05
Jul

Free wireless: A Geek-free guide to thieving wifi:

“They have monopolised everything that it is possible to monopolise; they have got the whole earth, the minerals in the earth and the streams that water the earth. The only reason they have not monopolised the daylight and the air is that it is not possible to do it. If it were possible to construct huge gasometers and to draw together and compress within them the whole of the atmosphere, it would have been done long ago, and we should have been compelled to work for them in order to get money to buy air to breathe.”

Robert Tressell ‘The Ragged-Trousered Philanthropists’

A Geek-free guide to thieving wireless:

Everyone knows that ‘the best things in life are free’ so; here’s how to reclaim what was once designated as a junk frequency of the radio spectrum i.e. wifi/wireless 802.11#, and has now been commoditised by the likes of the monopolistic British Telecom. NB: This is intended as a laypersons’s practical guide to the art of wifi liberation and not an in-depth technical thesis on the subject. It’s also intended to stimulate debate and counter to the increased criminalisation of the practice. In the UK “Dishonestly obtaining free internet access is an offence under the Communications Act 2003 and a potential breach of the Computer Misuse Act” so here’s how it can be done:

Continue reading ‘Free wireless: A Geek-free guide to thieving wifi:’

02
Jul

Free writing

xu bing \

Image: Xu Bing from “A Book from the Sky”

Free or ‘Asemic’ writing is writing with no direct semantic content, its meaning is implied and hinted at through abstraction. Meaning can be deduced by intuition and instinct - a natural understanding of shape or in shamanic religious work, through a power held in the design (usually transmitted through the artists from an external, mystical source). Asemic writing is art without rules; a form defined completely by the creator. The writer’s method can be a formal process - Xu Bing’s 4000 studiously detailed hand crafted characters - or divined through a trance or drug induced state - Gedewon’s talismanic healing drawings, Michaux’s mescalin drawings - or ‘Psychography’ a personal cryptomnesiac script (echoes of ‘automatic writing’ of spiritualist mediums or Gysin/Borroughs ‘cut ups’ - a technique intended to reveal hidden meaning within a text by random and ‘magical’ association).

Continue reading ‘Free writing’

19
Jun

Space Now

space studios

13 June - 26 July 2008

mon- fri 10-6pm, sat 12-6pm

SPACE celebrates 40 years with an exhibition selected by Caroline Douglas, Head of Arts Council Collections.

Axel Antas, Josh Baum, Amanda Benson, Anne Bristow, Chila Kumari Burman, Leigh Clarke, Julie Cockburn, Ben Cove, Richard Crawford, Layla Curtis, Deborah Dawkin, Natalie Dower, Paul Eachus, Nigel Ellis, Julia Farrer, John Frankland, Peter Fraser, James P. Graham, Paul Green , Mark Harris, Peter Hawksby, Claude Heath, Mustafa Hulusi, Jim Jack, Rannva Kunoy, Ann-Marie LeQuesne, Hew Locke, Camilla Lyon, Andrea Medjesi-Jones, Fiona Merchant, Natasha Morland, Jost Münster, Adriette Myburgh, Saskia Olde Wolbers, Laura Oldfield Ford, Peter Peri, Sarah Perritt, Joanna Price, Bridget Riley, Suzanne Roles, Pascal Rousson, Piers Secunda, Yinka Shonibare, Martin Shortis, DJ Simpson, Walid Siti, Aerial Sparks, Fergal Stapleton, Michael Stubbs, Anthony Sullivan, James Faure Walker, Mark Wallinger, Ben Washington, Jackson Webb, William Wright.

This selling show has been selected by Caroline Douglas who toured all our studios visiting 600 artists to select this rich and diverse group show. It celebrates the strength of London’s artistic & creative community, and demonstrates the value of studio provision to London’s competitive edge and position in the international art world. SPACE has played a key role in establishing this position and continues to underpin its success. SPACE NOW launches a fund-raising campaign to support future SPACE studio developments.

