Twa Dogs Under Paris 'live' at The Landing January 22nd (198?)
Three Goblin Art

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occasionally subtle
Cosmic Funnies

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@floatingconcreteoctopus
Twa Dogs Under Paris 'live' at The Landing January 22nd (198?)
"WISCONSIN CONSERVATORY OF NOISE come next with "30 Samples For Orchestra", a wild cacophony of echoed, electronically-altered & generally messed-up sound which suggests an influence being the old school of electronic 'enhancements' (ie. STOCKHAUSEN, VARESE etc.). The noises scatter & whirl, following no logical pattern, choosing instead haphazard starburst explosions which never remain still or silent for a millisecond." - bonnicon
Originally reviewed for Soft Watch.
As Yet Untitled, CD, Comp, RZD-001
via a comment on Discogs
Picture Noises From The Global Swamp
listen or download Side 1 and Side 2 as mp3s, via Noise-Arch Archive on archive.org
There is also another edition scanned up on discogs which has some good pictures
https://twitter.com/strangelight/status/1161709950827192325
“@JasonQuinter Floating Concrete Octopus”
Aftermusic Floating Concrete Octopus (mIEKAL aND, Elizabeth Was)
Producer: ASFi Music Works (1990) Homemade instruments combined with Mac & samplers.
Aftermusic Or better: "Before and After Music." Before men started to bottle the vast ocean of aural phenomena into tight square jars with label and rules for proper usage, and after hordes of common noisicians have shattered and spilled the last of this bottled pop to their own sonic delight.The title refers to the gigs we performed during a mini-tour in April 1989, a series of six performances in six cities. Itinerary: The Art Strike Attic in Baltimore, Maryland; ABC No Rio in New York City (of which there was alas no recording made); there should have been a Boston performance but the setting up was screwed up; The Rivoli in Toronto; Mantra Mash Avant X Arts Festival in Bloomington/Normal, Illinois. This was the first time Miekal and I did a series of performances solely as a duo (with a couple exceptions: a) Luigi-Bob Drake joined us briefly in Toronto and fully in the Bloomington show, playing his self-made cell-hole (pronounced "ch", as in "cello"). b) We mostly amounted to crying (which can be heard at the Baltimore gig), sleeping or being taken for a walk by travel companion Speezeric. Zon's "momminess" was a sources of great stress for me, I even wanted to give up the tour half-way through. But listening back, I think the tension aided the music.)This was also the first time we toured and performed with a computer and no drum set and no saxophone, combining the sampling capabilities of the Mac and our old-fashioned Akai S612 sampler with our first invented gourd instruments, and costumes. Again, the before and the after: the primitive and the technological. This first experience with the convenience of the technological world left an impression on us, after years of loading and unloading drumsets, guitars, amps, etc., we packed the Mac, the gourds, one box of whistles and shakers, and a pair of drumsticks.The execution of the piece(s) was based on two things in particular: 1) The idea that the audience would make sounds which we would sample and process. We found that asking the audience to do this, however, was no more effective (whether for shyness, uncertainty, whatever) than using their sounds without telling them. 2) We were to make repeated use of Miekal's booklet of essays on noise entitled Polynoise, the text of which you can hear read throughout the tape. We also handed out copies of the book to audience members at each gig.The Baltimore gig was set up by tENTATIVELY, a cONVENIENCE and John Berndt in the Art Strike Attic, a long skinny warm space turned over for performances by its resident whose name I can't remember. The audience jam-packed it sitting on the floor up next to us. Toronto dj/producer/smiler Myka Dyer scheduled us at the Rivoli, a vast black club complete with excellent sound system and engineer. I might note that two different recordings of the Toronto gig were made: one directly off the board, and one recorded with Luigi-Bob Drake's portable deck. Surprisingly, the tapes were of equal but divergent quality and I was able to make use of each. This gig was a triple bill with improvising saxophonists Jack Wright and John Oswald. There were at least 50 people in the audience.At the Mantra Mash, we performed, as we had three years in a row, in Larry's penthouse, a large two-levelled magical performance space which has since burned down along with the rest of Bloomington's Eddy building. With each performance on the tour, I found myself doing more and more movement and maskwork with drumsticks, while Miekal and Luigi made most of the sounds. (Wish we could release an Aftermusic videotape...) We perceive all our work as in progress/in process. Every audio piece, image, etc., whether "completed" or not, always stands ready as material to be altered, added to, mixed with more, etc. Thus side two of this tape extends the Aftermusic tour back to Madison where I carefully mixed together the various recordings of the gigs.
