T.A.G.C
ERA VULGARIS MMIX
T.A.G.C The Anti Group Communications E.V.MMIX The original idea for the Anti Group was devised by A. Newton & S.J. Turner (R.I.P) as early as 1978, with the intention of the formation of a multi-dimensional research & development project active in many related areas. Research and Development of sound/film/video/performance and the documentation of each project was the fundamental "Modus Operandi". Strictly speaking TAGC are not a group, but a variable collection of individuals contributing under invitation and the directorship of Adi Newton, Underlining this basic idea lays the deeper philosophical and theoretical work of TAGC; The C derived from Communications and to also infer the DNA code of genetics. The primary concern of TAGC is the systematic research and development and documentation and the ,expansion of the connections and concepts that are explored and experimented within the fabric of sound, and its theoretical possibilities and its advancement..Also the expansion of Consciousness whether via applied use of computers and audio-visual technology or via arcane systems of Magick or other Occult or esoteric sciences. The last recorded works of TAGC concerned with A.S.B. audio stimulation of the brain, particularly the pieces under the title "A.A.A." & A.A.A.(Audio Alpha Activity & Accelerated Audio Alpha Activity ) respectively These recordings are available on "Meontological Research Recording Record 1" and "Meontological Research Recording Record 2 - 'Teste Tones".
Recording number three in the series, which takes the research further into the role of frequencies and rhythms, particularly the codification of rhythmic structures employed in Voodoo rituals to attain trance states is being scheduled for release. The first non theoretical action devised by TAGC was the Film "The Delivery", a 16mm celluloid dual screen film projection and soundtrack, and the Anti theatre performance piece "The Discussion" designed for five tape recorders and multi-video projection systems a anti theatre piece devised / edited and mixed solely by Adi Newton,it involved 5 open reel Revox taperecorders arranged round a table similar to that which would be arranged for a meeting.
The 5 TAPES where physically edited from several hours of documents representing different aspects of the Discussion, performed once as it was based purely on aleotory procedures as it was devised to allow maximum chance occurrences and the emergence of new semantic relationships similar techniques where applied to the 16mm dual screen version of The Delivery that was also premiered at the same event a live Audio Visual recording was made and plans to produce a documentary about these and other TAGC live works are also planned.
Stills from The DISSCUSION
These two works were first presented at the "Der Doelen" center in Rotterdam on Sat. Sep 22nd, 1985. "The delivery" has been exhibited at the "2nd Atonal festival" in "The Ballhaus Tiergarten" Berlin, Feb 18th 1985 where the soundtrack was recorded on a mobile 24 track system. This document was released as the recording "The delivery" on Atonal Records. After these initial performances TAG concentrated on Audio development. it was during this period 1985-1987 that the above recordings were realized along with the highly acclaimed Ambisonic Album "Digitaria" (Ambisonics a 360 degree soundfield based on psychoacoustic theory that represents a true periphonic sound field) Digitaria is a Technological and Ethnological work based on the ideas of the Sabean cults of ancient Khem and the Dogon tribe of Mali and the research by the French anthropologist Marcel Griaule Also the work of Robert temple and ideas and Occult systems expressed in Kenneth Grants work ,Having worked through these areas, it became the next logical step to move into the application of Psychophysics developing the use of frequencies and Psychoacoustics with computer aided technology.Exploring the theoretical ideas of Harry Grindal Mathews,Vladimir Gavreau Gustave Fechnor et all. Performance of these ideas took place at the 3rd Atonal Festival at “TU Mensa” Berlin on Dec 13th 1986 and “SO 36” Berlin on Feb 14th 1987 and at the “Museum of Contemporary Art” Prato, Italy on Sept 23rd 1988. it was at this time also that TAG screened their first Meontological visual experiment “Burning Water”. The recordings utilized in these performances were released as part of a series of recordings entitled Meontological Research Recordings 1+2. based on the pioneering experiments conducted by Michael Bertiaux of the OTOA and the ‘La Couleuvre Noire’.
