Crass ‎– The Feeding Of The Five Thousand

Small Wonder RecordsのオーナーであるPete Stennettが1978年にリリースしたCrassの最初のアルバム ” The Feeding Of The Five Thousand ” の、猛烈な脱構築の態度やアナキストの歌詞は、アイルランドのプレス工場の労働者がトラック「Reality Asylum」の冒涜的な内容を聴きディスクを製造することを拒否する問題が発生した曰くつきの作品。レコードはこのトラックが削除され、「The Sound Of Free Speech」の2分間の無音と置き換えられ最終的にリリースされた。”They’ve got a Bomb”にも、ジョン・ケージの「4’33」からインスピレーションを得た沈黙の時がある。そうしたケージの影響は歌の空間の捉え方 ” 突然エネルギー、踊り、騒音を止め、聴衆が一時的に「自分自身に直面する」ことを可能にし核戦争の現実を考え示唆する” ことを意味していた。アルバムタイトルの ” The Feeding Of The Five Thousand ” は、キリスト教の伝統の中でよく知られている少量の食物を5,000人が食べたと言われる聖書の奇跡の句から引用されたもの。ドラマー、ペニー・ランボーによるCrassのアティチュードは、当時ボクが支持していたパティ・スミスなどの文学的ニューヨーク・パンクを超えた反体制的・反社会的で従来の古い権威を否定するという衝動を持っていて、おおいに影響されたものである。90年代から今日までぼくはきっと個人主義アナキストの道を歩んでいるのかもしれない。
※このCrassのThe Feeding Of The Five Thousandの原盤ファースト・プレッシングはずいぶん高値で取引されているみたいだ。

https://crassahistory.wordpress.com


Crass – The Feeding of the 5,000 REMASTERED HD 2K
Rudolfarch .sucks
2012/07/05
here’s the first Crass album. Remastered version of “the feeding of the 5,000” with high-quality sound


Crass ‎– The Feeding Of The Five Thousand
Small Wonder Records ‎– WEENY 2, Small Wonder Records ‎– WEENY TWO, Small Wonder Records ‎– 621984
Vinyl, 12″, 45 RPM, EP, 1st Pressing
UK
Feb 1979
Rock
Punk
A1 The Sound Of Free Speech
A2 Do They Owe Us A Living?
A3 End Result
A4 They’ve Got A Bomb
A5 Punk Is Dead
A6 Reject Of Society
A7 General Bacardi
A8 Banned From The Roxy
A9 G’s Song
B1 Fight War, Not Wars
B2 Women
B3 Securicor
B4 Sucks
B5 You Pay
B6 Angels
B7 What A Shame
B8 So What
B9 Well?….Do They?
Bass – Pete Wright
Drums, Noises [Radio] – Penny Rimbaud
Lacquer Cut By – Pecko (tracks: B1 to B9), Porky(tracks: A1 to A9)
Lead Guitar, Backing Vocals – Phil Free
Lead Vocals – Steve Ignorant
Mastered [Metalworks] – TB
Producer, Written, Design – Crass
Rhythm Guitar, Backing Vocals – N.A. Palmer
Vocals – Pete Wright (tracks: B3 to B5)
Voice – Virginia Creeper (tracks: B2)
Recorded At Southern Studios
Copyright (c) – Crass
Phonographic Copyright (p) – Crass
Published By – Small Wonder Music Ltd.
Artwork, Coordinator [Coordination] – G
First pressing with no record review on the inner sheet in 12″ size with liner notes, credits and lyrics.
Front of the inner sheet reads “621984” with not crossed out or replaced numbers.
Black bar that covers lyrics to Asylum on inner sheet has smaller typed font (2nd press is hand written and takes up the entirety of black bar)
Inner Sheet:
eve libertine/voice on asylum
all material ©℗Ⓐ CRASS.1978.
recorded live at southern studios ink.london.29/10/78.
special thanks to john of southern studios, to larry williams, and to pete, mari and alan of small wonder.
Labels:
Small Wonder Music Ltd.
©℗Ⓐ 1978
External Information:
A1 was meant to be the track ‘Asylum’, vocals credited to Eve Libertine on the inner sheet, but no company would press the record with this track. It was replaced with silence. The lyrics for this track on the insert are covered with a black bar with an explanation.
SMALL WOUDER RECORDS 1978/1979