Location; Space triangle

05
Jun

“one-two-three-four-stop!” cro magnon: orgasm

Don’t let the cover put you off! (When David Tibet reviewed records for Sounds back in  ‘the eighties’ he told me that he just looked at the cover and threw the record away without listening to them…) - there was obviously an enforced visual dyslexia enforced during the 1960s…no matter…this record I like (people who know me faint in shock), arrived at by chance through random linking so i have no idea who cromagnon were apart from that this record was published in 1968 in the USA (and not to be confused by more recent ‘cromagnon’ bands).

Continue reading ‘“one-two-three-four-stop!” cro magnon: orgasm’

19
May

Noise Mapping England Pt2

The much anticipated Noise Maps version 2 was released by our favorite government agency, DEFRA, last week. This version includes a noise source filter (road, rail, industry and air) - which ‘kind of’ works - and day and night switch. The maps spread beyond London to ‘agglomerations’ of over 250,000 people…everyone else will have to wait until 2012  for round two  - or make do with pdf of ‘major roads’ and airports.

Continue reading ‘Noise Mapping England Pt2′

11
May

bourbonese qualk radio broadcast 1989…

bourbonese qualk 1989

Some time ago, well, many years ago, we (bourbonese qualk) were asked to provide some unique material to be broadcast on a French radio show by Tristan Koreya. We put together a collage of work in progress at the time (1989 ?). The result was a snapshot of half finished tracks linked together in typical qualk fashion i.e. semi-randomly. Some of the music made it onto various releases in a slightly more polished form, others didn’t, thank god.  most of the music is Miles Miles and I (where was Owen?) with a focus on twangy guitar tunes and Arabic doodles - The quality is patchy and some of it over-indulgent, sketchy and in need of severe editing, some of it kind-of works - bear in mind, this was intended as a one-off never to be heard again broadcast. Tristan has posted MP3s of the show on His blog ‘nostalgie de la boue‘ which brings a snapshot of the time, and all the accompanying ghosts, back to life:

bourbonese qualk unreleased broadcast 1989

09
May

Making Music on Ubuntu Linux

Ubuntu is the Linux distro ‘for human beings’. This means it’s easy to install, maintain and use by ‘real people’ for everyday tasks. It’s available free and supported on an open source license by a global community of developers (and commercially supported by Canonical Ubuntu’s founders). In practice it’s a joy to use - lightweight, responsive with an uncluttered GUI, it genuinely works ‘out of the box’ on even the most obscure hardware (almost), and, importantly, doesn’t further line the pockets of Bill Gates or Steve Jobs. I’ve been using Ubuntu for about a year with the aim of eventually liberating myself from the tyranny of Windows and OSX - yet however good the OS is, it’s only as useful as the software that runs on it. I would like to see a free, open-source professional set of music tools running on a freeopen-source professional platform; The latest version of Ubuntu (8.04 Long Term Support) has just been released so it’s a good time to review the feasibility of music making with open source only software. Most of the applications detailed here are bundled with Ubuntu Studio a ‘multimedia’ dreivative of Ubuntu - or can be installed separately via Synaptic Package Manager.

Continue reading ‘Making Music on Ubuntu Linux’

29
Apr

“Triptyque” : Achwghâ ney wodei MP3s

Finally, an MP3 version of Achwghâ ney wodei’s “Triptyque” album with the remaining postcard prints and back cover design - thanks to Paphio23 and Maarten for providing MP3 rips of their vinyl:

Continue reading ‘“Triptyque” : Achwghâ ney wodei MP3s’

