Post from Slow Capital Reading Group

Kapitalism 101 Website

<http://kapitalism101.wordpress.com/>  

Law of Value

<http://kapitalism101.wordpress.com/2011/11/15/law-of-value-8-subjectobject/> 

Value and Price 

<http://kapitalism101.wordpress.com/2012/12/23/law-of-value-10-price-and-value/> 

http://www.bbc.co.uk/programmes/b039g618

http://www.theguardian.com/business/shortcuts/2014/jan/07/inside-supermarkets-dark-stores-online-shopping?CMP=fb_gu

http://www.youtube.com/watch?v=cEZBat3HRmw

Lonnie Holley

Lonnie Holley was born on February 10, 1950 in Birmingham, Alabama. From the age of five, Holley worked various jobs: picking up trash at a drive-in movie theatre, washing dishes, and cooking. He lived in a whiskey house, on the state fairgrounds, and in several foster homes. His early life was chaotic and Holley was never afforded the pleasure of a real childhood.

Since 1979, Holley has devoted his life to the practice of improvisational creativity. His art and music, born out of struggle, hardship, but perhaps more importantly, out of furious curiosity and biological necessity, has manifested itself in drawing, painting, sculpture, photography, performance, and sound. Holley’s sculptures are constructed from found materials in the oldest tradition of African American sculpture. Objects, already imbued with cultural and artistic metaphor, are combined into narrative sculptures that commemorate places, people, and events.

Holley did not start making and performing music in a studio nor does his creative process mirror that of the typical musician. His music and lyrics are improvised on the spot and morph and evolve with every event, concert, and recording. In Holley’s original art environment, he would construct and deconstruct his visual works, repurposing their elements for new pieces. This often led to the transfer of individual narratives into the new work creating a cumulative composite image that has depth and purpose beyond its original singular meaning. The layers of sound in Holley’s music, likewise, are the result of decades of evolving experimentation. “Just Before Music” features Holley’s first studio recordings made in 2010 and 2011.

Noise & Capitalism

Noise & Capitalism, is a tool for understanding the situation we are living through, the way our practices and subjectivities are determined by capitalism. It explores contemporary alienation in order to discover whether the practices of improvisation and noise contain or can produce emancipatory moments, and how these practices point towards social relations, which can extend these moments.

‘Noise’ not only designates the no-man’s-land between electro-acoustic investigation, free improvisation, avant-garde experiment, and sound art; more interestingly, it refers to anomalous zones of interference between genres: between post-punk and free jazz; between musique concrète and folk; between stochastic composition and art brut. – Ray Brassier
This book, Noise & Capitalism, is a tool for understanding the situation we are living through, the way our practices and our subjectivities are determined by capitalism. It explores contemporary alienation in order to discover whether the practices of improvisation and noise contain or can produce emancipatory moments and how these practices point towards social relations which can extend these moments.

Radio Papesse & SÜDEN RADIO

Radio Papesse places itself on the irregular border where art and sound converge. Not a magazine, nor an artistic project, rather it is a method of production we have been pursuing since 2006 and that is gaining strenght from its relational dimention since radio is mostly a set of relationships, an intricate triangulation of listener, player and system.

In the last seven years, since Radio Papesse was born within the Palazzo delle Papesse Contemporary Art Center in Siena, it has opened up to experimental sounds and radiophonic productions, it has been producing interviews, documentaries, to narrate stories, views and ideas from the contemporary art panorama; it challenged the medium to depict what is usually seen, to reflect upon it by the means of sound; it invited artists, musicians, producers and Djs to confront themselves with the rules of the radiophonic storytelling. 

RP is a webradio – streaming 24/7 – and an online archive licensed under Creative Commons Licence - growing day by day. That’s who we are, what we do, everyday, to keep some sound-traces of the present.

What is the South? Is it just a matter of latitude? is it a phenomenon, is it a method, is it a cliché? Is it possible to define the geographical scale of the South? How can we approach it, without reducing the discourse on mere geographical terms? without reducing its complexity into a monolithic phenomenological entity through which and unlike to we define ourselves?

The artistic debate around these themes is very fragmented but what we would like to do in the context of Süden, is to further articulate the discourse and widen it up to a differ layer: the sonic dimension of South. Is there a southern sonic cliché?

Super Simple FM Transmitter

Link to MAKE Project here...

FM transmitters can be complicated to build, but not this one — it’s about the easiest you can possibly make. And though the science of radio is well understood, there’s a magical, emotional quality about it that we don’t often stop to appreciate. You will not forget the first time you pick up a transmission broadcast from a device you soldered together, yourself, from a few bits of copper, carbon, plastic, and wire.  



This design was originally popularized by Japanese multimedia artist Tetsuo Kogawa. The circuit itself is a slight variation on Kogawa’s simplest FM transmitter design, and the method of building it is sometimes referred to as “Manhattan style.” It uses a piece of copper-clad circuit board but, rather than etching the circuit traces through the copper layer, a large piece of continuously-plated board is used to make all the circuit’s ground connections, and small sections of plated board are glued to the surface to form nodes or “pads” that are insulated from ground.  Besides being a convenient way to assemble circuits using minimal tools, this building method encourages you to think about circuits in an interesting way — as groups of connections that are either grounded or “floating above” ground.

Wood Joinery Techniques & Jigs

Half Lap Joint Jig

Binaural Beats & Isotonic Tones

Binaural Beats has been shown to increase nerve regeneration in the brain. Using some frequency modulators we are able to recreate the frequencies that encourage the treatment by allowing the the nerves to begin to regenerate With nerve damage there can be a wide array of symptoms. Which ones you may have depends on the location and type of nerves that are affected. Damage can occur to nerves in your brain and spinal cord. It can also occur in the peripheral nerves, which are located throughout the rest of your body.

 

This session uses specific frequencies known to support cell regeneration. An isochronic tone with a carrier frequency of 111hz with a tone frequency of 2.0hz is paired with a binaural beat with a carrier frequency of 360hz also tuned with a 2.0hz binaural tone.

111 hz is known to release beta endorphins and cause cell regeneration. The binaural and isochronic frequency of 2.0 hz is directly related to nerve regeneration.

360 hz is the -Balance Frequency- and brings sensations of Joy and Healing.

Our never before heard frequency provides not only regeneration but also provides a relaxation beat to encourage even more growth!!! Try it Now

 

Binaural Microphones

Came across this test of the Soundman OKM microphones and found some of the sounds that were recorded very stimulating for the mind - make sure you wear headphones!