Peter Tscherkassky – Exquisite Ecstasies

1960 年代のアメ リカでの構造映画/Structural film ( 同時代の美術や音楽 などの芸術動向と関与しつつ映像をコンセプチュアルに構成した作品 ) と、 その流れを受け継いだイギリスを中心に展開された構造的=物質主義映画/Structural-Materialist Film ( Peter Gidal によって提唱された記録、再現などの基本的性質を批判的に扱うカメラで撮られた対象と映像の関係を唯物的に問い直すもの ) の形式を踏襲しているオーストリアの映像作家ペーター・チェルカスキー ( Peter Tscherkassky/1958- )の” Exquisite Ecstasies ” は、「 既存の映画フィルムを複写・変形しカットアップされて制作されている。DVDは初期のスーパー8フェーズから構成された作品で、1980年代からアナログ映画の特質であるセンセーショナルな“exquisite ecstasies”の形で具体化されたもの。 血まみれの映画、愛の映画、休日の映画、タブラ・ラサ、または絶妙なコーパスのイメージがいかに多様であっても、これらの映画はすべて私の芸術作品全体の中心的なインパルスを結晶化させます。 そのユニークな美しさ、潜在的なヴィジョン、そして他のどのメディアにも移転することのできないヴィジョンで映画化します(Peter Tscherkassky)」
INDEXは、sixpackfilmとMedienwerkstatt Wienによって2004年に設立され国際オーストリアの映画、ヴィデオ、メディアアートの歴史に関連するオーディオヴィジュアル出版物をリリースし配布している。添付されている小冊子には、フィルム・ビデオメーカーとその製作方法、作品の分析に関するバイリンガルのドイツ語 /英語による情報が掲載されている。 このシリーズでリリースされている映像はぼくのブリコラージュでよく使用するもので、意味や物語性を強要しないで、DJイングしている音響に干渉せずイメージ拡張させてくれる。

Peter Tscherkassky
From Wikipedia, the free encyclopedia
Peter Tscherkassky (born October 3, 1958) is an Austrian avant-garde filmmaker who works primarily with found footage. All of his work is done with film and heavily edited in the darkroom, rather than relying on recent advances in digital film.
Early life[edit]
Peter Tscherkassky was born October 3, 1958 in Vienna, Austria. He attended the Primary School in Mistelbach from 1965–1969 and Jesuit boarding school from 1969–1975 in Vienna. He attended BORG (high school) Mistelbach and graduated in June 1977. From 1977–1979 Tscherkassky studied journalism and political science as well as philosophy at the University of Vienna. His first encounter with avant-garde film was in January 1978 when he attended a five-day lecture series by P. Adams Sitney at the Austrian Film Museum.
Film career[edit]
Tscherkassky began filming in 1979 when he acquired Super-8 equipment and before the end of the year he had scripted and started off the shooting of Kreuzritter. Throughout his career he conceived numerous film festivals including “The Light of Periphery – Austrian Avant-Garde Film 1957–1988” (1988), “Im Off der Geschichte” (1990), “Found Footage – Filme aus gefundenem Material” (1991), and “Unknown Territories – The American Independent Film” (1992). He was also the founding member of the newly Austria Filmmakers Cooperative which began in 1982 and resigned from his position there in 1993. His most recent work Instructions for a Light and Sound Machine had its world premiere at the Cannes Film Festival in the series “Quinzaine des réalisateurs.”

The Exquisite Corpus (2015)
lazenby
2016/10/03
Peter Tscherkassky

https://www.closeupfilmcentre.com/film_programmes/2016/close-up-on-peter-tscherkassky-and-eve-heller/the-exquisite-corpus

Peter Tscherkassky – Exquisite Ecstasies
“Approaching the Exquisite Corpus” was an alternative title we considered for this DVD release. It would have indicated how the films introduced here from my early Super 8 phase already evidence an artistically consistent path leading to my most recent production to date, The Exquisite Corpus, and highlighted my endeavor since the 1980s to make the specific qualities of the analog film medium sensuously tangible in the form of “exquisite ecstasies”. No matter how various the imagery of Blood-Letting, Film of Love, Holiday Film, tabula rasa or The Exquisite Corpus, each of these films crystalizes an essential impulse at the heart of my entire artistic work: to expose the utterly distinct nature of analog film in all its unique beauty, a potential and vision neither available nor transferrable to any other medium. (Peter Tscherkassky)

