domingo, 31 de julio de 2011
sábado, 30 de julio de 2011
Y aquí está la bomba que como no sea en el sotano, será para crucificar a la única mujer que se ha liado con un zombie del mundo. Cagon + Redora se encargan de la verdadera bomba de relojería de Love? No es ni de lejos lo que el Club de chupadores, traccion del Chochon angelical representa al año del musgo verde y carne, pero Hypnotizado es mucho mejor que me sirva todo el año y por tus besos me perdi, desde luego. Así terminan con las botellas y vasos en una torre de cristal del verde musgo, al blanco ortodoxo.
MI PECHO NO ES COMO EL TUYO OSCURECERIA DEBAJO DE LA SILLA, ESPERA TUS PEZONES DE CHISTERA.
viernes, 29 de julio de 2011
EL TEJIDO MINUSCULO SE SITUA EN ALZA EN EL BLOG, EL CONTENIDO DE LAS OBRAS COMPLETAS DEL VERANO POETICO. PARA CONSTRUIR UN SUBSISTEMA DE ESTE BLOG. HEMOS INTRODUCIDO UN CONTEXTO DE LAS PRACTICAS RITUALES POLITICO SEXUAL, QUE CON LA SUSTITUCION DE LOS MANDANTES, SÉ QUE ENCARGAN UNA OBRA PARA UN DETERMINADO FIN Y MOMENTO.
PRIMERO LOS ALBUMNES PRODUCIDOS POR LOYOLA RECORDS, AHORA UN POEMARIO CON EL POSIBLE TITULO "NO SE ANDAN CON CHIQUITAS".
NECESITAMOS UNA EDITORIAL PARA PUBLICAR ESTOS EXTRAORDINARIOS POEMAS DE AMOR DEL VERANO. SERAN POEMAS PARA LEERLOS Y SUPERLOS Y AL FINAL NOS ESPERA CUENCA, ECUADOR.
NO SE NADA DE LO QUE PASA CON LOS ARTISTAS NI LOS MAS CERCANOS SE QUE COJONES HACEN, TIENEN SANGRE DE LECHE O NO QUIEREN HABLAR CONMIGO, QUE LES DEN POR CULO, Y A PICASSO TAMBIEN.
jueves, 28 de julio de 2011
NO ACOTO QUE NOS COMEN EL PAN, LA INNOVACION DEL COMER LO SIENTO POR PASION MIENTRAS UN DISCO DE COUNTRY SUENA COMO FUENTE DE DISPERSION AGREGANDO LA DULZURA DEL DEJARSE LLEVAR POR BANJO COMO LENGUA O GARGANTA PROFUNDA. PERDON POR NO HABER TERMINADO ESTE BAILE CON LOS FAROLES.
LAS BALDOSAS SE MUEVEN SEGUN PASAS Y MIENTRAS TE VEO, CLAVO MIS DEDOS EN LAS TECLAS DEL PIANO, ARRUGANDOME LA CAMISETA DE PELO DE GLOTON.
LA POLLA DE LOS PAYASOS, LA TIENEN DE COLOR BLANCA Y ROJA CON UNA SONRISA EN EL AGUJERO QUE VA A LA URETRA, PERDIDO EN EL CALZONCILLO SE PONE SUS ZAPATOS Y ADJUNTA LOS HUEVOS COMO CORBATA. LOS ESPECTADORES QUE TIENEN LA ENTRADA ESPERAN A APLAUDIRLE EN LAS OREJAS.
NO HAY JUBILO SIN LA PRESENCIA DE LA ZORRITA, OBEDIENTE Y MARCADA.
A LO LARGO DE LOS SIGLOS LOS FREAKS HABIAN DESARROLLADO UN LENGUAJE PROPIO, UN GALIMATIAS, PARTE DEL CUAL, SE DECIA, HABIA SIDO INCLUIDO EN LA VIDA MISMA.
CUALQUIERA DE NOSOTROS PODEMOS PROVENIR DE LOS MONTES CARPATOS EN AUSTRIA.
