Henry Flynt - Excerpt From The Crystallization of Concept Art in 1961

Works of art present, point out, cause us to perceive the various elements and relations contained in them. One comes to "know" the art objects or processes themselves. Every work of Serious Culture has the "cognitive value" of provoking in part of its audience the activity of perceiving its elements, apprehending the relations between them, and thus coming to know the object or process as a whole.1

[Henry Flynt] was convinced that [Henry Flynt] had shown this phase of appreciation, strictly, to be delusive.

That recognition of structure in music can be delusive was illustrated by [Karlheinz] Stockhausen's analysis of a cantata by [Luigi] Nono, and the excuse he subsequently had to make for it.

Soon after the publication of [my] interpretation, Nono informed me that it was incorrect and misleading, and that he had neither a phonetic treatment of the text nor more or less differentiated degrees of comprehensibility of the words in mind when setting the text -- not even with respect to a possible representation of the sense of these farewell letters, and if I could interpret a quasi-serial vocal structure into II, it was a mere coincidence. The reader must therefore not take my reflections and analyses as being demonstrations of Nono's composition, but rather of my own -- demonstrated in the work of another composer.2

1 Jackson Mac Low, KOH (1962, unpublished)
2 Karlheinz Stockhausen, "Music and Speech," in Speech and Music [die Reihe No. 6] (1964), page 49, footnote.


Catherine Christer Hennix - Concertzender 06/06/05

01Central - Palace - Musicfor solo amplified Renaissance oboe & sine waves
02Netori / Hashigakari Chordfor sine waves, shō and oboe
03Waves Of The Blue Seafor sine waves and two Renaissance oboes
04The Electric Harpsichordfor Yamaha 3-manual tuned keyboard & sine waves
05Five Times Repeated Musicfor two amplified Renaissance oboes & sine waves
06Silicon Solitone Live-Time (00:49:49 … From 49:49:49…) Or Just Driftin' In The Year Of The Blues For La Monte Young

Radio show broadcast on Dutch National Radio station De Concertzender. Introduced by Mark van der Voort. A survey of the composer's work. Hennix's recordings taken from an eight day festival organized in Spring 1976 at the Museum of Modern Art in Stockholm, and other sources, selections by Hennix.

Catherine Christer Hennix (C.C. Hennix) (born 1948) is a Swedish-American composer, philosopher, scientist and visual artist associated with drone minimal music. Hennix was affiliated with MIT's AI Lab in the late 1970s and was later employed as research professor of mathematics at SUNY New Paltz. She currently lives in Amsterdam.

Musical Background
C.C. Hennix began her musical studies in the 1960s by exploring the music of the art music composers Iannis Xenakis and Karlheinz Stockhausen. Hennix met La Monte Young and Hindustani raga master Pandit Pran Nath at the Nuits du Fondation Maeght festival in 1970 and pursued studies with both men during the 1970s. Hennix also drew inspiration from the Japanese Gagaku music and early vocal, thirteenth-century music of Perotinus and Leoninus. Hennix frequently worked together with the American anti-art philosopher, composer and violinist Henry Flynt.

All major compositions by Catherine Christer Hennix (for example her "The Electric Harpsichord") are regarded as a small part of an ongoing, endless composition cycle.

In the late Seventies, Christer Hennix expounded a proposal for accession to elevated experience framed in terms of recent positions in foundations of mathematics and theoretical linguistics. Hennix's expositions extended seamlessly to poetry, painting, installation art, and music.

In Hennix's installation at Moderna Museet in October 1976, notations for 'cloning' or 'amalgamating' abstract languages by means of semi-ultra-intuitionistic algorithms were presented. (Cf. Notes on Toposes & Adjoints.) The formal methods presented for intuitionistic topoi included, among others, all the infinite variations of Montague grammars for arbitrary fragments of English, permitting Hennix, by means of performing an inverse limit operation, to treat English semantics as abstract formalized concepts pulled along a given set (algebra) of functors while any material form of English grammar corresponds to a notation for these functors and their values. (Cf. Brouwer's Lattice and "17 Points on Intensional Logics," respectively.)

