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HMS 006
Spoonbender
1.1.1
Stereo Telepathy Academy
CD
Limited to 333 copies
Release Date: Valentine's Day, February 14, 2006
Available through the Helen Scarsdale Agency: $10.00
In 1913, Marcel Duchamp dropped three pieces of string,
each a meter long, from a height equal to their length.
He then cut shapes into pieces of wood in order to document
the rumpled line of his three fallen strings. In essence,
Duchamp conceived his 3 Standard Stoppages as
a preservation of chance, which he viewed as a means to
combat logical reality. In addition to Duchamp's self-proclaimed
antipathy to the rational world, he was quite particular
in how he contextualized and executed his ideas through
readymade objects, chance operations, and his notorious
psycho-sexually charged dioramas. It is this dualism between
the chance operation and an absolute intellectual/technical
control which brings us to the present age, and to
Spoonbender 1.1.1 in particular. the acceptance and integration
of opposites results in the 3rd option: everything.
The San Francisco-based Spoonbender 1.1.1 outlines
itself as the 'tele-ambient dream self' of the critically-acclaimed,
'populist avant-tronics and media group' I Am Spoonbender.
It is important to note that Spoonbender 1.1.1 declares
itself not a side project of I Am Spoonbender, but a psychologically
immersive extension of the central IAS concept. Both projects uncover
the hidden connections that lie beneath the surface of
reality by delving into the arenas of paranormal
research - the exploration of the occult significance
surrounding the number 3 and its strange laws, for example
- but the intended outcomes for these concepts
are decidedly different. for Stereo Telepathy Academy,
Spoonbender 1.1.1 exercises psychic community through
the architecture of the soundtrack.
At the beginning of the first 'transmission' of Stereo
Telepathy Academy on November 3rd, 2004 - a performance
where the group supported Genesis P-Orridge's
PTV3 - 1.1.1's Dustin Donaldson announced that "tonight's
Spoonbender 1.1.1 show is governed by chance operations
and the 'third mind' technique. Spoken text was taken
from one film, overlayed onto images from another film,
and the score was composed while viewing a third (and
secret) film source. The synchronistic results appear
to be intentional." Such was the strategy of Duchamp's
aforementioned piece nearly a century ago; but Spoonbender
1.1.1's collision of artforms also employs the technique
found in the William S. Burroughs / Brion Gyson classic
The Third Mind. As the images of David Cronenberg's
rarely seen film Crimes Of The Future flickered,
Spoonbender 1.1.1 radiated an inverted telekinetic minimalism
of undulating tones supporting the third piece of
the puzzle: spoken text from Cronenberg's Stereo,
a faux-documentary detailing a surgical procedure for
the advancement of telepathic communication. The result:
a sort of 'Wizard Of Oz / Dark Side Of The Moon'
for the mimetic engineering mindset.
(Not surprisingly, another triangle was completed
at this event: Donaldson and P-Orridge met for the
first time. Burroughs and Donaldson were friends, as were Burroughs
and P-Orridge. Psychic TV 3 / Spoonbender 1.1.1 on
the 3rd of November...)
The same principles and elements apply for Stereo
Telepathy Academy, the group's long-awaited
debut studio recording (1.1.1 has existed solely as a
live group for years). This marks the second of three
editions to be released- The first was an edition of 111,
documenting the aforementioned live performance; the second
is this edition of 333, sporting handsomely letterpressed
artwork; the third and final edition will be a unique
art piece in an edition of a mere 3 copies.
Reviews:
Brainwashed
De:Bug
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