THE COMMERCE OF SOUND
The precarious commodity in music today is no longer the tune. A fan can recognize a hit from a ten millisecond burst,9 faster than a Fairlight can whistle Dixie. Notes with their rhythm and pitch values are trivial components in the corporate harmonization of cacophony. Few pop musicians can read music with any facility. The Art of Noise, a studio based, mass market targeted recording firm, strings atonal arrays of timbres on the line of an ubiquitous beat. The Emulator fills the bill. Singers with original material aren't studying Bruce Springsteen's melodic contours, they're trying to sound just like him. And sonic impersonation is quite legal. While performing rights organizations continue to farm for proceeds for tunesters and poetricians, those who are shaping the way the buck says the music should be, rhythmatists, timbralists and mixologists under various monikers, have rarely been given compositional credit.10
At what some would like to consider the opposite end of the field, among academics and the salaried technicians of the orchestral swarms, an orderly display of fermatas and hemidemisemiquavers on a page is still often thought indispensible to a definition of music, even though some earnest composers rarely if ever peck these things out anymore. Of course, if appearances are necessary, a computer program and printer can do it for them.
Musical language has an extensive repertoire of punctuation devices but nothing equivalent to literature's " " quotation marks. Jazz musicians do not wiggle two fingers of each hand in the air, as lecturers often do, when cross referencing during their extemporizations, because on most instruments this would present some technical difficulties - plummeting trumpets and such.
Without a quotation system, well-intended correspondences cannot be distinguished from plagiarism and fraud. But anyway, the quoting of notes is but a small and insignificant portion of common appropriation.
Am I underestimating the value of melody writing? Well, I expect that before long we'll have marketable expert tune writing software which will be able to generate the banalities of catchy permutations of the diatonic scale in endless arrays of tuneable tunes, from which a not necessarily affluent songwriter can choose; with perhaps a built-in checking lexicon of used-up tunes which would advise Beatle George11 not to make the same blunder again.
Toronto, verano del 85
Some music oriented organizations still retain this 'view'. The current Canadian Act came into being in 1924, an electric eon later than the original U.S. Act of l909, and up here "copyright does subsist in records, perforated rolls and other contrivances by means of which sounds may be mechanically reproduced."
Of course the capabilities of mechanical contrivances are now more diverse than anyone back at the turn of the century forecasted, but now the real headache for the writers of copyright is the new electronic contrivances, including digital samplers of sound and their accountant cousins, computers. Among "the intimate cultural secretions of electronic, biological, and written communicative media"6 the electronic brain business is cultivating, by grace of its relative youth, pioneering creativity and a corresponding conniving ingenuity. The popular intrigue of computer theft has inspired cinematic and paperback thrillers while the robbery of music is restricted to elementary poaching and blundering innocence. The plots are trivial: Disney accuses Sony of conspiring with consumers to make unauthorized mice7. Former Beatle George Harrison is found guilty of an indiscretion in choosing a vaguely familiar sequence of pitches.8
The dubbing-in-the-privacy-of-your-own-home controversy is actually the tip of a hot iceberg of rudimentary creativity. After decades of being the passive recipients of music in packages, listeners now have the means to assemble their own choices, to separate pleasures from the filler. They are dubbing a variety of sounds from around the world, or at least from the breadth of their record collections, making compilations of a diversity unavailable from the music industry, with its circumscribed stables of artists, and an ever more pervasive policy of only supplying the common denominator.
The Chiffons/Harrison case, and the general accountability of melodic originality, indicates a continuing concern for what amounts to the equivalent of a squabble over the patents to the Edison cylinder.
Toronto, verano del 85
These new-fangled, much-talked-about digital sound sampling devices, are, we are told, music mimics par excellence, able to render the whole orchestral panoply, plus all that grunts, or squeaks. The noun "sample" is, in our comodified culture, often pre-fixed by the adjective free, and if one is to consider predicating this subject, perhaps some thinking aloud on what is not allowable auditory appropriation is to be heard.