In the mid-Seventies, Hennix developed a dramatic concept referred to as Abstract Noh Drama and originally intended for radio broadcast or silent reading. Abstract Noh compositions differ from classical Noh in that they abstract from all visual elements. A ramification of the classical categories of drama (e.g. Noh-no-kami, Noh-no-kiri, Shura-mono) is allowed. ^-Noh or Empty Noh (1976) was the first new abstract category. It is an example of new logical types based on principles by the Buddhist logician, philosopher, and poet Dharmakirti.

This was a single three hour + MP3 obtained from UbuWeb; I've cut it into tracks and inserted a cleaner copy of "The Electric Harpsichord," glory be

Catherine Christer Hennix - Concertzender 06/06/05 1/3 [Mirrors: 1, 2, 3, 4, 5, 6]
Catherine Christer Hennix - Concertzender 06/06/05 2/3 [Mirrors: 1, 2, 3, 4, 5, 6]
Catherine Christer Hennix - Concertzender 06/06/05 3/3 [Mirrors: 2, 3, 4, 5, 6]


Angus MacLise - The Invasion Of Thunderbolt Pagoda

01 - Invasion Of Thunderbolt Pagoda (St. Mark's Epiphany)
02 - Shortwave-India
03 - Heavenly Blue Pt.4&5
04 - Blastitude
05 - Humming In The Night Skull

Angus MacLise was the original, aurally-undocumented drummer / percussionist for The Velvet Underground; he also played in La Monte Young's awesome Theatre Of Eternal Music / Dream Syndicate
Here, Angus transcends reality, and is joined in doing so on tracks 01 & 03 by the Universal Mutant Repertory Company, which includes Angus's wife Hetty MacLise, former Gong members Loren Standlee and Ziska Baum, and Raja Samyana

Concretely, this sounds like The Skaters, specifically Spencer Clarke, except 30+ years earlier in time and more earnest

“ You are not limited to one room, there are many rooms. ”
 - Angus MacLise, Smothered Under Astral Collapse

Angus MacLise - The Invasion Of Thunderbolt Pagoda

That this web-log spins around a central mythos, it will manifest to all seeing eyes --
Subtitle: Five easy pieces—one key piece


Steely Dan - "The Gaucho Outtakes"

Made under a variety of pressures, Gaucho was the final album by Steely Dan for almost twenty years. This long unauthorized release reveals an albums side worth of hits that would intrigue well past die hard-Danners. Inclusive in this recording is several skeletal demos of released songs (Time Out of Mind, an instrumental of the title track (Gaucho), and an early demo of "Third World Man" entitled "Were You Blind That Day," the titularly themed refrain), as well as several unreleased gems.

"Kulee Baba," (a version with Donald Fagan playing piano and singing and one with a small band) is the standout of the record with smooth, extended jazz chords. The song narrates images of an ambitious television executive shooting the allusive "Kulee Baba,":

"Brightly colored dancers on-screen
Are no more than a prelude to the ritual unfolding
No white man's eyes have ever seen
The cruel primeval rite that you're beholding!"

Not secondary is the "Second Arrangement" famous for not appearing on Gaucho due to being accidentally half erased by an engineer. Reminiscent of a more tender"Royal Scam"-esque cuckold-romantic endeavors it contains a sweetly bridged-bass line and lyrics not far removed in essence from "Time Out of Mind".

Finally, "The Bear;" a seemingly finished track is a stellar performance all around. "There's a bear that walks like a man, you better shake him fast."


Faye's Cave - Parts in a Hole

Parts in a Hole

A Developing Shortfilm Soundtrack by Faye's Cave


The Modernest Sketchbook

Pick your Choose