Includes:
1. Aderlass / Blood-Letting
AT/DE 1981, Super 8, col, 11 min
2. Liebesfilm / Film of Love
AT/DE 1982, Super 8, bw, silent, 8 min
3. Urlaubsfilm / Holiday Film
AT/DE 1983, Super 8, col, 9 min
4. tabula rasa
AT 1987/89, Super 8, col, 17 min
5. The Exquisite Corpus
AT 2015, 35mm, bw, 19 min
Soundtrack: Dirk Schaefer

A dream narrative of a sleeping beauty – a nudist found unconscious on a beach – intertwining different films, different bodies, caresses, screams of shock and cries of ardour, The Exquisite Corpus works to collapse the line between the filmed body, Tscherkassky’s nudes in search of each other and of satisfaction, and the film body, the celluloid that has captured these bodies, the celluloid Tscherkassky meticulously manipulates in his darkroom. Such darkroom magic teases and exposes the film itself, frames layered on one another, images masked and unmasked, perforations and flung celluloid strips playing their own game of seduction and consummation somehow at once on top of and within the choice (s)excerpts. This is where Tscherkassky’s love for celluloid is wedded to his source films’ love for flesh, where the pathways to climax – narrative and sexual – are built from the same component parts of mystery, attraction, rhythm, repetition, variation, new sensations, and ecstasy. (Daniel Kasman)

DVD Extra: 24 pages booklet, bilingual English-German: En Route To The Exquisite Corpus by Peter Tscherkassky

Peter Tscherkassky
Born in 1958 in Vienna. Started filmmaking in 1979. Tscherkassky earned his PhD. in philosophy in 1986 with ?a dissertation entitled “Film as Art”, and started teaching in 1989. Since 1984 he has published numerous essays on avant-garde film and in 1995 co-edited the book “Peter Kubelka” (with Gabriele Jutz). In 1991 he ?co-founded “sixpackfilm”. In 1993 and 1994 he was the artistic director of the national Austrian film festival “Diagonale”. Tscherkassky’s films have been honored with more than 50 awards including the Golden Gate Award (San Francisco), Main Prize at Oberhausen, and Best Short Film at the Venice Film Festival. 2005: World premiere of Instructions for A Light And Sound Machine at the Cannes Film Festival in the series ?“Quinzaine des réalisateurs”. 2005: Publication of the book “Peter Tscherkassky” (English/German), edited ?by Alex Horwath & Michael Loebenstein. Tscherkassky’s light box installations have been exhibited through-out the world, including a one-person show at the renowned Gallery naechst St. Stephan/Rosemarie Schwarz-waelder in Vienna. 2008: Lecture and world premiere of the original 35mm version of Parallel Space: Inter-View (1992) at the Louvre in Paris. 2010: World premiere of Coming Attractions at the Venice Film Festival (Premio Orizzonti Cortometraggio). 2012: Publication of the book “From a Dark Room. The Manufractured ?Cinema of Peter Tscherkassky/Desde el cuarto oscuro. El cine manufracturado de Peter Tscherkassky” [English/Spanish], edited by Maximiliano Cruz & Sandra Gómez. Editor of the book “Film Unframed: A History of Austrian Avant-Garde Cinema” (Vienna 2012). In the 2012 ranking of the “Greatest Films of All Time,” published every ten years by the BFI film magazine “Sight & Sound,” Outer Space was honored with the rank-?ing of position #322 (Filmmakers’ poll) and position #377 (Critics’ poll). Instructions for a Light and Sound Machine was honored with the ranking of position #894 (Critics’ poll). 2015: World premiere of The Exquisite Corpus at the Cannes Film Festival in the series “Quinzaine des réalisateurs” (Special Mention).

Peter Tscherkassky

http://www.index-dvd.at/php/en/index.php
INDEX office@index-dvd.at.

