質を採用することがそうであるように、幻想探究を満足させることも堕落を幽閉する行動と深く結びついている。クラブ・シーンの「互いを愛し合おう」という耳を聾［ろう］するほどの願いは、閉ざされた扉の向こう側で何ごとかが行なわれている、隠蔽された環境と切り離すことが出来ない。
［音楽とビデオは１００％バイリンガル（英語／日本語）］
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Technical Rider (to be arranged by organizer):
- 1 Video projector (accepts VGA input from PowerBook G4)
- 1 Screen (as large as possible - 3 meters wide requested)
- 1 VGA Video monitor (placed with audio mixer and mini-dv player)
- 1 VGA video splitter (to share video signal with projector and monitor)
- 1 Audio mixer with EQ (mackie 1604 or similar, placed with mini-dv)
- 3 Microphones (1 for artist, 2 for audience discussion)
- Good sound system with clean low frequency response
Contact: info(at)comatonse.com
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Artist: Terre Thaemlitz
Title: Trans-Sister Radio: Trans-Portation (Mini-Live)
Genre: Electroacoustic | Computer Music | Experimental | Radio Drama | Spoken Word
URL: http://www.comatonse.com/tsr/
Performance: Audio-Visual Performance
Duration: 45-60 min.
Description:
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"Transgenderism" comes in many forms, from cross-dressing to post-operative Transsexuality, each variation carrying its own practices, observations and judgements. "Trans-Sister Radio" combines various forms of storytelling in order to follow these various identities and ways of life, particularly in relation to issues of travel and migration.
Originally developed as a radio drama for the German broadcaster Hessischer Rundfunk HR2 (premiere Nov.14 2004, selected by HR2 for submission to the Karl Sczuka Preis), and released as a CD co-issued this autumn by the Portuguese labels Grain of Sound and Base Recordings, the live adaptation of this project features appearances by Terre Thaemlitz, a nihilistic Transgendered Male-to-Female cross-dresser whose travels are plagued by concerns of violence and discrimination. Terre strides boundaries of gender and language through conversations and scenes accompanied by video and electroacoustic audio (the 60 minute version includes outtakes from Terre's renowned video on gender gaps, "Interstices," which was produced through Lovebytes in collaboration with the British Council for the Arts).
The core of this performance revolves around the 20 minute segment "Trans-Portation," in which Terre talks the audience through covert recordings made with airport security, immigration and airline staff in search of answers to questions about whether transgendered persons are likely to be denied entry into a country when travelling in drag or with passports that document genders abandoned through physical alteration.
Ultimately, in both theme and approach, "Trans-Sister Radio" falls between identities and categories; between man and woman; between fake, facts and pure fiction; between drama, electroacoustic and pop; between stand-up comedy, autobiography and sociological field research.
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Technical Rider (to be arranged by organizer):
- 1 Video projector (accepts VGA input from PowerBook G4)
- 1 Screen (as large as possible - 3 meters wide requested)
- 1 VGA Video monitor (placed with audio mixer and mini-dv player)
- 1 VGA video splitter (to share video signal with projector and monitor)
- 1 Audio mixer with EQ (mackie 1604 or similar, placed with mini-dv)
- 3 Microphones (1 for artist, 2 for audience discussion)
- Good sound system with clean low frequency response
Contact: info(at)comatonse.com
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Artist: Terre Thaemlitz
Title: 日本語で、エレクトロアコースティックライブ
Genre: エレクトロアコースティック、アンビエント、スケッチショー
Language: 日本語
Performance: オーディオビジュアルライブ
Duration: 60-90 min.
