Welcome to the 22nd episode of Anechoic Chamber, once again bringing you unique reportage from the thriving margins of art and culture. Our guest for this edition is Jean-Jacques Martinod, Ecuadorian filmmaker, transmedia artist, archivist, radio DJ, and occasional curator. Martinod’s film work, which is the topic of discussion for this program, fuses together elements of both experimental and documentary filmmaking practice, resulting in a unique audio-visual hybrid that the artist describes as follows: “Cinema as messenger via spontaneous generation and improvisation, at an immanent level, to counteract the society of the spectacle...an invitation to a polysemic experience and potential polyphonies. A cinema of becomings.” This is evident in films such as Before the Deluge, La Bala de Sandoval (or Sandoval’s Bullet), and Datura’s Aubade, the last done in collaboration with Bretta Walker. Taking occasional cues from surrealist and gothic styles of literature, cinematic influences such as Jean Epstein and film peers like Salome Lamas (whose concept of para-fiction informs Martinod’s own evocation of what he calls para-worlds) his work boils down a complex set of reference points into a visceral experience that is strangely accessible while being intellectually challenging. As such, he has screened at international festivals such as the Rotterdam Film Festival, FIDMarseille, Mar del Plata, European Media Arts Festival, 25FPS, and many more, alongside regular appearances in galleries and DIY spaces. So here, with a much more detailed exposition of his creative vision, is Jean Jacques Martinod.

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backing sounds provided by the artist and TBWB

opening music: Colin Andrew Sheffield / James Eck Rippie, "Viola Variations"

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artist film links on Vimeo (password: monopolio)

(password: monopolio)

Before the Deluge | 38min

https://vimeo.com/343528776

La Bala de Sandoval(Eng. Sandoval's Bullet) | 17min

https://vimeo.com/297421250

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Anechoic Chamber links:

donate via paypal to [email protected]

host website: www.thomasbeywilliambailey.net

closing music: Teiji Ito, "Moonplay"

Welcome listeners to the 21st episode of Anechoic Chamber, once again bringing you unique reportage from the thriving margins of art and culture. Our guest this time is the British sound artist Scanner, known by his human alias Robin Rimbaud. With a staggering number of live actions and recordings to his credit, Scanner’s oft-cited and controversial claim to fame has been his usage of intercepted communications and conversations as the raw material with which to build music dramas with an intense poignancy and personal relevance. This practice is, however, just one point of reference in a large body of work that deals with what the artist has called a “archaeology of loss” documenting the ghosts and all-too-quickly forgotten ephemera of the information age. Scanner’s enthusiasm for such led to the co-formation of the notable record label Ash International, one of the key labels to fuse esoteric or paranormal interests with aesthetic impression from the hard sciences. His own work has been applied to all kinds of installation environments and contexts, and to collaborations with artists from DJ Spooky to Mike Kelley, and has even earned the endorsement of the late Gilles Deleuze. He has created permanent installations in everything from Riga airport to a Paris morgue, has scored the first virtual reality ballet for the Dutch National Ballet, and also scored a piece in Trafalgar Square for 1,000 dancers. With a restlessness that has extended to his private practice of writing a daily diary entry since he was 12 years old, we at Anechoic Chamber are fortunate to steal some rare moments of his free time.

all selections provided by Sacnner, from the following releases (mostly) available to stream / download at https://scanner.bandcamp.com/:

- "Sound for Spaces"

- "Play Along"

- "Mass Observation (Expanded)"

- "Esprits de Paris (with Mike Kelley)"

- "Electronic Garden"

- "Reason by Heart, Sleep by Twilight"

- also featured Scanner remix of Scorn "Night Tide," from "Ellipsis" remix album

additional artist links: www.scannerdot.com

Anechoic Chamber Links:

host website | www.thomasbeywilliambailey.net

donate via Paypal: [email protected]