23
Apr

Achwghâ ney wodei

Widely assumed to be an alias side project of bourbonese qualk, Achwghâ ney wodei with an equally ridiculous name were infact a real group; Didier Copp , Eric Sterenfield (’Riton’) , Françoise Boitiere , Phillippe Royer (’Woudi’) who were active in the so-called ‘alternative’ Parisian music scene in the late Eighties. With peers such as as Mano Negra, Bérurier Noir’ and Les Negresse Vertes, Achwghâ ney wodei complemented the eclectic style of the times with a cartoon comedic style based on French working class Chanson, music hall and character driven vignettes.
04
Apr

Hastings Sessions

ian land

Geoff (Leigh) was keen to broadcast the output of our recent audio collaborations - so here we go; an mp3 of rough mixes of electro-acoustic improvisation: Geoff Leigh on Flutes and Myself on ‘other things’. you can hear more of Geoff’s work on: Geoff’s myspace page. The image above was nicked from Ian land’s extensive photographic library of trees and sky around Hastings.

Crab-Leigh Hastings Sessions 8.8MB MP3 File

26
Mar

Onomatopoeic proposal.

cuckoo

Onomatopoeia is a word that imitates the sound it describes e.g. ‘Crash’ , ‘Miaow’ etc. and as such are possibly the origins of spoken languages being the simplest form of communication - imitating an object to communicate meaning ( for instance in Chinese ‘Mao’ 猫 has become the word for a cat, based originally on it’s sound). Onomatopoeic words are some of the most recent additions to languages, incorporating direct imitations of the post industrial world, ‘Beep’, ‘Zap’, ’squeak’…occasionally becoming nouns; ‘ratchet’, ‘Crank’ etc. Curiously onomatopoeic words vary considerably across the globe; different cultures seem to hear differently. Languages themselves once established obviously restrict and distort the ability to form ‘pure’ onomatopoeic words but cultural variations also play a part - in the same way that the perception of musical tone and harmony vary across cultures. As an experiment i propose a WIKI Onomatopoeia library which would allow anyone to describe their literal interpretation of sound - not the accepted cultural/linguistic form (e.g. ‘woof’ for a dog) but what the individual hears. This would form a living recording of audio interpretation and the cultural variations and distortions that occur in different regions.

Continue reading ‘Onomatopoeic proposal.’

13
Mar

Geoff Leigh

geoff_leigh_2008

Last Saturday I spent the afternoon working with ‘the legendary’ Geoff Leigh (pictured above in his cave like studio in Hastings) on some electro-acoustic improvised pieces: Geoff playing flute and various wind instruments which I processed live using granular sequencing software. This will hopefully be the beginning of a longer, currently anonymous, musical collaboration (if you can think of any good names, let me know). Geoff is a renowned multi instrumentalist probably best known for having played in an early incarnation of Henry Cow* in the early seventies, Moiré Music in the eighties and more recently with North African musicians and with those other old hippies, Faust.

Continue reading ‘Geoff Leigh’

07
Mar

Paris in the spring

qualklondon

More qualk nostalgia. This time some recordings made in Paris, April 1991. These recordings date from the ‘Unpop’ period and shortly after the entire group were permanently banned from entering France (…it’s a long story but we each had nice red circular stamps in our passports which said something like ‘banned from France”). We made a few small concerts in Paris, having sneaked over from Belgium (crafty, eh?) and then quickly off to Spain. The idea was to make some quiet, mostly improvised ‘café style’ dance concerts to flummox the usual crowd of noise loving goths. The recordings catch the group in a playful mood - a clear homage to Mahmoud Ahmed and Cheb Khaled. And, as usual the sound quality is pretty rough…

bourbonese qualk live Paris ‘EPE’ April 1991 8MB MP3

21
Feb

“something inside me turned upside down”

qualk_1987

bourbonese qualk. RRV, Lisboa 08-12-1987

Some unreliable recollections and rough recordings of the gig we (bourbonese qualk) did at the Rock Rendezvous in Lisbon in the 80’s, (December 8th 1987 to be exact…my memory triggered by recent comments on this blog): At the time Portugal was undergoing a minor renaissance in new music – the Fascist dictatorship of the seventies had given way to a state of attrition between the traditional conservative catholic mainstream versus an ad-hoc collective of revolutionary groups, eccentrics and newly active youth. This polarization resulted in a profusion of new music groups such as (amongst many others) electronic experimentalists SPQR (who supported us at this gig), dark surrealists ‘Mão Morta’ and the cerebral pop of Pop De’ll Arte. Our gig was organized by the hyperactive João Peste of the Ama Romanta label - responsible of promoting much of the new Portuguese underground and hosted by Rock Rendezvous, the epicentre of live music in Lisbon at the time.