Description:
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様々なエレクトロアコースティックとラジオドラマの曲を日本語でやります！ 時々暗い、普通では見る事の無いトランズジェンダーの世界を紹介します。 ジェンダーとフェミニズムがいっぱい。これはテレビでよく見る「かわいいおねぇさん」の話とか「ニューハーフステージショー」じゃありません。
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Technical Rider (to be arranged by organizer):
- 1 Video projector (accepts VGA input from PowerBook G4)
- 1 Screen (as large as possible - 3 meters wide requested)
- 1 VGA Video monitor (placed with audio mixer and mini-dv player)
- 1 VGA video splitter (to share video signal with projector and monitor)
- 1 Audio mixer with EQ (mackie 1604 or similar, placed with mini-dv)
- 1 Microphone
- Good sound system with clean low frequency response
Contact: info(at)comatonse.com
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Artist: Terre Thaemlitz
Title: Meditation on Wage Labour and the Death of the Album （「賃労働とアルバムの死についての熟孝」）
Genre: Piano | New Music | Ambient | Cagean
Album: Soulnessless
Performance: Piano Solo
Duration: 81 min.
Description:
"Our reckless extension of goodwill [via pro bono projects and performances] is ultimately an act of self-sabotage. The impassioned artist's stance, "art for art's sake," obfuscates a labor issue. The iconic struggling artist who volunteers her work is a scab, but does not know it. If demanding payment for our labor means culture industries would collapse, then so be it. Perhaps we would finally begin conceiving of cultural production in terms larger than industry. Or more likely, we might find that we cannot exist without those industries which fail to support us, making us already pathetically irrelevant. Either way, I shan't be mourning."
- Terre Thaemlitz
- 1930: Introduction of the 36 minute 33RPM Long Play (LP) album
- 1980: Introduction of the 74 minute audio CD (followed by 80 minute 700MB discs, and now 90 minute 800MB discs)
- 1991: Introduction of the MP3 file format (file duration determined by media size [CD, MD, etc.] or computer OS file size restrictions)
In the era of MP3 downloads, the link between performance duration and media format duration has been severed. The album as a format is dead in the wake of single-track downloads. Simultaneously, record labels demand that audio producers produce albums that fill the longer media formats while paying lower advances and royalties. Between June 6-16, 2008, Thaemlitz recorded the first full-length MP3 album (4GB, FAT32 compliant, approx. 30 hours at 320kbps) in England at York University's Sir Jack Lyons Music Research Centre. That album (to be released in data DVD-ROM format, label undetermined) is an edit of a 31 hour piano solo recorded in sittings averaging 4 to 6 hours in length (after all, what is an album without a fadeout of the longer studio sessions?). The theme is "Meditation on Wage Labour and the Death of the Album." The duration of this live performance is a minimum of 81 minutes, so as to preclude a recording from fitting onto a conventional audio CD.
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「我々の［無料でやる企画や講演を通して］行う思慮のない善意の拡大は結局おのれに対する妨害活動に他ならない。「芸術の為の芸術」という情熱的な芸術家の態度は、それが労働という点を不明瞭なものとする。無報酬で作品を提供する貧しい芸術家はその象徴で、その行為はスト破りと同意であるが、自身はそのことに気づいてはいない。我々が労働の対価を求めることが文化産業を崩壊させると言うのなら、そうなってしまえばよい。そうなれば、おそらく我々は最後には社会における文化の創造が産業をしのぐものと考え始めるのかもしれない。あるいはもっと、すでに我々を悲劇的に不適切なものとしている、我々を支えることに失敗した産業なしには存在しえないという事を見出すのかもしれない。いずれにしても私は嘆き悲しむべきではない。」テーリ・テムリッツ
- 1930年、36分の33RPMのLPアルバム登場
- 1980年、74分のオーディオCD登場（今は80分が可能）
- 1991年、MP3ファイル・フォーマット登場（ファイルの長さはメディア [CD, MD等] およびファイルシステム [MacOS, Windows等] によって決まる）
最近のMP3ダウンロード時代に、音楽家のパフォーマンスの長さとメディア・ フォーマットの長さの関係が無くなりました。
一曲ずつのダウンロードに負けて、アルバム・フォーマットが死んでいました。
同時に、レコード・レーベルは音楽家から昔のアルバムの長さの倍を要求するけれど、アドバンスとか印税などは減らされました。
今年6月、イギリスのヨーク大学のサー・ジャック・ライオンズ音楽リサーチ ・センターで、世界初の長さとなるMP3アルバム（4GB、 FAT32互換機、320kbpsで大体30時間）を録音しました。
そのアルバム（リリースは未定）は３１時間のピアノソロ一曲のエディットです。
テーマは「賃労働とアルバムの死についての熟孝」。
ライブ・パフォーマンスはCDには入りきらない長さ、８１分になります。
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Technical Rider (to be arranged by organizer):
- 1 Grand Piano
- 1 Video Projector (VGA or RGB from PowerBook)
- 1 Video Screen (the entire screen should be viewable, since it includes text)
Contact: info(at)comatonse.com
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Artist: Terre Thaemlitz
Title: Introduction to Nuisance
Language: English
URL: http://www.comatonse.com/writings/nuisance.html
Performance: Audio-Visual Lecture, Audience Q&A
Duration: 60-90 min.