Elizabeth Was
September 1990
via Woodland Pattern Book Center
Zonergyx
Larv Trancet
Just in time for Halloween, here’s a creepy little thrift store find… Two 30-minute sides of deep, dark drones and unsettling noises from a mysterious project known only as Zonergyx. Since there are no “A” or “B” side markings on this cassette, the order in which I’ve presented the two tracks is arbitrary.
Much to my surprise I was able to find a website for Audio Muzixa Qet, the label on which this tape was released, although it looks like a site that was created in the early days of the Internet and has been unmaintained since then. I discovered Larv Trancet was released in 1989, and even found that the list price was $3. (Is it still available? I doubt it, but if you can find a contact email I guess it wouldn’t hurt to ask.) The label is/was connected to Xexoxial Editions, a publisher for underground visual and written art that is still active today.
Images / Download
EROTIC LOGIC Twa Digs under Paris
"Small quarto [approximately 7 inches square], softcover bound in decorative yellow & black wraps. 26 & [2] pages. Illustrated with black-and-white collages by Elizabeth Was. Fine. Twa Digs under Paris is a performance/visual/audio art collaborative whose core members are Miekal And and Elizabeth Was. They are also the editors of Xerox Sutra Editions." via
“Was selling my record collection and found this compilation record that we had a track on. “EUY” by Aquatics Ever Tarnish. Zaum sound poetry with samplers.” -mIEKAL via facebook
by Lyx Ish & mIEKAL aND (1990s, unknown exact date)
reposted from m’s facebook
“Lyx and her doppleganger xerox marinette at the opening of _THC_ at Survival Graphics, 1983. Tomorrow will be 8 years since she joined the Immortals.” -mIEKAL aND
cassette cover for AFTERMUSIC posted by Miekal And September 13, 2014.
Willy St Fair 1984
Originally posted on Facebook
Close-up of Miekal And's face, half of which is partially obscured by shadows. Creation Date: 1982 Creator Name: Jack Greene Photography City: Madison County: Dane State: Wisconsin Collection Name: Willy Street Study of a Neighborhood Genre: Photograph Original Format Type: photographic print, b&w Original Format Number: PH 6959 Original Dimensions: 7.5 x 9.5 inches ADDITIONAL INFORMATION
Caption on the bottom of the frame reads "Miekal, spokesman for TWA Dogs in Paris, has never had an art course in his life. 'I originally went for a degree in philosophy, ended up dropping out 4 times in a row and gave up on it.' Art exists as a whole, Miekal says, whether it be a play, dance, music, sculpture. 'You can't separate anything from the other. This (art by TWA Dogs) is lifestyle as an image. We have actual real life images. It's not important to call them sculptures or whatever. We tend to use the phrase post nuclear mutation about our art. This in relation to espionage. Espionage isn't such a grim world. It's taking people's values and extending them, moving them someplace else. Philosophically, I think this neighborhood is different from any other place. It's a world village. All cultures are represented here, all varieties, talents, strains of personalities. It makes it exciting. This neighborhood allows us to actually create an environment in our front yard.'"
“4 poets for ONE DOLLAR! MADISON 1979. #performanceposters — with Crag Hill and Sharyn Sandborn.“ - posted by Miekal And September 6, 2015 on Facebook.
mIEKAL aND & Lyx Ish taken by Gen Ken via
SCABBY WATERS
via noise-arch.net (archive.org backup)