Continue reading ‘“something inside me turned upside down”’

13
Feb

Is the BNP Racist?

bnp1Is the pope Catholic?, do bears…? etc. Not a rhetorical question apparently but a live and highly intellectual debate on the BNP’s ( a UK based far right/fascist organisation) website. Sarah, my partner is crime, is the director of Dimsum, a British- Chinese community organisation which has made the BNP’s ‘Racist Organisations’ list (coming in at number 23!). How so? you may ask, well, the BNP’s logic goes that if the BNP is racist for supporting the rights of the downtrodden ‘indigenous british population’ then organisations that support other minority communities are also racist.

Continue reading ‘Is the BNP Racist?’

30
Jan

Is it worth it?

penny
Next week i’m talking at a seminar discussing ‘the value of creativity’:

Economies of Value: A Seminar interrogating the roles, levels and definitions of value in media arts practice and partnerships.

SPACE, 129-131 Mare Street, Hackney, London E8 3RH

Tuesday 5 February
2008 10.30 am - 5 pm

Distributed South invites you to join us in a seminar which will examine issues of value and its measurement, paying particular reference to Media Arts sector and partnership working. We will focus on resource exchange and the value of research conducted by artists and organisations, through the development of work, residencies and placements.

Contributions from key economists in the field of cultural and creative management will enable us to look at systems that are being modelled to measure value in networks and groups. Alongside these systems, projects designed to focus on measuring value and exchange through social networking and information/resource exchange will demonstrate new methods of measurement

Economies of Value will be of interest to those working in the media, media arts, ICT and business people looking at new models of working.Like all events related to Distributed South it aims to move and inform policy in the media arts sector to drive forward new approaches to working and developing the field.

Some years ago we put the entire Bourbonese Qualk back catalogue online for anyone to download for free and do what they like with it. This wasn’t a Radiohead style marketing exercise but a statement of value - something is worth much more if it is free. Music has always been ‘free’ until it became fixed as a commodity i.e. when the gramophone was invented which triggered the notion of ownership, control and IP. Releasing records for us wasn’t a commercial exercise but a way of distributing our ideas and we’re sold as cheaply as possible (Crass’s ’steal this record’ analogue equivalent of mp3 downloads).
Someone sent me a link to a discussion about the Radiohead campaign that mentioned our ‘give-away’ (making me feel worthy and smug):
“…as a follow-up example, bourbonese qualk put their entire catalog online for free a while back. i was ecstatic, since their stuff was very hard to find anyway. i DL’d all of it, and got hold of them to see what i could do in return. they asked for a donation to Médecins Sans Frontières rather than any payment to them. a few minutes later, MSF had $50 from me.”
Help yourself from here: http://www.bourbonesequalk.net/
…or all the albums from this single torrent file: http://www.mininova.org/get/763559
15
Jan

Tintin and Infrasound

tintin

Curious blog synergy: An article based on the Stalker ‘Early warning/Acoustic radar‘ post from our Portuguese comrades at Anauel, involves acoustic radar, Tintin and, unknown to them, relates back to the new Stalker post on Infrasound. Herge’s drawing of the German sound weapon is actually taken from a photograph of the ‘Luftkanone’ at the Elbe river in 1945:

luftkanon_01

The book illustrated is Leslie E Simon’s real and much sought after post war research into German WW2 experimental weaponry “German research in WW2″

Full article (in Portuguese) is here: http://anauel.blogspot.com/2008/01/oh-capito-isso-extraordinrio.html

14
Jan

A Short History of Sound Weapons Pt2: Infrasound

gavreau

(image: Vladimir Gavreau)

Infrasound is low frequency audio beneath the human range of hearing. Infrasound constantly surrounds us, generated naturally; wind, waves, earthquakes and by man; building activity, traffic, air conditioners and so-on. Low frequency sound is used by marine mamals to communicate over vast distances and by birds to determine migration patterns.