Description:
nuisance noun 1. a thing, person or situation that is annoying, inconvenient, or causes trouble or problems; 2. behavior which is harmful, offensive or annoying to the public or a member of it and that a court of law can order the person to stop.
This reading of the introduction to the forthcoming compendium of Thaemlitz' writings, "Nuisance: Writings on Identity Jamming & Digital Audio Production" (Berlin: B_Books, 2009(?)), presents a scathing critique of 'optimism' as an outlook mandated by global capitalist expansionism. In particular, it questions the ways in which optimism urge complacency within Leftist and Critical circles, academia, arts institutions and media. A somber, often humorous inquiry into 'negativity' as a vital aspect of cultural upheaval and transformation.
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Technical Rider (to be arranged by organizer):
- 1 Microphone
- 1 Video Projector (VGA or RGB from PowerBook)
- 1 Video Screen (the entire screen should be viewable, since it includes text)
- 1 Stereo mini-jack audio line for background music.
Contact: info(at)comatonse.com
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Artist: Terre Thaemlitz
Title: Please tell my landlord not to expect future payments because Attali's theory of surplus-value-generating information economics only works if my home studio's rent and other use-values are zero
Language: English
URL: http://www.comatonse.com/writings/utopiaofsound.html
Performance: Audio-Visual Lecture, Audience Q&A
Duration: 60-90 min.
Description:
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First presented at "Non-Simultaneity and Immediacy: Utopia of Sound," organized by Diedrich Diederichsen and Constanze Ruhm at The Academy of Fine Arts, Vienna (May 29-31 2008), this presentation takes a critical look at cultural criticism and audio production in relation to Foucalt's notion of "heterotopias", or brief yet sanctioned moments of cultural rupture (ex. religious ceremony, concerts, etc.) as interpreted by Christoph Cox. Skeptical of how these ruptures support dominant cultural systems, Thaemlitz coins the term "homotopias" in reference to the moments of reassimilation one undergoes when leaving heterotopic contexts and transitioning back to 'normal social space'. Thaemlitz claims it is the unconsidered homotopic moment of reconciliation that unavoidably compromises the intentions of contemporary critical media, both academic and industrial. This presentation also includes an expansion of Thaemlitz' well known deconstruction of Jacques Attali's misguided assertion that 'information economy' has altered the material basis of economic praxis.
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Technical Rider (to be arranged by organizer):
- 1 Microphone
- 1 Video Projector (VGA or RGB from PowerBook)
- 1 Video Screen (the entire screen should be viewable, since it includes text)
Contact: info(at)comatonse.com
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Artist: Terre Thaemlitz
Title: Viva McGlam? Is Transgenderism a Critique of or Capitulation to Opulence-Driven Glamour Models?
Language: English
URL: http://www.comatonse.com/writings/vivamcglam.html
Performance: Audio-Visual Lecture, Audience Q&A
Duration: 60 min.
Description:
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Originally published in "The Future has a Silver Lining: Geneologies of Glamour", ed. by Tom Holert and Heike Munder, (Zürich: Migros Museum für Gegenwartskunst/JRP Ringier, 2004), and first presented live at "Post-Porn Politics" (Berlin: Volksbühne, 2006).
