sonic experience
  proposition 6a: ceci n’est pas une machine de guerre (Refrain) (2008)   ‘I have heard my teacher say that whoever uses machines does all his work like a machine. He who does his work like a machine grows a heart like a machine, and he who carried the heart of a machine in his breast loses his simplicity. He who has lost his simplicity becomes unsure in the strivings of his soul. Uncertainty in the strivings of the soul is something which dos not agree with honest sense. It is not that I do not know of such things; I am ashamed to use them.’  - Unknown gardener in conversation with Tzu-Gung, quoted in Heisenberg, The Physicist’s Conception of Nature (1958), pp. 20–21  ‘I open the newspaper for information on the news; how can you maintain that I myself created the news by opening the paper?’  - Bernardino Varisco, Linee di filosofia critica (1925), p. 159  proposition 6a: ceci n’est pas une machine de guerre (Refrain) lasts exactly nine minutes and fifty-two seconds and was produced and recorded in Lancaster in 2008. The sound material is derived exclusively from recordings of a piano being slowly demolished. Aside from one instance of equalization, none of the recordings have been subject to electronic processing of any sort.

[ZYGOTE]

[zygote] is a collaboration between Antti Sakari Saario (b. 1974, Finland) and Martin Iddon (b. 1975, United Kingdom).

Following the example of Deleuze and Guattari, who suggest that, especially in collaboration, each individual is always already ‘many’, the [zygote] project examines the network of possibilities crated within situations which seek to negate traditional concepts of authorship. It tries instead to interrogate deterritorialised lines of flight generated through the collision of multiple modes of what it might mean to become authorial. 

  proposition 6a: ceci n’est pas une machine de guerre (Refrain) (2008)   ‘I have heard my teacher say that whoever uses machines does all his work like a machine. He who does his work like a machine grows a heart like a machine, and he who carried the heart of a machine in his breast loses his simplicity. He who has lost his simplicity becomes unsure in the strivings of his soul. Uncertainty in the strivings of the soul is something which dos not agree with honest sense. It is not that I do not know of such things; I am ashamed to use them.’  - Unknown gardener in conversation with Tzu-Gung, quoted in Heisenberg, The Physicist’s Conception of Nature (1958), pp. 20–21  ‘I open the newspaper for information on the news; how can you maintain that I myself created the news by opening the paper?’  - Bernardino Varisco, Linee di filosofia critica (1925), p. 159  proposition 6a: ceci n’est pas une machine de guerre (Refrain) lasts exactly nine minutes and fifty-two seconds and was produced and recorded in Lancaster in 2008. The sound material is derived exclusively from recordings of a piano being slowly demolished. Aside from one instance of equalization, none of the recordings have been subject to electronic processing of any sort.

proposition 6a: ceci n’est pas une machine de guerre (Refrain) (2008)

‘I have heard my teacher say that whoever uses machines does all his work like a machine. He who does his work like a machine grows a heart like a machine, and he who carried the heart of a machine in his breast loses his simplicity. He who has lost his simplicity becomes unsure in the strivings of his soul. Uncertainty in the strivings of the soul is something which dos not agree with honest sense. It is not that I do not know of such things; I am ashamed to use them.’

- Unknown gardener in conversation with Tzu-Gung, quoted in Heisenberg, The Physicist’s Conception of Nature (1958), pp. 20–21

‘I open the newspaper for information on the news; how can you maintain that I myself created the news by opening the paper?’

- Bernardino Varisco, Linee di filosofia critica (1925), p. 159

proposition 6a: ceci n’est pas une machine de guerre (Refrain) lasts exactly nine minutes and fifty-two seconds and was produced and recorded in Lancaster in 2008. The sound material is derived exclusively from recordings of a piano being slowly demolished. Aside from one instance of equalization, none of the recordings have been subject to electronic processing of any sort.