At higher volumes infrasound of around 7-20hz can directly affect the human central nervous sytem causing disorientation, anxiety, panic, bowel spasms, nausea, vomiting and eventually unconsciousness (supposedly 7-8hz is the most effective being the same frequency as the average brain alpha wave). The effect is unintentionally (or not?) generated by the extreme low frequencies in church pipe organ music, instilling religous feelings and causing sensations of “extreme sense sorrow, coldness, anxiety, and even shivers down the spine.”(1) in the unsuspecting congregation. Low frequency sound generated naturally or by building work and traffic is said to be the cause of reported apparitions and hauntings (2) - blamed on the ghostly 19hz frequency which matches the resonating frequency of the human eyeball:

Frequency & effects:

7 Hz: Supposedly the most dangerous frequency corresponding with the median alpha-rhythm frequencies of the brain. It has also been alleged that this is the resonant frequency of the body’s organs therefore organ rupture and even death can occur at prolonged exposure.

1-10hz: “Intellectual activity is first inhibited, blocked, and then destroyed. As the amplitude is increased, several disconcerting responses have been noted. These responses begin a complete neurological interference. The action of the medulla is physiologically blocked, its autonomic functions cease.” (Gavreau )

43-73hz: ” lack of visual acuity, IQ scores fall to 77% of normal, distortion of spatial orientation, poor muscular coordination, loss of equilibrium, slurred speech, and blackout”.(Gavreau )

50-100hz: “intolerable sensations in the chest and thoracic region can be produced - even with the ears protected. Other physiological changes that can occur include chest all vibration and some respiratory rhythm changes in human subjects, together with hypopharyngeal fullness (gagging). The frequency range between 50 and 100 Hz also produces mild nausea and giddiness at levels of 150 - 155 dB, at which point subjective tolerance is reached. At 150 to 155 dB (0.63 to 1.1 kPA), respiration-related effects include substernal discomfort, coughing, severe substernal pressure, choking respiration, and hypopharyngeal discomfort.” (Davies)

100hz - At this level, a person experiences irritation, “mild nausea, giddiness, skin flushing, and body tingling.” Following this, a person undergoes “vertigo, anxiety, extreme fatigue, throat pressure, and respiratory dysfunction.”(Gavreau )

infra_02

damage

(images: tables from “Acoustic Weapons—A Prospective Assessment: Sources, Propagation, and Effects of Strong Sound” Jürgen Altmann)

The first documented attempt to reproduce the infrasound effects was by the much mythologised Russian/French physicist Vladimir Gavreau in 1957. Gavreau became interested in infrasound when he was asked to cure a case of ‘Sick Building Syndrome’; Staff at a research plant in Marseilles were mysteriously falling ill. Chemical or pathogen poisoning was suspected but Gavreau eventually traced the origin of the illnesses to an air conditioning unit who’s rotating fans were generating low frequency sound waves. Gavreau began to experiment with low frequency acoustics with the intention of creating a viable audio weapon for the French military. Several prototype designs of various sizes were produced christened ‘canon sonique’ consisting of piston driven tubes and smaller compressed air horns and whistles. Gavreau and his team tested the instruments on themselves at the Marseilles plant with unexpected success as apparently one of the team died instantly “his internal organs… mashed into an amorphous jelly by the vibrations”:

“Luckily, we were able to turn it off quickly. All of us were sick for hours. Everything in us was vibrating: stomach, heart, lungs. All the people in the other laboratories were sick too. They were very angry with us.

