ɹǝuoʇ

Sometimes Never by GX Jupitter-Larsen

GX Jupitter-Larsen has been involved in punk rock, mail art, cassette culture, the noise scene, and zine culture. During the 1990s he was the sound designer for the performances of Mark Pauline’s Survival Research Laboratories. His best known work is as the founder of the noise act The Haters, who have performed all over the world, and appear on over 300 CD & record releases.

Underlying all of GX’s work is a mix of aesthetic and conceptual obsessions, particularly entropy and decay, and a self-created lexicon consisting mainly of personalized units of measurement such as the polywave, the totimorphous, and the xylowave.

As a writer, GX wanted the same kind of aesthetic fanaticism in his text that the noise scene demands. He wanted to achieve, in language, the same harsh beauty that is rendered in sound by amplified erosion. He wanted a form of writing that had both the feel and sound of nothingness. Taking his cue from the noisy blank video static coming off an empty channel on a TV set, he represented vacuity in text as lines after lines of random letters; to be read one letter at a time:

Ljndftddwbfxwdsdfhdwbdyrdtxyvlxhgytrdcxxtrpxctgfycytcf
hxdvctxsdvctxtyxyxttfcrtxxcthgcyxtctxtvcytttcxytcgtctt
bsdytxrfdcyndhxtwqdxdyxfwpdgbvtdgvsdxdbqlxdvqvddqxwdyt
hksbxhsvyrfxpwrqrtyttxyrtctygctxfcvxgvctygfvxtftvtcgkk
kmtdxshsxywftxywtvdtdbcvsyxdvfxtwsdvxdwsbdgsydxwpxhpdb
wkdfbhwbhwdvxwbdkwfbwxsvgwlhdgwxtfygdvjlghxgsvlgywklww
wjhdwtxypbctswygdswgxvclwsgxwykdvbtwdhxbxwdvlwdbjwdlwd
wdhwbvswldbwxgvdwdbjwhvwlbdjwhbdwtshgdxwgvdwshdjhwbdwl
wdsgvwhdvwxdvwjhdbwsvhdwjdbwjdfvwjhdbwdffdbpkjfhbxhwsd
dskjhbftldbkjngtpxwrkvnpfdjkffdgtrpjbprnkprbgwgpwgxbzs
ljndftddwbfxwdsdfhdwbdyrdtxyvlxhgytrdcxxtrpxctgfycytcf
hxdvctxsdvctxtyxyxttfcrtxxcthgcyxtctxtvcytttcxytcgtctt
bsdytxrfdcyndhxtwqdxdyxfwpdgbvtdgvsdxdbqlxdvqvddqxwdyt
hksbxhsvyrfxpwrqrtyttxyrtctygctxfcvxgvctygfvxtftvtcgkk
kmtdxshsxywftxywtvdtdbcvsyxdvfxtwsdvxdwsbdgsydxwpxhpdb
wkdfbhwbhwdvxwbdkwfbwxsvgwlhdgwxtfygdvjlghxgsvlgywklww
wjhdwtxypbctswygdswgxvclwsgxwykdvbtwdhxbxwdvlwdbjwdlwd
wdhwbvswldbwxgvdwdbjwhvwlbdjwhbdwtshgdxwgvdwshdjhwbdwl
wdsgvwhdvwxdvwjhdbwsvhdwjdbwjdfvwjhdbwdffdbpkjfhbxhwsd
dskjhbftldbkjngtpxwrkvnpfdjkffdgtrpjbprnkprbgwgpwgxbzs
oooooooooooooooooooo00

Music: The Michael Jackson Never Ever Land Remix Club (SoundCloud)

Art: Michael Jackson Art Muse (LA Times)

MICHAEL JACKSON AND PLUNDERPHONICS

He was still the King of Pop, but like most modern monarchies, it was a largely ceremonial position.

John Oswald’s 1989 album plunderphonics consists of 25 pieces in which samples are taken from a single performer and radically altered to create a wholly new composition, both challenging the idea of copyright (permission was neither asked nor granted) and exploring the possible atomic properties of an artist.

Oswald’s inversion of Bad’s title track furthers the skittering that lays in the original. The song is savaged, diced by Oswald’s digital Ginsu and brutally pieced back together as a convulsive eruption of ego devolving into the chirping of crickets and cold howling wind, eerily predicting the coming change in the public perception of Jackson as he transformed himself from beloved to spectacle. It is interesting that no matter how finely Oswald cuts this music, each tiny morsel is immediately identifiable. Each molecular grunt is Michael Jackson, a particle that in the right medium could replicate the whole. It’s not until we get to the arid crickets and wind section that we lose touch with the source.

DAB (mp3)

(via Michael Jackson and plunderphonics - outsideleft)

Let us not forget Michael Jackson’s greatest gift to the World, US Patent 5255452: Method and means for creating anti-gravity illusion.

(via @britinva)