Stills from The Delivery
Bertiaux has developed a system of esoteric engineering - a form of metamathematical reality. The Meontological series is based on Bertiaux's neologism MEON. Ontology is the science of the metaphysics of being - MEONTOLOGY, therefore, goes beyond this to a fourth-dimensional extension of parapsychology, and concerns areas beyond current maps and explore ideas that seem to have existed anterior to modern man and from ultraterrestrial origins . Currently, "Burning Water" has been re digitally enhanced and finalized for release and will be available in DVD format. TAG performances were held at the Electro-Acoustic Music Academy Stockholm, Aug 23rd 1990 and at the ARS Electronica symposium on Virtual Reality held in Linz Sep 8th 1990 Austria. Currently in preparation are Meontological Research Recordings 3+4. Recording 3 explores the central ideas expressed in the Micheal Bertaux Coulier Noire and Kenneth Grants Cult of Lam and recording 4 centers around research into the development of methods and techniques to aid expanded consciousness following techniques derived from W.Grey Walter that influenced Brion Gysin,s work on the flicker frequencies and the work by Tony Conrad . The Anti Group are only represented by Adi Newton and Jane Radion Newton who for the last decade have been researching and experimenting with Magickal systems in order to prepare for new works that will centre around the Ideas proposed by Afred Jarry in his work concerning Patapyshics explored in his writings most notably in the Exploits and opinions of Dr Faustroll pataphysician, and in numerous other texts, notably How to construct a time machine ,and the Novel Days and nights, Alfred Jarry, whose work prefigured the Theatre of the absurd, Dada, Surrealism and Futurism also may have anticipated certain modern physics theories. Jarry is most famous for his satire/farce Ubu Roi (King Turd ), which ignited a scandal when it was first performed in 1896, and hasn’t exactly been embraced by the mainstream in the century since.
He is also known as the founder of 'pataphysics. "'Pataphysics," Jarry wrote, "is the science of imaginary solutions...extending as far beyond metaphysics as the latter extends beyond physics." The sciernce of imaginary solutions. Two notions were behind Pataphysics: that of equivalences and the clinamen or slight decline of atoms falling. In 1893, Jarry attributes to Pere Ubu the invention of Pataphysics, 'a science that we have invented and which is generally felt to be needed'. but the real founding text is another: the Gestes et opinions du docteur Faustroll, pataphysicien, a work finished in 1898 and published in 1911, four years after Jarry's death. Book II, titled Elements de pataphysique only occupied two pages but is of primary importance because it contains the first definition of Pataphysics 'Pataphysics is the science that added to metaphysics, either in itself or outside itself , and extends as far beyond metaphysics as the latter extends beyond physics. Pataphysics is the science of imaginary solutions that symbolically attributes to the feature the properties of the objects described according to their virtuality'. The doctrine cannot actually be explained. Let us add that this science is also presented as the science of the particular and it deals with the rules governed by exceptions. Naturally the rule is 'an exception to the exception'. In other words, everything is pataphysics. The pataphysical dialectic revolves around itself like the ubic (spiral-shaped) navel that is its emblem. In attempting to explain Jarrys ideas Picasso’s biographer John Richardson observed: “[Jarry] crashed the barrier between fantasy and reality, and established the parodic sense of ‘pataphysics, which would detonate all traditional canons of beauty, good taste and propriety.” (In other words, turn the world upside down and inside out; take reality and snap it like a magician’s cloak abracadabra: anti-matter!) Physicists are now working on the same side as Jarry, they’re just using different equipment and jargon . But it’s always interesting when art, science and religion disclose similar information.”’Pataphysics, Jarry wrote, “will examine the laws governing exceptions, and will explain the universe supplementary to this one; or, less ambitiously, will describe a universe which can be and perhaps should be envisaged in the place of the traditional one.” While CERN’s anti-matter press release states, “Newton’s historic work on gravity was supposedly prompted by watching an apple fall to earth, but would an’anti-apple’ fall in the same way? It is believed that antimatter ‘works’ under gravity in the same way as matter, but if nature has chosen otherwise, we must find out how and why.” To which Jarry replied, ninety years before CERN asked the question, “Instead of formulating the law of the fall of a body toward a centre, how far more apposite would be the law of the ascension of a vacuum toward a periphery...” it would seem Jarry, beat CERN to the punch by nearly a century. it may turn out that nothing’s what it seems. What a surprise that would be.”Truth,” Picasso was fond of saying, “is a lie.” And now the physicists are proving this. An indepth series of recordings by T.A.G.C and published works are in preparation that explore and adapt Jarrys ideas as well as other theorists and outsider scientists. A recently contributed abridged T.A.G.C research document and sound piece for the Antibodies Journal was submitted for release. T.A.G.C are currently preparing for Live performances and installation events as well as a series of artefacts for release during 2009,
T.A.J.P.R.G THE ALFRED JARRY PATAPYSCHICAL RESEARCH GROUP. Is an organisation directed by Adi Newton and Jane Radion Newton , Founded circa 1985 as part of The TAGC FOUNDATION as a research project investigating and documenting all aspects of epiphenomenon. Based on Alfred Jarry,s theoretical concepts expressed in his Neo-Scientific Novel: Exploits and Opinions of Doctor Faustroll Pataphysician.and defined in Book 11 Elements of Pataphysics:
The TAGC First recording and Booklet entitled “Ha “and “Further Evident meanings” is based on Jarrys Exploits and Opinions of Doctor Faustroll Pataphysician BOOK II Concerening the dogfaced baboon Bosse-de-Nage,who knew no human words but “Ha Ha” and continued throughout TAGC,S in numerous released works,The recordings grouped under MEONTOLOGICAL inspired by Micheal Bertiaux work contain many Patapyschical ideas ,this quote from Bertiaux confirmed our own work which was engaged upon 24 years before we read this in a Interview with him.
