itwonlast

Jeff MermelsteinUnitled ($10 bill in mouth) New York City, 1992 1992

Jeff Mermelstein
Unitled ($10 bill in mouth) New York City, 1992
1992

Ko. Machiyama
…as we witnessed, the mountain has become an icon for everything that is wrong with climbing. Unlike in 1963, when only six people reached the top, in the spring of 2012 more than 500 mobbed the summit. When I arrived at the apex on May 25, it was so crowded I couldn’t find a place to stand. Meanwhile, down below at the Hillary Step the lines were so long that some people going up waited more than two hours, shivering, growing weak—this even though the weather was excellent. If these throngs of climbers had been caught in a storm, as others were in 1996, the death toll could have been staggering.
Everest has always been a trophy, but now that almost 4,000 people have reached its summit, some more than once, the feat means less than it did a half century ago. Today roughly 90 percent of the climbers on Everest are guided clients, many without basic climbing skills. Having paid $30,000 to $120,000 to be on the mountain, too many callowly expect to reach the summit. A significant number do, but under appalling conditions. The two standard routes, the Northeast Ridge and the Southeast Ridge, are not only dangerously crowded but also disgustingly polluted, with garbage leaking out of the glaciers and pyramids of human excrement befouling the high camps. And then there are the deaths. Besides the four climbers who perished on the Southeast Ridge, six others lost their lives in 2012, including three Sherpas.
— National Geographic; Everest Maxed Out: How to fix the mess at the top of the world

…as we witnessed, the mountain has become an icon for everything that is wrong with climbing. Unlike in 1963, when only six people reached the top, in the spring of 2012 more than 500 mobbed the summit. When I arrived at the apex on May 25, it was so crowded I couldn’t find a place to stand. Meanwhile, down below at the Hillary Step the lines were so long that some people going up waited more than two hours, shivering, growing weak—this even though the weather was excellent. If these throngs of climbers had been caught in a storm, as others were in 1996, the death toll could have been staggering.

Everest has always been a trophy, but now that almost 4,000 people have reached its summit, some more than once, the feat means less than it did a half century ago. Today roughly 90 percent of the climbers on Everest are guided clients, many without basic climbing skills. Having paid $30,000 to $120,000 to be on the mountain, too many callowly expect to reach the summit. A significant number do, but under appalling conditions. The two standard routes, the Northeast Ridge and the Southeast Ridge, are not only dangerously crowded but also disgustingly polluted, with garbage leaking out of the glaciers and pyramids of human excrement befouling the high camps. And then there are the deaths. Besides the four climbers who perished on the Southeast Ridge, six others lost their lives in 2012, including three Sherpas.

National Geographic; Everest Maxed Out: How to fix the mess at the top of the world

Wood sculpture by Katsura Funakoshi
(from A Magazine curated by Haider Ackermann)

Wood sculpture by Katsura Funakoshi

(from A Magazine curated by Haider Ackermann)

“We must replace the limited variety of timbres of orchestral instruments by the infinite variety of timbres of noises”.
The Art of Noises (L’Arte dei rumori) (English translation PDF) is a Futurist manifesto, written by Luigi Russolo in a 1913 letter to friend and Futurist composer Francesco Balilla Pratella. The Art of Noises is considered to be one of the most important and influential texts in 20th century musical aesthetics. In it, Russolo argues that the human ear has become accustomed to the speed, energy, and noise of the urban industrial soundscape; furthermore, this new sonic palette requires a new approach to musical instrumentation and composition. He proposes a number of conclusions about how electronics and other technology will allow futurist musicians to “substitute for the limited variety of timbres that the orchestra possesses today the infinite variety of timbres in noises, reproduced with appropriate mechanisms.”
Russolo sees the futurist orchestra drawing its sounds from “six families of noise”:
Roars, Thunderings, Explosions, Hissing roars, Bangs, Booms
Whistling, Hissing, Puffing
Whispers, Murmurs, Mumbling, Muttering, Gurgling
Screeching, Creaking, Rustling, Buzzing, Crackling, Scraping
Noises obtained by beating on metals, woods, skins, stones, pottery, etc.
Voices of animals and people, Shouts, Screams, Shrieks, Wails, Hoots, Howls, Death rattles, Sobs
Russolo asserts that these are the most basic and fundamental noises, and that all other noises are only associations and combinations of these.

