narrow darkened spaces with TV monitors on the sides;
large-scale back-lit photographs; mirrors placed at strange angles interacting
with light sources in otherwise ordinary rooms; temporary lines cut into
the concrete of a city street or in the middle of a desert. Main replacement
panels and subassemblies. Track 1. Pierre Henry - Voile d'Orphée
(The Veil of Orpheus) 1953. Electronic tape composition for voices,
percussion instruments, piano sounding board, and found sounds. Composed
and recorded at the studios of the Groupe Recherche de Musique Concrète.
[15'34] 1948: The first primitive gramophone-record studies by Pierre Schaeffer
at the Musique Concrète studios. Already, as he watched from behind
his grotesque mask, it looked as if he had been obscurely injured in this
collision. I pointed to the smears of blood. He knelt beside me and inspected
the stains, nodding sagely. 'You're right, Donatien - there's an all-night
car-wash in the airport service area.' He held the door open for me, his
steady eyes without any show of hostility, as if calmed and relaxed by the
accident we had passed. The SIMM compander package contains 4 miniature
circuit boards that each contain 2 SIMM slots. As we set off, the camera
landed on the front seat. Its invisible silver memories
of pain and excitement distilled themselves on their dark reel as I looked
over, Juliette's most sensitive mucous surfaces quietly discharged their
own quickening chemicals. The techniques used were at first extremely simple,
influenced by Luigi Rossolo's writings on the "art of noises."
A 78rpm record was played at 33rpm; Schaeffer found that this made train
noises sound like a blast furnace. A cough on an abortive concert recording
provided a valuable piece of raw material as well. It was combined with
the rhythm of a motorboat engine, and American accordion record, and a priest's
song from Bali. These "classics" were broadcast by French Radio
on 5 October 1948 as a "concert des bruits" ("concert of
noises"). The public was alarmed. Shaded zones indicate areas of body
supplied as section parts. Strands of carbon-mirrored collagen extending
from the dermis through subcutaneous tissue to the
underlying subframe mountings, musculo-frontal attachments, spring and hydraulic
centerline brackets, and bony periosteal all influence the general mobility.
No artistic abomination on the walls. Compared with pure, distorted, velocity-reality,
everything has cathartic light with the delicious surrounding dark of an
environment, that is colliding; between front subframe mounting points,
between front locating holes and left shock absorbant locking hole, between
84-Bit PDS accelerated video boards and 400MHz direct-slot virus processors,
between epidermal periphery nerves and somaesthetic optic chiasms.