In this lecture... well, the title pretty much says it all. Thaemlitz places Feminist Visual Theory through a transgendered lens in an attempt to understand the capitulary visual politics of most transgendered communities. Asking the question, "Given that the majority of both MTFs and women are not able to achieve an image of glamour, and that feminist visual theories have successfully clarified many social processes behind representations of the female body, can these theories also elucidate representations of transgendered bodies?", Thaemlitz proceeds to unravel an intricate tapestry that has been woven around notions of body within gender-analytical circles, making the gaps between 'transgendered issues' and 'women's issues' comprehensible in a visceral way. The climax of this presentation is a 'Transgendered-Genital Iconology' inspired by erotic artist Betty Dodson's vaginal iconology presentation at the 1973 N.O.W. Sexuality Conference in New York at which she proposed a contemporary aesthetic framework for the female genitals. Although one can imagine the same rules of representation to not apply to women and transgendered people, this presentation creates an experience in which people of all genders feel those rules' breakpoints. Out of the wreckage, how does one begin reconsituting notions of sisterhood? (Graphic content.)
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Technical Rider (to be arranged by organizer):
- 1 Microphone
- 1 Video Projector (VGA or RGB from PowerBook)
- 1 Video Screen (the entire screen should be viewable, since it includes text)
- 1 Stereo mini-jack audio line for background music.
Contact: info(at)comatonse.com
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Artist: Terre Thaemlitz
Title: メタファーとしての音：サンプリングと意味
Language: 日本語
URL: http://www.comatonse.com/writings/ccjpisummit08.html
Performance: オーディオビジュアル講議とQ&A
Duration: 60-90 min.
Description:
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テーリ・テムリッツ、「メタファーとしての音：サンプリングと意味」（講演録）、CCJP iSummit08のサンプリング・ワークショップ（札幌コンベンションセンター、２００８年７月３１日）： オーディオ・サンプルは参照部分となり、音楽の内容をより深めることができます。 しかしながら、オーディオ・サンプリングに対する法的規制は、私たちが意味のあるオーディオ談話をする機会を著しく制限します。 代わりに、私たちは、サンプリングはお金を稼ぐ為のマーケティング上の策略と見なすことを教えられます。 15年以上のキャリアを通じて、Terre Thaemlitzは、テーマに基づいてサンプリングをし音楽を作ることを続けています。 2005年に、トランスジェンダーであるTerreとベルギーを拠点とするサイバーフェミニストLaurence Rasselは、コピー・レフトと著作業に関する「The Laurence Rassel Show」というラジオ・ドラマを作りました。 もともとドイツの公営ラジオの依頼で作成されたのですが、内容に問題があるとのことで放送がキャンセルされました。 おかしなことは、そのラジオ局は、オーディオ・サンプルが使用されていることを全く気にかけませんでしたが、ペギー・フェラン、ジョーン・スミス、ミシェル・フーコー、ロラン・バルト他による原作者の「根源」と「張本人」のテーマについて書かれた哲学的なテキストの朗読が含まれていることを問題視しました。 このワークショップでは、Thaemlitzが、内容に基づいた音楽の創作を禁じる文化的風潮の中で、サンプリングの為の戦略を議論する為にいくつかの曲を提示します。
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Technical Rider (to be arranged by organizer):
- 1 Microphone
- 1 Video Projector (VGA or RGB from PowerBook)
- 1 Video Screen (the entire screen should be viewable, since it includes text)
Contact: info(at)comatonse.com
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Artist: Terre Thaemlitz
Title: 「トランスジェンダリズム」と「男女同権主義」の類似点：
「見る側」と「見られる側」の多様な事態
Language: 日本語
Performance: オーディオビジュアル講議とQ&A
Duration: 90-120 min.
Description:
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ジェンダーセオリー入門。トランスジェンダーであるテーリ・テムリッツがユーリズミックスのビデオから西洋のフェミニストビジュアルセオリーの「主体と客体の矛盾（subject/object contradiction）」を説明します。又、フェミニズとジェンダーセオリー（トランズジェンダーセオリーなど）の違いも説明します。
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Technical Rider (to be arranged by organizer):
- 1 Microphone
- 1 Video Projector (VGA or RGB from PowerBook)
- 1 Video Screen (the entire screen should be viewable, since it includes text)
- 1 Stereo audio line out from computer
Contact: info(at)comatonse.com
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