“We must replace the limited variety of timbres of orchestral instruments by the infinite variety of timbres of noises”.

The Art of Noises (L’Arte dei rumori) (English translation PDF) is a Futurist manifesto, written by Luigi Russolo in a 1913 letter to friend and Futurist composer Francesco Balilla Pratella. The Art of Noises is considered to be one of the most important and influential texts in 20th century musical aesthetics. In it, Russolo argues that the human ear has become accustomed to the speed, energy, and noise of the urban industrial soundscape; furthermore, this new sonic palette requires a new approach to musical instrumentation and composition. He proposes a number of conclusions about how electronics and other technology will allow futurist musicians to “substitute for the limited variety of timbres that the orchestra possesses today the infinite variety of timbres in noises, reproduced with appropriate mechanisms.”

Russolo sees the futurist orchestra drawing its sounds from “six families of noise”:

  1. Roars, Thunderings, Explosions, Hissing roars, Bangs, Booms
  2. Whistling, Hissing, Puffing
  3. Whispers, Murmurs, Mumbling, Muttering, Gurgling
  4. Screeching, Creaking, Rustling, Buzzing, Crackling, Scraping
  5. Noises obtained by beating on metals, woods, skins, stones, pottery, etc.
  6. Voices of animals and people, Shouts, Screams, Shrieks, Wails, Hoots, Howls, Death rattles, Sobs

Russolo asserts that these are the most basic and fundamental noises, and that all other noises are only associations and combinations of these.

We recently asked Brecht Vandenbroucke to talk a bit about his work, here’s what he had to say: “I am a ginger artist currently living in Ghent (Belgium). I am 24. I make comics, paintings, drawings, zines, movies etc… I love art. I am interested in popular culture, happiness, insanity, surrealism, loneliness, death and alienation. Drawing is very lonely. But I also like fun, fun is good. I’ve been making stuff all of my life and I guess I will continue doing it until the day I die. life is too short, there is not enough time to do everything I want to and I find that sometimes a bit depressing.”
When asked what inspires and informs his work, Brecht says “Ideas pop in to my head all the time, So I write them down. I write a lot. The moment I have an idea I see the entire image in my head. But then I look for more information on the subject to avoid cliches. the right colour/car/computer/furniture/plants,/guitar, etc… Everything has to be right.  I like pulling stuff from reality into my work. I used to work with a sketchbook and make detailed compositions and sketches of everything but I found it much easier lately to paint the images immediately, and just see what comes out. It’s easy as I can erase mistakes whenever I want.
Talking about his influences, Brecht elaborates: “I like lots of artists and illustrators but I think I’ve been mostly influenced by the work of Mark Beyer, ATAK, Charlotte Solomon, Topor, Henry Darger, David Shrigley, Daisuke Ichiba and Glen Baxter. They rock. But I also love Disney and crappy comics. I love culture in all forms, I don’t see a difference between pop culture and underground culture.” (via)

We recently asked Brecht Vandenbroucke to talk a bit about his work, here’s what he had to say: “I am a ginger artist currently living in Ghent (Belgium). I am 24. I make comics, paintings, drawings, zines, movies etc… I love art. I am interested in popular culture, happiness, insanity, surrealism, loneliness, death and alienation. Drawing is very lonely. But I also like fun, fun is good. I’ve been making stuff all of my life and I guess I will continue doing it until the day I die. life is too short, there is not enough time to do everything I want to and I find that sometimes a bit depressing.”

When asked what inspires and informs his work, Brecht says “Ideas pop in to my head all the time, So I write them down. I write a lot. The moment I have an idea I see the entire image in my head. But then I look for more information on the subject to avoid cliches. the right colour/car/computer/furniture/plants,/guitar, etc… Everything has to be right.  I like pulling stuff from reality into my work. I used to work with a sketchbook and make detailed compositions and sketches of everything but I found it much easier lately to paint the images immediately, and just see what comes out. It’s easy as I can erase mistakes whenever I want.

Talking about his influences, Brecht elaborates: “I like lots of artists and illustrators but I think I’ve been mostly influenced by the work of Mark Beyer, ATAK, Charlotte Solomon, Topor, Henry Darger, David Shrigley, Daisuke Ichiba and Glen Baxter. They rock. But I also love Disney and crappy comics. I love culture in all forms, I don’t see a difference between pop culture and underground culture.” (via)