Micheal Bertiaux. “I think art is one way in which magical symbols and images can be presented to the public in a way that will not appear threatening. We know from the history of art in the past 100 years, that many genuine schools of occultism came forth to present themselves as what I am going to call mystical schools of painting, of sculpture and so forth. I am particularly concerned about one French school, says Bertiaux. It is the pataphysical school. It was allied to Dada, surrealism, spiritualism and trance medium ship. The whole idea was that we would explore structures of the unconscious and come back renewed with a new kind of imagery and energy we can focus through works of art. The pataphysicians are my favorites, because what they sought to do was to create a kind of alternative science. I remember a pataphysician telling me, that as metaphysics is to physics, so pataphysics is to metaphysics, which meant an intuitive extension into the abstract or the transcendental or the less known aspects of experience. What were the characteristics of this school, I asked?
One of the characteristics would be their drawing of inspiration from dream states and a kind of somnambulistic meditation, says Bertiaux. Another would be the idea that everything has a psychic history. This is related to “the cult of the found object” in modern art, the discovery of “the given.” - We know that there are many artists who will go around looking for what they call “a found object” – actually they wouldn’t have to look very hard. According to the theory a found object would “speak” to them and indicate to them that this was what was needed for the artwork of the artist. However, what is always part of pataphysical vision is that individual reading and seeing of your energy field as your own unique vision; otherwise you’re not satisfied with what you have produced. I think it is important for the artist to achieve a certain amount of satisfaction in order to motivate himself to continue, to actualize his universe. - I would say that the artistic rays of the pataphysical philosophy have permeated many avenues of modern creativity. Many writers who have abandoned traditional methods are using pataphysical inspiration for how they express their creative matter; and many modern musical compositions we know are inspired by pataphysical and radical innovation and a departure from a conventional straight jacketing of their creative energies. New TAGC / TAJPRG recordings are based around historical wax and cylinder recordings taken from medical and scientific research areas as well as recordings from other connective resources such as the Cahiers du Collëge de Pataphysique,
For TAGC Adi Newton and Jane Radion Newton Dies Mucuri I Aprilis Era Vulgaris MMIX
The Delivery 16mm x 2 Dual projected film 1985 A dual-screen presentation. It's central concepts revolve and evolve around those expressed in surrealism, particularly those expressed by Antonin Artaud in "Le monde illustre' 29th October 1927 regarding Ia coquille et le clergyman". Artaud wrote: "We should not look for logic or sequence which is present in things, but interpret images which develop in the direction of their essential intimate significance which goes from outside to the inside. Coquille et le clergyman does not tell a story but develops a series of mental states which are deduced from each other as thought is from thought." In "cinema et realite it is not a matter of finding an equivalent of written language, in visual language which would be a bad translation, but of bringing out the very essence of language, transporting the actions as to a plane where all translations would be useless where the action works intuitively on the brain ... the human skin of things, the derm of reality." From these concepts and numerous others regarding Aleotory and chance operations such as those found in the works of Mallarme, Lautremont, Dos Passos, Brion Gysin and W.S. Burroughs et all I embarked on the construction of the film.I was also inspired by Bretons "Seconde manifesto du surealisme" in 1930 which took up almost to the letter the formula of Hermes: 'Everything leads to the belief that there exists a spot in the mind from which life and death, the real and the imaginary, the past and the future, the high and the low, the communicable and the incommunicable will cease to appear contradictory'. 'The Delivery' represents an occulation of surrealistic themes applied to film-production techniques.
"Burning Water", develops new forms of visual expression. In this project which took 3 years to develop and film,specially constructed filterlenses enabled filming through water. Inspired by the use of multiple montage techniques employed by Kenneth Anger. Each image in the film is taken from specific occult areas, symbols and images, and up to quintuple exposures of the film i.e. five montage-levels then special computer software was used to treat the entire edited film and finally achieved the results, with a film which relates directly to the subconscious levels of the mind, a kinetic Rorschach-test, an exploration of the resurgent atavistic and sentient symbolic systems, used by Austin Osmon Spare, "Burning Water" is an alchemical and technological enquiry into sub-states of being. A meontological visualisation beyond analytical analysis. Burning Water 1986 / 1989.