Welcome to episode 20 of Anechoic Chamber, once again bringing you unique reportage from the glowing margins of art and culture. Our guest for this edition is Steve Finbow, author and editor whose works have appeared on imprints such as Infinity Land Press, Zero Books, Repeater Books and Amphetamine Sulfate. Finbow has quietly yet unmistakably become an integral part of the 21st century literary landscape, by taking an ecumenical approach to written material that is equally informed by critical theory and avant-garde art as by the under-documented shadow side of human behaviors and interactions. In a cultural scene which seems to have exhausted its ability to explore the extreme, so-called, Finbow presents a variety of often uncomfortable subject matter in a way that is both forensic and poetic. From his biography of Allen Ginsberg to his exhaustive discussions of, among other things, necrophilia or the role of sickness in creative life, Finbow’s body of work steers clear of expectations and does so in a way that is genuinely informative rather than making this simple act of surprise or shock the primary objective. He has also worked in collaboration with artist Karolina Urbaniak on Death Mort Tod: A European Book of the Dead and has most recently edited Infinity Land Press’ Anthology commemorating the first eight years of that publisher’s activity.

Additional atmospheres and segues by Thomas Bey William Bailey

Closing credits music: 'Blue Basket' (instrumental) from "Cambodian Cassette Archives: Khmer Folk and Pop Music, Vol. 1"

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Artist links:

https://www.infinitylandpress.com/anthology

https://amphetaminesulphate.bigcartel.com/product/the-mindshaft

https://www.instagram.com/stevefinbow/

Anechoic Chamber links

donate via Paypal: [email protected]

Host official webstite: www.thomasbeywilliambailey.net

Welcome adventurous listeners to the 19th episode of Anechoic Chamber. This is the second part of our two-part exposition of the work and thoughts of our guest Andrew McKenzie. Working since the 1970s, McKenzie is particularly known for his pioneering efforts to expand the vocabulary of recorded sound, which itself expanded into a mission to enhance all modalities of perception - this has been carried out with his flagship project The Hafler Trio as well as in collaboration with artists such as Clock DVA, The Anti Group, and Psychic TV.

Though certainly not the only arrow in his McKenzie’s quiver, his extensive performing and recording career has both informed, and been informed by, a host of other creative activities drawing upon knowledge from both techno-scientific and esoteric realms: working as a computer programmer before (as he reminds me) there were “pictures” on computer screens. Teaching Tibetan language and calligraphy (and some Sanskrit). Writing books, editing video, designing everything from graphics to instructional materials, and working as both a hypnotherapist and psychotherapist. One of his more recent and significant ventures, dubbed by him “complementary education,” fuses insights gleaned from all of these distinct experiences, and involves conducting 14-hour long sound workshops aimed at re-discovering the creative process in a world obsessed with nominalization (in other words, with the act of devaluing a process by conceptualizing it as a thing or object). After fruitful residencies in the Netherlands, Sweden, Iceland and elsewhere, McKenzie now resides in Estonia, from which he joined our host for the following conversation.

This comes with the disclaimer that, despite capturing several hours worth of useful material for these next couple episodes, we still emerge with little more than a snapshot of a legitimately eclectic and evolving personality.

Additional audio segues provided by Thomas Bey William Bailey

intro music: Pierre Bastien, "Gypsy Rhythm"

Artist link: linktr.ee/simply_superior

Anechoic Chamber links

Host: www.thomasbeywilliambailey.net

Donate via Paypal: [email protected]

Welcome adventurous listeners to the 18th episode of Anechoic Chamber. This will be the first in a two-part exposition of the work and thoughts of our guest Andrew McKenzie. Working since the 1970s, McKenzie is particularly known for his pioneering efforts to expand the vocabulary of recorded sound, which itself expanded into a mission to enhance all modalities of perception - this has been carried out with his flagship project The Hafler Trio as well as in collaboration with artists such as Clock DVA, The Anti Group, and Psychic TV.

Though certainly not the only arrow in his McKenzie’s quiver, his extensive performing and recording career has both informed, and been informed by, a host of other creative activities drawing upon knowledge from both techno-scientific and esoteric realms: working as a computer programmer before (as he reminds me) there were “pictures” on computer screens. Teaching Tibetan language and calligraphy (and some Sanskrit). Writing books, editing video, designing everything from graphics to instructional materials, and working as both a hypnotherapist and psychotherapist. One of his more recent and significant ventures, dubbed by him “complementary education,” fuses insights gleaned from all of these distinct experiences, and involves conducting 14-hour long sound workshops aimed at re-discovering the creative process in a world obsessed with nominalization (in other words, with the act of devaluing a process by conceptualizing it as a thing or object). After fruitful residencies in the Netherlands, Sweden, Iceland and elsewhere, McKenzie now resides in Estonia, from which he joined our host for the following conversation.

