Saturday, May 07, 2011
TEN SCREW TAPES
can't jam it in your car. all those bright, perfect crisp beats are
carefully balanced and tested to hit thru a pair of twelve inch subs
sitting in a ported box behind your backseats. slowing it down by five
percent just throws off the balance and makes it sound like you're one
of those guys with a system that only jams metallica. screwtapes on a
real car system create a sustained rattle and rumble. sustained bass hit
after hit layering over each other, sounding like a bass growl thru the
chassis, trying to overheat the amp....
the rest of the tape, screw doing his thing. and i always check for
tapes with a classic nas track. study that street dreams, something i've
heard enough, played my it was written end to end a million times, to
really understand what screw is doing. that strong, rich new york beat,
trackmasters beat. stretched out to show you those winks of synthesizer
in cross section and drums compressed and flattened into the floor of
the track. picture screw's fat, soft hands running over shiny black wax
and loose fader. letting the gunshot interlude that introduces i gave
you power to fade instead into bomb first and hail mary mixed against
each other, playing the farrakhan million man march speech that pac put
on his cd, fading into me and my girlfriend played out before the
obligatory da brat and e-40 tracks.
Friday, May 06, 2011
Polly Jean as a Writer of Words : Corina Copp :
“I certainly feel like I’m getting somewhere that I wanted to get to as a
writer of words. I wanted to get better, I wanted to be more coherent, I
wanted there to be a greater strength and depth emotionally, and all
these things require work—to hone something, to get rid of any
superfluous language. I’m inspired by the other great writers I go back
to and read again and again, and think how did they do that?”
Thursday, May 05, 2011
Wednesday, May 04, 2011
Sunday, May 01, 2011
The slowed-down tempos of screw and its influence on contemporary bands
In a world where musical creations (remixes included) constantly shed economic value, the screw approach invests minimal effort into sonic transformation – yet the lazy process radically reconfigures a song. Screw dislocates body from voice – baritone rappers sound demonic, turgid, other and female singers melt into androgyny. If a song’s body is the regular-pitched version where the voice corresponds with the person it came from, then screw severs that connection. Paradoxically, screwed rap sounds more carnal than ever, yet the body is negated to expose the soul – or id, or drug-soaked semi-consciousness...
YouTube - I Can Feel In The Air Tonight- Phil Collins DJ Screw
YouTube - anita ward - ring my bell - DJ Screw
YouTube - Salem - Redlights
YouTube - Salem - King Night
Saturday, April 30, 2011
The Sampo (1959) 1/6
The story of the Sampo, the magical object that produces riches, from the a Finnish-Soviet movie "Sampo" from 1959
Friday, April 29, 2011
Jerry Pethick & Sandbox Holography
Animals Dream by Jerry Pethick
Holography typically requires manipulating the laser beam with lenses, mirrors, beamsplitters, pinholes, etc. All of these elements must be positioned in space and held steady to within about 1/100,000 inch for up to several minutes. To accomplish this task, most traditional optical laboratories use expensive micro-positioning mounts to hold the optics. To isolate the optics from room vibrations, they are mounted on a foot thick granite slab floated on compressed nitrogen pistons. These set-ups cost many thousands of dollars.
Jerry Pethick suggested a much simpler but equally effective system using sandboxes floating on automobile innertubes. A 4X6 foot or 4X8 foot slab of concrete was poured and a 2 foot deep box made of cinder blocks was built on top to hold the sand. The slab and box were then floated on innertubes for vibration isolation. Optics were mounted on the ends of 2 inch diameter PVC pipe sunk into the sand. With Pethick's method, adjusting the position of the beam was simply a matter of moving the pipes in the sand. Once released, the pipes held their position. After making all the adjustments, we tapped the pipes with a finger to give them a final "set", then let the table "settle" for 30 minutes before exposing a hologram. I saw several very high quality 8X10 holograms made with this system using small 1mW lasers with 5 minute or longer exposure times.
This preoccupation with space led to a desire to manipulate space itself, like other sculptural elements of material and form, metaphor and echo, the ideas that push and pull one into creative commitment. My interest that started in learning about material structure and visual aesthetics formed a curiosity about space itself - a perceptual space that becomes another element to play with and to weave into low technology constructs as well as the high technology of electronic images, diversified by the vast range of the computer...
Tuesday, April 26, 2011
Monday, April 25, 2011
Sunday, April 24, 2011
Wednesday, April 20, 2011
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