 

  Continue reading ‘A Short History of Sound Weapons Pt2: Infrasound’

10
Jan

Early Warning: Acoustic Radar

acousticmirror

Image: Sound Mirrors near Dungness, Kent, UK

Scattered around the South East coast of England are these concrete objects. They are Acoustic Mirrors, built from 1916 to the mid 1930’s as an acoustic early warning system . The mirrors were simply large ‘acoustic ears’ used to locate approaching enemy aeroplanes and Zeppelins by amplifying and pinpointing engine sound - they had a range of around fifteen miles which gave a few minutes extra warning over visual location . The parabolic mirrors reflected and focussed the sound into one spot which was picked up by the listener through a rubber tube attached to the ears - a great example of the practical application of British exentricity. The mirrors eventually became obsolete with the development of faster aircraft and killed off entirely with the invention of Radar.

Mobile versions of the sound mirrors were still in use by Germany, Briatain and the USA during the Second World War as crude anti aricraft warning devices:

acousticmirror_02

Image: German Acoustic Early Warning device 1940s

acousticmirror_04

Image: British Acoustic Early Warning device 1940s

soundradar

Image: Japanaese Mobile Acoustic Horns 1930s

Link:

Sound Mirrors on the SE coast

Acoustic Location and Sound Mirrors.

The Sound Mirrors project

09
Jan

Sounds from memory #4: Falling

SE London 1986(Not really a sound from memory more the memory of an imagined sound…)

The ideal city is a city with mountains - Naples, Lisbon, Sarajevo, Phoenix Arizona even. The flat and claustrophobic city of London lacks this topological quality but tries to make up for it in the form of council tower blocks (not quite the vertical exuberance of Hong Kong or Shanghai but it will do…) and it was to these buildings that i was drawn in a skyward search to try and ‘understand’ the city and the London landscape.

In the early Eighties council housing was in chaos and these blocks had been more or less to fend for themselves; the original tenants had moved out (except for a few aged ” i’ll only leave here in a coffin” types identifiable by heavily armored front doors) leaving the run of the place to a colorful mix of smackheads, the smackhead’s drug dealers, ‘antisocial’ families and the dregs of the squatter population.

(a friend of mine who lived in the top flat of a fourty storey building, hacked a head sized hole through his bedroom wall so that when he was lying in bed he could remind himself that the only thing between him and the void was a thin layer of breeze blocks. His occupancy of the flat was cut short when a pirate radio station gang persuaded him to leave by dangling him out of the kitchen window…)

Access to the buildings was unrestricted, I spent happy hours exploring and climbing these imitation mountains - walking up the stairwells, climbing scaffolding or directly up the exterior of the building, balcony to balcony to sit, dangling my feet of the top. Much of the mid-period bourbonese qualk imagery derives from this architecture (not as commonly supposed an ‘industrial’ affectation but a search for the echo of a more rural landscape) as video, album covers, posters and photographs. But more and more the focus of my climbs became the attempt to record the fall from a high building; Sitting on the edge of the top of a tower block caused me an almost unstoppable physical urge to leap off - i was sure the falling sensation would be worth it, however brief. I decided to try and capture a simulation of falling by dropping microphones and video cameras off high buildings creating a series of short, very short, films and audio recordings (and smashed equipment). I never came close to matching the imagined sound, a sound which has to be experienced to be fully appreciated: in a short six seconds the sound of televisions, and children crying changing pitch though doppler distortion as i drop past the balconies, the noise of the city - traffic, car alarms, sirens fading as the range decreases to a single point of impact on a concrete surface bringing the short journey full circle from solid to void and back again.

Some tips on falling:

http://www.guardian.co.uk/science/2004/may/20/thisweekssciencequestions2

http://www.wikihow.com/Survive-a-Long-Fall