This comes with the disclaimer that, despite capturing several hours worth of useful material for these next couple episodes, we still emerge with little more than a snapshot of a legitimately eclectic and evolving personality.

Additional audio segues provided by Thomas Bey William Bailey

intro music: Pierre Bastien, "Caravan" and "Au Prado"

Artist link: https://linktr.ee/simply_superior

Anechoic Chamber links

Host: http://www.thomasbeywilliambailey.net

Donate via Paypal: [email protected]

Welcome to episode number 17 of Anechoic Chamber - freeform commentary from the thriving margins of art and culture. Our guest for this edition is author Audrey Szasz. Currently based in London and raised in Central Europe, Szasz has been noted for writing in the mold of authors such as Anna Kavan and has claimed others such as JG Ballard and Lauetreamont as primary influences - all coming together to suggest a style that resists easy genre classification, and which builds a profoundly personal and admittedly perverse realm of fantasy and nightmare from elements of science fiction, decadent poetry, true crime writing and much more. Perhaps fitting into a class of writers that were once condemned by the literary critic Michiko Kakutani as so-called designer nihilism, Audrey’s creations can often be extremely intense explorations of the psychopathology that results from humans’ existence as eternal contradictions. For example, her latest work Tears of a Komsomol Girl builds its unconventional narrative around a semi-fictionalized portrait of the so-called “Butcher of Rostov,” Andrei Chikatilo. Having made her official debut with “The Plan for the Abduction of JG Ballard” - a collaborative work with the poet and author Jeremy Reed - she has now gone on to release work on the Amphetamine Sulfate and Infinity Land imprints. Our wide-ranging discussion here reveals a number of Audrey’s motivations, thoughts on non-literary human affairs, and spiritual predecessors, who we touch upon in the first part of this program.

backing sound piece "Negev" provided by the artist

|Artist links (content may be NSFW)|

audreyszasz.wordpress.com

https://www.infinitylandpress.com/tearsofakomsomolgirl

@szasz_audrey

|Anechoic Chamber links|

host: www.thomasbeywilliambailey.net

Donate via paypal: [email protected]

Welcome to the 16th episode of Anechoic Chamber, featuring Johnson City, TN-based artist Bryan Lewis Saunders. Working in a wide array of disciplines from drawing to sound recording, Saunders is in many ways the quintessential American folk artist: having himself identified risk-taking as one of the key identifying features of American creativity, his own forays into this field have coupled the boundary-testing ethos of 1970s American performance artists with an intensely dedicated level of documentation that itself combines scientific rigor and journalistic honesty. For decades now, Saunders has maintained his vow to draw daily self-portraits that reveal fluctuations in his psychic makeup, and has done this in tandem with projects in which he imposes severe restraints upon himself: living for a month deprived of sight. Drawing while under the influence of a new drug for two straight weeks. Subjecting himself to extreme temperatures for extensive periods, and choosing to document the effects of completely monochromatic living environments during quarantine. In addition to this, Saunders’ experiments with sleep-talking and his unique form of confessional performance known as “stand-up tragedy” hint at an individual for whom no obscure corner of human experiential terrain is to be left un-explored or un-mapped.

credits:

Remixed excerpts of Bryan Lewis Saunders' "Deaf Month", "Blind Month", and "Temperature Month" Vinyls by Thomas Bey William Bailey. Background music by Razen. Audio recordings by Christopher Fleeger, Bryan Lewis Saunders and Thomas Bey William Bailey.

Artist link:

www.bryanlewissaunders.org

Anechoic Chamber links:

Donate via Paypal - [email protected]

General host info: www.thomasbeywilliambailey.net

Welcome listeners to the 15th installment in the Anechoic Chamber audio documentary series. Our guest for this edition is San Francisco-based artist and acoustic researcher Michael Gendreau. Gendreau has been active as a solo artist or musical collaborator since the early 1980s, gradually diverging from the realm of conventional recorded music by recording the sounds of built structures and amplifying them in performance scenarios. This use of buildings themselves as a kind of “loudspeaker” is one dramatic and unequivocally physical aspect of his work, but certainly not the only one. With his several decades long research into the concept of parataxis - that is, the juxtaposition of multiple pieces of verbal information that have no immediately clear relation to one another - Gendreau has immersed himself in the worlds of linguistics and logic, while also alighting on the ideal conceptual apparatus with which to animate works of experimental music. Among his other sonic adventures, Gendreau has also made his own unique contribution to the world of so-called “turntablism,” using the volatile medium of lathe-cut records as a performance tool. From his early work with ‘zine production to his publication of the densely packed yet accessible Commonplace Book of Parataxis, Gendreau’s creative life has been held together by several common golden threads of elementalism, openness to collaboration, and - in his own words - a belief that ““Creativity arises with effective interaction between two modes of thinking.”