Some of you, current and potential samplerists, are perhaps curious about the extent to which you can legally borrow from the ingredients of other people's sonic manifestations. Is a musical property properly private, and if so, when and how does one trespass upon it? Like myself, you may covet something similar to a particular chord played and recorded singularly well by the strings of the estimable Eastman Rochester Orchestra on a long-deleted Mercury Living Presence LP of Charles Ives' Symphony #3 1, itself rampant in unauthorized procurements. Or imagine how invigorating a few retrograde Pygmy (no slur on primitivism intended) chants would sound in the quasi-funk section of your emulator concerto. Or perhaps you would simply like to transfer an octave of hiccups from the stock sound library disk of a Mirage to the spring-loaded tape catapults of your Melotron 2.
Can the sounding materials that inspire composition be sometimes considered compositions themselves? Is the piano the musical creation of Bartolommeo Cristofori (1655-1731) or merely the vehicle engineered by him for Ludwig Van and others to manoeuver through their musical territory? Some memorable compositions were created specifically for the digital recorder of that era, the music box. Are the preset sounds in today's sequencers and synthesizers free samples, or the musical property of the manufacturer?3 Is a timbre any less definably possessable than a melody? A composer who claims divine inspiration is perhaps exempt from responsibility to this inventory of the layers of authorship. But what about the unblessed rest of us?
Let's see what the powers that be have to say. 'Author' is copyrightspeak for any creative progenitor, no matter if they program software or compose hardcore. To wit: "An author is entitled to claim authorship and to preserve the integrity of the work by restraining any distortion, mutilation or other modification that is prejudicial to the author's honor or reputation." That's called the 'right of integrity' and it's from the Canada Copyright Act4. A recently published report on the proposed revision of the Act uses the metaphor of land owners' rights, where unauthorized use is synonymous with trespassing. The territory is limited. Only recently have sound recordings been considered a part of this real estate.
Toronto, verano del 85
Musical instruments produce sounds. Composers produce music. Musical instruments reproduce music. Tape recorders, radios, disc players, etc., reproduce sound. A device such as a wind-up music box produces sound and reproduces music. A phonograph in the hands of a hip hop/scratch artist who plays a record like an electronic washboard with a phonographic needle as a plectrum, produces sounds which are unique and not reproduced - the record player becomes a musical instrument. A sampler, in essence a recording, transforming instrument, is simultaneously a documenting device and a creative device, in effect reducing a distinction manifested by copyright.
miércoles, 27 de julio de 2011
VARIAS PERSONAS HAN ACUDIDO A MI CON LOS NERVIOS DESTROZADOS Y ATAQUES DE INSOMNIO TRAS VER ESTE HORRIBLE BLOG
CUANDO EL INVIERNO REGRESE LO DISFRUTARE. LA MARCA DEL VERANO Y LAS HUELLAS DACTILES ME TRASMITEN LOS GOLPES DEL SEDAL, ESTOY ATENTO PARA RECIBIR
EL TIRON DE UNA FLACIDA ARAÑA DE GOMA SUBIENDO POR LA PARED.
Y LA PIEL SE ABRASA AL SOL EN LA VISPERA DEL OLVIDO (dsb)
Peso constante sin aletas.