TAGC EXPERIMENTAL FILM WORKS VOLUME 1 1985 / 1995. THE ENIGMA OF ISODORE DUCASSE, PERFORMANCE / ACTION INTEGRATION TEST TONES E.B.F.R ELECTRONIC BRAIN FREQUENCY RATIO FURTHER EVIDENT MEANINGS CHRONOLOGY PATAPHYSIQUE BURNING WATER THE DELIVERY MAGNETIC PHARMOCOLOGY ISO EROTIC CALIBRATION
This collection of films span a range of different periods in the research and Development of TAG .The earliest of these stemming back to 1978/9 and the Ideas and visual experiments evolving from the live performance film document Shot By Adi Newton of The Enigma of Isodore Ducasse performed by P.T.I This performance piece which was conceived and staged by Adi Newton was part of the formulisation of the TAGC foundation. The Performance piece and the resulting film are based on Otto Muehls “Material Action Manifesto” of 1964, “the material action works with symbols (its difference from theater), which in themselves constitute the storyline, a consecutive series and mingling of symbols as self existing realities...they do not aim to explain anything, they are what they appear to be.”
THE ENIGMA OF ISODORE DUCASSE, PERFORMANCE / ACTION INTEGRATION. Live performance and filmed pieces integrated into a single work representing a intuitive act of magickal ritual to conjure up simultaneous feelings of repulsion and convulsion,The mystery of the internal and the alchemical workings of spirit and body.
TEST TONES The classic opening piece from the Meontological research recording series utilises early test card images from Broadcasting and other forms of visual test criteria to build up this precursory piece that has inspired a generation of noisemakers, minimalists & isolationists.
E.B.F.R. ELECTRONIC BRAIN FREQUENCY RATIO, Utilises and treats and montages two clinical films of test subjects wired to ECG monitoring equipment filmed in the late 1950,s this film is a homage to the late experimental film maker Paul Sharits.Sharits was one of the primary innovators of Structural/avant-garde cinema beginning with his Fluxus-affiliated film pieces of the early 1960s and continuing through color “flicker” films and larger multi-projection installations, radically pioneering the shift of film works into gallery and museum spaces. “Epileptic Seizure Comparison” (1976) is one of Sharits’ most elaborate and violent installations. Sharits writes: “Seizure Comparison is an attempt to orchestrate sound and light rhythms in an intimate and proportional space, an ongoing location wherein non-epileptic persons may begin to experience, under ‘controlled conditions’… the majestic potentials of convulsive seizure.” This concept was something we had been experimenting with prior to the discovery of Sharits work with the Pyschophysical audio and opto-kinetic experiments that had been undertaken ,its important to understand and acknowledge the influence of the past In order to extend and develop the possibilities of those influences in to a future context.
CHRONOLOGY PATAPHYSIQUE A film sound manipulation of time and space ,the ultraslim fissure of Marcel Duchamp and the College de ‘Pataphysique ,& The COMMENTAIR POUR SERVIR À LA CONSTRUCTION PRATIQUE DE LA MACHINE À EXPLORER LE TEMPS, & certain passages alluded to in Jarrys 1900 LES JOURS ET LES NUITS, 1897 - Days and Nights. “’Pataphysics, Jarry wrote, “will examine the laws governing exceptions, and will explain the universe supplementary to this one; or, less ambitiously, will describe a universe which can be --- and perhaps should be --- envisaged in the place of the traditional one.” “Instead of formulating the law of the fall of a body toward a center, how far more apposite would be the law of the ascension of a vacuum toward a periphery...” Infinity renders impossible any solution to the problem of meaning.One of the principal elements of infinity is its negation of form. Absolute becoming, infinity destroys anything that is formed, crystallized, or finished. Isn’t music the art which best expresses infinity because it dissolves all forms into a charmingly ineffable fluidity? E.M. Cioran The cult of infinity
BURNING WATER “Burning Water”, develops new forms of visual expression. In this project which was developed over several years to develop and film we constructed special filter-lenses which enabled us to film through water. We were also inspired by the use of multiple montage techniques employed by Kenneth Anger. Each image in the film is taken from specific occult areas, symbols and images, and we achieved up to quintuple exposures of the film i.e. five montage-levels which is a very difficult process to achieve - we then engaged special computer software to treat the entire edited film and finally achieved our results, which is a film which relates directly to the subconscious levels of the mind, a kinetic Rorschachtest, an exploration of the resurgent atavistic and sentient symbolic systems, used by Austin Osmon Spare, “Burning Water” is an alchemical and technological enquiry into sub-states of being. A meontological visualisation beyond analytical analysis.