music used in this episode:

Michael Gendreau: “Drowning” 12” and selections from “Concerted Structures” CD

Crawling with Tarts: “Cameo and “Candy Tooth Ceylon”

Collision Stories: untitled 2 and 3 from “Those Missing Will Complete Us”

Artist links:

http://www.michaelgendreau.net

http://www.publiceyesore.com/catalog.php?pg=3&pit=140

https://soundcloud.com/michael-lee-gendreau

http://www.collisionstories.com/

http://rajar.bandcamp.com/releases

Anechoic Chamber links:

donate via Paypal - [email protected]

general host info: www.thomasbeywilliambailey.net

Welcome listeners to the 14th episode of Anechoic Chamber, once again bringing you exclusive insights from the margins of art and culture. Our guest for this edition is the Finnish visual artist Jukka Siikala. Working in the media of painting, photography and video, and now narrative fiction as well, Siikala has a highly distinct style noted for its focus on psychosexual material, the presentation of which walks a tightrope between eroticism and horror. Though sharing some creative DNA with similarly inclined artists like Hans Bellmer, Siikala’s work much more clearly shows the effects of the use and abuse of digital technology: for example, many of his painted portraits are marked by photorealistic approximations of the pixelation or visual glitches that accompany partially downloaded video clips. As such, his artwork successfully reveals the essence of a 21st century wherein pornography is often more readily available than running water, and where ephemeral obsessions multiply more quickly than can often be studied or documented. His refusal to comment on the moral or ethical implications of such a world actually increases the dreamlike potency of his work. He has personally suggested that much of his material opens onto a world in which [quote] “the female is a fetishized platform and the male is almost non-existent.” Whether you find this to be a desirable state, or the stuff of nightmares taken from the pages of J.G. Ballard’s fiction, we submit that Siikala’s work will cause strong visceral reactions.

Needless to say, listener discretion is advised for those uncomfortable with the subject matter mentioned above.

background ambience from Jukka Siikala's "Human Porridge" DVD soundtrack; and additional unreleased ambiences from Siikala and TBWB

artist links: www.siikala.com (NSFW)

Anechoic Chamber links:

donate via Paypal - [email protected]

general host activities: www.thomasbeywilliambailey.net

Welcome to the 13th episode of Anechoic Chamber; free-form audio and insights from the margins of art and culture. Our guests for this edition are Evelina Domnitch and Dmitry Gelfand, a partnership known for their advancement of scientific creativity - that is to say, for a series of works that are aesthetically engaging while also being informed by a high level of scientific rigor, and in particular by a specialist knowledge in the limits of perceptibility. The duo’s fascinating art events, with alluring titles such as “Mucilaginous Omniverse,” or “Sonolevitation,” are almost unparalleled in the modern art world, owing to their rejection of that milieu’s largely linguistic approach to propagating itself and a clearer focus on art as phenomenological study. More importantly, though, they earn their distinction by exploring the so-called “objectless universe, “ exposing audiences to physical phenomena in various transitional states or states of incompleteness. In some cases, their commitment has led to historic firsts, such as the largest display of sonoluminescence ever displayed (this being the emission of light bursts from imploding bubbles within an acoustically excited liquid). Through these actions, Domnitch and Gelfand have also touched upon the sensory condition of synesthesia and raised the question of perceptual modalities beyond the five so-called classical senses. We hope you find the following discussion of their methods and inspirations as stimulating as we do.

Additional sounds from the artists' installation / performances "Force Field" and "Mucilaginous Universe," and "Specification Sixteen" (audio by Richard Chartier & Taylor Deupree) from "Camera Lucida" DVD

Artist links: www.portablepalace.com

Anechoic Chamber links

Donate via Paypal: [email protected]

general host activities: www.thomasbeywilliambailey.com