Masculino: 100 m / William Trubridge / 14-12-2010 / Lugar: Agujero azul de Dean, Bahamas
Femenino: 62 m / Natalia Molchanova / 3-12-2009 Lugar: Blue Hole, Bahamas
Peso constante con aletas
Masculino: 124 m / Herbert Nitsch / 22-4-2010 / Lugar: Bahamas
Femenino: 96 m / Sara Campbell / 2-4-2009 / Lugar: Creta, Grecia
Apnea dinámica sin aletas
Masculino: 218 m / Dave Mullins / 27-9-2010 /Lugar: Wellington - Nueva Zelanda
Masculino: 213 m / Tom Sietas / 2-7-2008 /Lugar: Hamburgo - Alemania
Femenino: 160 m / Natalia Molchanova / 20-8-2009 /Lugar: Aarhus, Denmark
Apnea dinámica con aletas
Masculino: 265 m / Dave Mullins / 25-9-2010 /Lugar: Wellington - Nueva Zelanda
Masculino: 250 m / Alexey Molchanov / 5-10-2008 / Lugar: Lignano - Italia
Femenino: 225 m / Natalia Molchanova / 25-4-2010 / Lugar: Moscow, Russia
Masculino: 17 min 28 s / Tom Sietas / 30-12-2008 /Lugar: Madrid, España
Masculino: 11 min 35 s / Stephane Mifsud / 8-06-2009 / Lugar: Hyeres, Francia
Femenino: 8 min 23 s / Natalia Molchanova / 21-8-2009 / Lugar : Aarhus, Denmark
Masculino: 120 m / Herbert Nitsch / 25-4-2010 / Lugar: Bahamas
Femenino: 85 m / Natalia Molchanova / 27-7-2008 / Lugar: Creta - Grecia
Masculino: 142 m / Herbert Nitsch / 7-12-2009 / Lugar: Blue Hole, Bahamas
Femenino: 125 m / Natalia Molchanova / 16-6-2010 / Lugar: Kalamata, Grecia
Masculino: 214 m / Herbert Nitsch / 14-6-2007 / Lugar: pelluhue-Chile
Femenino: 160 m / Tanya Streeter / 17-8-2002 / Lugar: Turks y Caicos
SIN NADIE ESCRIBO, SIN DESPRECIO REDUZCO MI VESTIMENTA Y PLASTIFICO EN MI CABEZA CADA UNO DE LOS FOTOGRAMAS, PARA RECORDARLOS SIEMPRE.
SON LAS TABLAS A CUATRO PATAS, ENCIMA DE ELLAS BOCA ARRIBA, LA JOVEN DESPRENDIENDOSE DE SU VESTIDO. ALREDEDOR DE ELLA BESOS Y CONTORSIONES.
EL ACUERDO DEL CERCO INMOBIL DESDE LA SEMANA PASADA EMPOBRECE LAS RENACENTISTAS TEORIAS MORBOSAS¬AMOROSAS, PORQUE EL ESPIRITU SE IDENTIFICA POR COMPLETO CON SU APARIENCIA EXTERNA.
LA CREENCIA DE UNA TEXIS DONDE LO COMPARTIDO EUFORICAMENTE ENTRE DOS, SOLO LO SUFRE UNO, ES UN ANALISIS DEL DESEO, POR UNO MISMO YA NO CUENTA EL PRODUCTOR Y EL RECEPTOR, CIERRO LOS OJOS Y VEO LA RAJA CON UNA DESNUDEZ DESOLLADA.
CONCEPTOS DEL ENSALZAMIENTO DE LA ESPONTANEDAD DE LAS RELACIONES AMOROSAS, LLEVADAS AL CUARTO SEMIOSCURO Y DEVORANDO CADA UNA DE LAS ESCENAS DE INMEDIATO.
martes, 26 de julio de 2011
ARAÑANDO CON LA UÑA EN EL TRASTERO, DIJO EL CAMARERO, LAS NUBES NO SE VEN PERO TENGO ALCOHOL PARA OLVIDAR, ME PREDISPUSE A QUITARME LA CHAQUETA Y TOMAR UNA COPA DE WHISKEY IRLANDES. HABIA APUNTADO EN UNA LIBRETA DE TAPA DURA UNAS NOTAS SOBRE EL CADAVER Y SU POSICION, LO ENCONTRE TUMBADO EN LA ALFOMBRA CON UN LAMENTABLE CHARCO DE SANGRE, SUFRI AL VER LA MANCHA Y PENSE QUE ESA MANCHA NO SALDRIA CON NADA, TIRARLA SERIA UNA PENA Y MIRE EN EL WIKIPEDIA COMO DESAPARECEN LAS MANCHAS DE SANGRE DE UNA ALFOMBRA PERSA