THE DELIVERY The "Delivery" is the soundtrack to a 16mm film. It is a dual-screen presentation. It's central concepts revolve and evolve around those expressed in surrealisms, particularly those expressed by Antonin Artaud in "Le monde illustre' 29th October 1927 regarding Ia coquille et le clergyman". Artaud wrote: "We should not look for logic or sequence which is present in things, but interpret images which develop in the direction of their essential intimate significance which goes from outside to the inside. Coquille et le clergyman does not tell a story but develops a series of mental states which are deduced from each other as thought is from thought." In "cinema et realite it is not a matter of finding an equivalent of written language, in visual language which would be a bad translation, but of bringing out the very essence of language, transporting the actions as to a plane where all translations would be useless where the action works intuitively on the brain ... the human skin of things, the derm of reality." From these concepts and numerous others regarding Aleotory and chance operations such as those found in the works of Mallarme, Lautremont, Dos Passos, Brion Gysin and W.S. Burroughs et all we embarked on the construction of the film. We were also inspired by Bretons "Seconde manifesto du surealisme" in 1930 which took up almost to the letter the formula of Hermes: 'Everything leads to the belief that there exists a spot in the mind from which life and death, the real and the imaginary, the past and the future, the high and the low, the Communicable and the incommunicable will cease to appear contradictory'. 'The Delivery' represents an occultation of surrealistic themes applied to film-production techniques.
MAGNETIC PHARMOCOLOGY This film sound piece from Meontological Research Recording 2 was the initial prototype for the Burning Water project ,along with the piece Magnesia ,relating to the early use of the magnetic compounds used in Medicine dating to antiquity, the underlying ideas are concerned with how magnetic fields and other frequencies effect and influence the fabric of existence,the science of magnetism, the ideas of Mesmer and Galvani and those of Keely ,Fechner et all as further explored see the Psychopsychisist CD that was later issued.
ISO EROTIC CALIBRATION Based on ideas expressed by De Sade ,Hans Bellmer ,George Bataille,Artaud The following quote serves as a indication as to the films meanings “And the The two primary motions are rotation and sexual movement, whose combination is expressed by the locomotive’s wheels and pistons.These two motions are reciprocally transformed, the one into the other.Thus one notes that the earth, by turning, makes animals and men have coitus, and (because the result is as much the cause as that which provokes it) that animals and men make the earth turn by having coitus. It is the mechanical combination or transformation of these movements that the alchemists sought as the philosopher’s stone. It is through the use of this magically valued combination that one can determine the present position of men in the midst of the elements. Extract from The Solar Anus By Georges Bataille
HA/ZULU 12 VINYL EMBOSSED WITH CUT OUT DISC SPACE & 8 page booklet 1986
ShT 12 VINYL E.P EMBOSSED LOGO CUT OUT DISC SPACE AMBISONIC RECORDING 8 page booklet.1986
BIG SEX 12 VINYL E.P EMBOSSED LOGO CUT OUT DISC SPACE 1987
THE DELIVERY 12 VINYL ALBUM SOUNDTRACK .1985
DIGITARIA 12 VINYL ALBUM SOUNDTRACK AMBISONIC RECORDING 1986
MEONTOLOGICAL RESEARCH RECORDING 1 12 VINYL ALBUM 1987
MEONTOLOGICAL RESEARCH RECORDING 2 TESTE TONES 12 VINYL ALBUM 1987
ISO-EROTIC CALLIBRATION CD ALBUM 1996
BURNING WATER SOUNDTRACK CD ALBUM 1995
EXPERIMENTAL FILM WORKS 1985 / 20010 DVD
AUDIOPHILE CD ALBUM 1995
MEONTOLOGICAL RESEARCH RECORDING 3 Broadcast fromThe trans -Yoggothian Broadcast Station Book / DVD 2010