Diatribes ‎– Sistere

明らかな意味や外部環境への言及を欠いている明晰な記号は、音楽が何度も何度も意識の中に浮かんでいることを指摘する。音のレイヤーは複雑で徐々に織り込まれていて、最終的には消えて、毎日の現実に戻ってしまいます。聴覚的な地図作成と様々な時空間の文脈(共鳴、振動、残響)における録音プロセスの調停は、ジュネーブの音楽家D’inciseとCyril BondiのデュオであるSistereの主な要素です( Diatribes: Floating On a Sonic Carpet By Lucia Udvardyova / 2017 VEREIN NORIENT, Lorrainestrasse 19, 3013 Bern, Switzerland)

こうした催眠療法の状態、包括的な共同儀式、禅のようなマントラ、知覚の投影のための音の壁に導く真正な反復電気音響録音での、いわゆるニューエイジ的なシャーマニック音楽はジャズ的なるものに裏切られてから、いまもずっと敬遠し続けてきている。ただ中東欧の新たな地下シーンの記録を調べるための、その資料の一端として聴いているだけに過ぎない。Cyril Bondiとd’inciseによるデュオの“Sistere” は2曲のフロアー・トム、バスドラム、スネアなどによるパーカッション・ミュージックのライヴ録音をコンパイル、

Diatribes:
Diatribes, the Geneva based duo, continues his exploration of simplification and rational rituality, and presents a couple of new pieces tighted together by strict sonic or structural principles. Highly detailed textures, repeated gestures, soft tones, febrile pulses and acoustic hyper-sensibility, pushing one step ahead the ideas they’ve exposed in their previous album “Augustus”.
The duo, two improvisors working as complementarity since 2004, after a voracious youth exploring free jazz, noise, musique concrête and free improv, and many collaborations with international musicians such as Magda Mayas, Bertrand Gauguet, Robin Hayward, Dominic Lash, Partick Farmer, Derek Shirley and Hannah Marshall, Barry Guy, Keith Rowe, amongst others, has chosen to focus on a rather introverted process of creation. During the past year they have inte! nsely toured across Europe and beyond. (archive here).
Cyril Bondi and d’incise are both very active in the Swiss experimental scene, leading the Insub Meta Orchestra, a very large ensemble, and created in the INSUB. label, netlabel & association (since 2006, as Insubordinations). Their unstoppable energy led them to build a strong network around these activities. They have other bands together, including Queixas (with Abdul Moimême) and a subbass quartet (with Derek Shirley and Dragos Tara), and other occasional collaborations.
Cyril plays solo and with the post-jazz trio Plaistow and d’incise plays solo, works on electro-acoustic set-ups and compositions, and does graphic designs.

http://www.dincise.net/diatribes/diatribes.html
http://mappaeditions.com/index.php/2017/17/03/map06-diatribes-sistere/
https://mappa.bandcamp.com/album/sistere
https://www.facebook.com/Diatribes-387627524646760/

Diatribes ‎– Sistere
mappa ‎– MAP06
Cassette, Album, Deluxe Edition, Limited Edition, Numbered
Slovakia
15 Mar 2017
Electronic
Experimental, Abstract
A Tabi-tabi 22:27
B Utsara-utsara 24:01
Artwork, Design [Design And Handwork] – Jakub Juhás, Katarína Škamlová, Zoltán Czakó
Cymbal, Electronics [Background] – D’incise (tracks: B)
Percussion [Floortom], Bass Drum, Snare [Snare Drum] – Cyril Bondi (tracks: B)
Recorded By, Mixed By, Mastered By – D’incise
Shaker [Shakers], Bells – Cyril Bondi (tracks: A)
Shaker [Shakers], Bells, Electronics [Background] – D’incise (tracks: A)
Both recordings are outcome of the bedroom session with possibilities of geometrically precise mathematical repetition of hand woven Persian carpets. The work of duo Diatribes brightened the tribal, irrational sound situation through the logic of clearly picked formulations, patterns and variations. Ideally and logically clearly chosen steps on the way into the unique sound universe.
„It’s about the fact that tour music is very repetitive, like some ritual music, creating sense of loosing time for example, but in the other hand it is very rational and conceptual, and the formal aspect is just a technic to make more things, more small details, audible.“
MAPPA 2017