Performance and exhibition details Pandoras Box "Der Doelen" center in Rotterdam, Holland, Sat. Sep 22nd, 1985 2nd Atonal festival "The Ballhaus Tiergarten" Berlin, Germany . Feb 18th 1985 3rd Atonal Festival "TU Mensa" Berlin ,Germany on Dec 13th 1986 The Pump Station SO 36" Berlin, Germany Feb 14th 1987 Museum of Contemporary Art" Prato, Italy Sept 23rd 1988 Electro-Acoustic Music Academy Stockholm, Sweden Aug 23rd 1990 ARS Electronica symposium on Virtual Reality Sep 8th 1990 Linz, Austria. National Art Gallery V&A inclusion .Smile Classified a magazine of multiple origins March/August 1992 London .UK I.C.A. Art Futura Museo Nacional Centro De Arte Reina Sofia Madrid Spain Sept 1994, Equinox Festival 14th June Conway Hall London 2009
The Anti Group Communications era vulgaris MMIX theantigroupcommunications/myspace.com e-mail theantigroup@btinternet.com
T.A.G.C. テクノロジーのオカルト化
我々の作品はそれがどのようなものであっても単一の名称で要約できるものでは ない。多様な領域が TAGC の研究計画のなかにも集積されている。もし単一の タームで我々の作品を描写しようとすれば、マイケル・ベルトーのメオントロジ ー ( Meontology ) というタームを使用するだろう。
T.A.G.C. / DIGITARIA
( SAX 012 ) オ ントロジー( 存在論 ) とは、存在に関する形而上学であり、それゆえメオント ロジーとは" 非 " 在の科学であり、超心理学を計測可能な、そして支配可能な現 象の領域へと、魔術的、四次元的に拡張していくことである。21 世紀のテクノ ロジーと心霊物理 学の洗礼を受けたアルフレッド・ジャリである我々は、魔術 を初めとする古代の知的体系と三次元的テクノロジーを融合することにより、そ の思想の持つ可能性 を探っていこうとするものである・・・。Accelerated Audio Alpha Activity ( 聴覚刺激によるアルファ波活動の促進 AAAA ) は、音の振動に固 有の性質に基づいて音節を構築し、思考を集中させ変容をもたらすための楽器と して設計されている。つまり心霊領域を覚醒し、ある状態下で の ( TAGC
ドラッグに頼らない ) 意識の変容をもたらすために、反復する音節と振動するリ ズムが生み出される。そのような状態をより効果的にするためにヘッドフォーン ( アルファ波活動を拡張するために) とスピーカー( 生理学的振動伝達を拡大する ためにスピーカーに近付くのが望ましい ) の両方を同時に使うことをお薦めする。 そして同時に 1 秒間に 7-13 回明滅するストロボスコープやドリームマシーンを 使用すればより効果的である。 TAGC が AAAA で採用している技術は、オカル トおよび科学に基づくものである。近年、科学は意識が反復刺激に向かった場合、 それは内部知覚の拡張をも たらすのかどうか、その究明にのりだしている。そ の実験による人間の意識が、外部からの循環的、反復的刺激に向かう場合、被験 者は外部世界との接触を喪失 し、内部世界へと没入していくことが証明されて いる。これはインドのタントラやヨガによっても何世紀にわたって実践されてき た ( Adi Newton ) 。
T.A.G.C. / MEONTOLOGICAL RESEARCH RECORDING - RECORD 1
( SAX 013 ) Test 1: Sonochemistry Test 2: Synthesis 54 (Burning Water) side A recorded December 13, 1986 in Berlin. This work was further manipulated and later entitled Teste Tones on the LP Teste Tones. side B is an abridged live version of the soundtrack for Burning Water, recorded February 14, 1987 in Berlin. SWEATBOX 1987
T.A.G.C. / MEONTOLOGICAL RESEARCH - RECORDING 2 TESTE TONES
( SER 12 ) A 1. Test Tone — 40Hz 2. Teste Tones 3. E.P.M.D. 4. A.A.A. *this recording is the sun of a work project that begin in Dec 1986. techniques devised at that stage have now been developed and applied exclusively to computer aided technology in both the production and construction of these recordings. on site recordings were made in Berlin and London and later processed in the research laboratory of TAGC, England, May 1988 B 1. Magnesia 2. Magnetic Pharmacology *however, the complete information can be found in the TAGC document 'Rotogravure'
addition 1, under a report entitled ' Threshold of the Inconceivable '. this report expounds the scientific and esoteric nature of Frequencies, featuring report from Dr. E. Jordan, Audiologist, England Dr. Bernard, Audio-Psycho-Phonology center, France SIDE EFFECTS 1988
T.A.G.C. / MEONTOLOGICAL RESEARCH RECORDINGS TESTE TONE
CD ( SOL 15 ) A: 1. Test Tone – 40 Hz 2. Teste Tones 3. E.P.M.D. (Eroto–Psycho Motor Disturbances) 4. A.A.A. (Audio Alpha Activity) B: 5. Magnesia 6. Magnetic Pharmacology 7. A.A.A.A. (Accelerated Audio Alpha Activity) Adi Newton. Sine wave generators,Beat Frequency Occilator,Computer sampling E.M.S synthesis. Co- Programming / Production Adi Newton / Robert.E.Baker this recording originally released on Side Effects Records, July 1988. on site recordings made in Berlin and London, later processed in the research laboratory of TAGC, England, May 1988 track 1: A collaboration under precise conditions with Isol B. Rubin of SE Institute, London. track 7: Courtesy of Robert King. SOLEILMOON RECORDINGS 1991
T.A.G.C. / DIGITARIA
( SAX 012 ) A: 1. Blood Burns Into Water 2. Dog Star 3. Balag Anti 4. Chozzar Over Abyss 5. Pre-Eval B: 1. Ghost Cultures 2. Noosphere 3. Lux Nox
A. Newton Voice ,Trumpet,Tapes,E.M.S.Synthesis. A. Benett, Precussion. B.R.D.L.Harden, Fretless Bass. D.F.D' Silva, Saxaphones D.A. Heppenstall ,Sythesiser. J.Bennet,Drums, Precussion M. Holmes, Guitar technical M.Banks, P.H.Barke, R.Gordon Recorded in Ambisonic and Trans coded to B-Format. SWEATBOX 1986 アンチ・グループがスウェットボックスからリリースした" Digitaria " には、ア メリカ・インディアンの火葬の儀式や幼児殺害に関する TV レポートが含まれ、 Carlec Ambisonics という耳を直撃するホロフォニック・システム似たアンビソニ ック・システムが導入されている。録音には特殊な 4 面体のマイクが使わ れ、
それぞれ違った 4 つのチャンネルに録音でき音響の位相転換可能で、レコード針 を飛ばす耳で聴こえない超低周波や超高周波も録音されているのだと言って い た。当時、期待に胸躍らせ聴いてみたが、ただの実験的エレクトロニック・ミュ ージックだった。しかしアディ・ニュートンの知的な計算されつくしたアルバ ム・コンセプトは、音楽を聴く者にどれほどの愉しみを与えたことだろう。彼の 音楽からボクは多くのことを学んだ。
T.A.G.C. / BIG SEX
( SOX 011 ) A: Big Sex B: 1. Big Sex 2. The Ocean SWEATBOX 1987 ****
THE ANTI GROUP / HA-ZULU
( SOX 009 ) A: Ha B: Zulu
drum programming, recorded by The Anti Group trumpet, tape, organ, voice - Adolphus Newton saxophone - D.F. D'Silva
keyboards, computer - D.A. Heppenstall bass - B.R.D.L. Harden guitar - Mark Holmes kinetic engineering, effects - Robert Baker .A.Newton remix - Richard H. Kirk, Stephen Mallinder recorded 29.4 - 1.5.1985 at the Chapel. Remixed 5-6.8.1985 at F.2 London mastered and cut at Tape 1 SWEATBOX 1985
THE ANTI GROUP / THE DELIVERY
( ST 3006 ) A: 1. Morpheus' Baby 2. The Delivery (Part I) B: 1. The Delivery (Part II) 2. Love Flowers In The Desert
organ, tape, trumpet, voice - Adolphus Newton drums, metaliques percussion, violin, rhythm programm Oskar M keyboards, computer - D.A. Heppenstall saxophone - D.F. D'Silva bass - B.R.D.L. Harden guitar - Mark Holmes produced by Dimitri Hegemann , Manfred Schiek kinetic engineering - Robert Baker / Adi Newton recorded live at the Atonal Festival located in Ballhaus Tiergarten, Berlin, on the 18th February 1985 ATONAL RECORDS 1985
THE ANTI GROUP
/ ShT
( SEX 010 ) A: 1. Shgl 2. Sunset Eyes Through Water 3. Po-Ema 4. Further & Evident Meanings B: 1. Morpheus Baby 2. New Upheaval trumpet, tape, organ, voice - Adolphus Newton saxophone - D.F. D'Silva keyboards, computer - D.A. Heppenstall bass - B.R.D.L. Harden guitar - Mark Holmes Fairlight samples - I.C. Marsh, M. Ware(tracks: A1) mixing facilities technician - R. Kirk (tracks: A4)
*one side plays 33 RPM while the other plays 45 RPM SWEATBOX 1986 6 曲中 5 曲にアンビソニックスが導入されている 12 インチ EP。キャバレー・ヴ ォルテールのローランド・カーク、オン・ユー・サウンドのエイドリアン・ シ ャーウッドとのコラボレーションによって音響の可能性を発展させようとしたも の。アディ・ニュートンの音楽のすべてはシュルレアリストのファウンド・ ア ート ( すべてのモノをアートに変換してしまう) の領域に関わっていて、当時ノ イジーな" ファウンド・サウンド" と呼ばれていた。
TAGC / BROADCAST TEST
( MS/1755/02 ) Programme 1: Broadcast Test Transmission Programme 2: Broadcast Test Transmission 2 programmed by TAGC and Techno Geist Associates at the Anterior Digital Facility, 1989 ⓒⓟ Reserved Anterior 1989 BIG SEX 1989 '78 年にアディ・ニュートンと S.J.ターナーによって着想された T.A.G.C.は、音 響の多次元の研究開発プロジェクトでもあった。このドキュメン テーションは 基本的には"Modeus Operandi" ( オペラ的な様式とでも訳すのだろうか ) に基づい た哲学的理論によって制作されたもので、現在では常識になっている映像やテー プレコーダー、投影型テレヴィなどを駆使し
た マルチ・メディアのはしりのような事件だった。" Digitaria " に みられるアンビソニックというオーディオの開発、90 年オーストリア、リンツ に於けるヴァーチュアル・リアリティに関するシンポジウムなど、当時ヨー ロ ッパ各地で TAGC のパフォーマンスが展開されていた。その異なったメディア と理論の研究は現在も続けられていて、2009 年にはライヴ・パフォーマン スと インスタレーションのイヴェントが予定されているという。音響に対するこうし た姿勢は、現在レフト・フィールドやドローン、フィールド・レコーディン グ などの音響系に脈々と継承されているが、このジャンルは今また、再び活気を取 り戻すことだろう。 The Anti Group myspace http://www.myspace.com/theantigroupcommunications
T.A.G.C.: Meontological Research Recordings & Teste Tones Soleilmoon |SOL 15 | CD An incomparable release in the history of psycho-acoustic recordings, no other disc in my collection possesses such indisputable power to alter my mental and physical state. One track in particular, "A.A.A. (Audio Alpha Activity)" contains such mind-bending material, it's difficult to fathom the notion with which it was created. T.A.G.C. (The Anti-Group) is a project of Clock DVA's Adi Newton, who created the project as an "experimental research program". Included with this disc is an informative text entitled "Threshold Of The Inconceivable", which delves into the effects of sound on brain patterns from technical and meontological (parapsychological) perspectives. Also supplied is a breakdown of beta, alpha, theta and delta waves, and which specific sound frequencies pertain to which. The disc commences with a twelve-second recording of a 40 Hz tone, seemingly to test the boundaries of your sound system. If you can't feel the presence of this low frequency tone when it's played through your system, you'll be missing out on too much to get anything out of these recordings. The track "Teste Tones" follows, which is a layering of ultra-high frequency sounds parlayed over the 40 Hz tone introduced at the start. Slow, creeping synthetic washes of sound enter the mix, and begin to reverberate around you. The mix is recorded so that the stereo phasing of certain elements is flipped to near 180ยบ, resulting in a surround effect.
I'm going to skip ahead to the track "A.A.A.", which is listed as the fourth track on the sleeve, but is actually track three on the disc (Soleilmoon's track breakdown differs from the LP version released on Side Effects (R.I.P.) in 1988). From my own experience, this track is best listened to under somewhat controlled circumstances. Play it at a healthy volume - you will need to feel the low frequency pulses that develop in the track - and lay down comfortably with your eyes closed. Ensure you will not be interrupted for at least ten minutes (the length of the track), and hit play.
The track begins with a slow, simple beep and hiss loop, sounding like a medical monitoring device of some sort. This is punctuated by vocal utterances of a very repetitive nature. The setup forms the basis of the entire track, and what happens is that every minute the tempo doubles. In the first minute, there are twenty-two beep/hiss strikes, and in the next there are forty-four (methinks Adi was looking into his "magick" book once again to come up with all these multiples of eleven). Not only is there anticipation of how fast the next minute will sound, but the very notion that the tempo will be doubling on itself repeatedly evokes visions of an infinitesimal nature. This relates precisely to what thoughts can enter your mind as you listen to the track in its entirety. Not only are these thoughts with you, but a physical effect is also experienced by way of the low frequency pulses and constant left-right panning of the beeps. When I listen to it, my eyelids flutter and my body twitches. It renders me helpless, creating a feeling of lightness, both in body and in mind, but the end result is well worthwhile. It has the ability to clear your head and energize your being. It's definitely a positive energy, and it lasts for a good while after listening to the track. What follows are two very peaceful ambient pieces, which give you time to recuperate from the hyper pace of "A.A.A.". In particular, the track "Magnetic Pharmacology" has an entirely calming effect, with its choral attributes and elemental effects. The disc closes with "A.A.A.A. (Accelerated Audio Alpha Activity)", which essentially is a cut-to-the-chase version of "A.A.A.". It clocks in under five minutes, and the physical effects are nowhere near that of its predecessor. The arrangement is remarkable however, with a breakneck approach to its sequencing. A remarkable achievement not only in sound design, but also in research and implementation, this release is unique in the history of sound recordings. It demands your attention, your intellect and your openness. It goes beyond being a mere auditory curiosity by inviting its audience to partake in the research first-hand. The results may amaze you. [Vils M DiSanto] The Incursion Music Review was published and edited by Richard di Santo from 2000 to 2004. All 75 issues can be accessed in the Archive. Please note that we are no longer accepting submissions or promotional material for review. Incursion.org