Craig Schuftan (tapes, radio, records, keyboards, bass, some singing), Michael Rosenthal (guitar, backwards guitar, forwards guitar)
Michael Rosenthal and I started Pioneer Disposals in 2002, after we improvised a piece of night-time music for my cat (who was asleep). We worked pretty steadily over the next few years on an album of tape-loop rock called ‘Magnet’. I’ve included a few songs it here, as well as a cover of Severed Heads’ ‘Goodbye Tonsils’.
In Pioneer Disposals, my job was mostly to play tapes. I had hundreds of cassettes of noises and drones, and at gigs I’d drag along five or six cheap stereo cassette players to play them on. I had everything very carefully rehearsed, so that when the song demanded it, I would play exactly the right sound at the right time, and then quickly swap it over for the next cue. Now, I know what you’re thinking. This was 2002, right? People didn’t really have to do that stuff anymore because there was this thing called sampling. For some reason, this didn’t stop me from inventing the mellotron all over again. To streamline our performances, I built a box with morse code keys mounted on it, so I could ‘tap’ the sounds in and out at the right moments. Gradually, I refined this machine, and gave it more keys and more inputs and outputs. By the following year, it was a kind of tape-piano, with 12 keys, all housed in a little wooden briefcase.
"Could it be that we come to the city in order to achieve solitude? Such has been the unspoken premise of the modern city of utopian individualism. By solitude I do not mean isolation. Isolation is a state of nature: solitude is the work of culture. Isolation is an imposition, solitude a choice."
walkman | ipod | iphone | isolation | solitude | city | the crowd
"The whole human species, looked at from its origins, appears to the philosopher as an immense whole, which, like an individual, has its infancy and its progress … The totality of humanity, fluctuating between calm and agitation, between good times and bad, moves steadily though slowly towards a greater perfection."
Said nobody, at any time in the last one hundred years. Nowadays, our view of the future is more like the one seen from the middle ages than the Enlightenment. But from where he stood in 1750, or perhaps sat, on a chair a bit like the one pictured above, the French statesman and economist Jacques Turgot could look back on the past five centuries and see a gradual transition from primitive agrarians torturing and killing each other over superstitious nonsense, to the confident era of the Enlightenment, with its stupendous advancements in astronomy, medicine and physics.
enlightenment | progress | history | kubrick | 2001
'Thus it is well known that a child learns to walk, talk and to know his way around the world just by trying something out and seeing what happens, then modifying what he does (or thinks) in accordance with what has actually happened. In this way, he spends his first few years in a wonderfully creative way, discovering all sorts of things that are new to him, and this leads people to look back on childhood as a kind of lost paradise. As the child grows older, however, learning takes on a narrower meaning. In school, he learns by repetition to accumulate knowledge, so as to please the teacher and pass examinations. At work, he learns in a similar way, so as to make a living, or for some other utilitarian purpose, and not for the love of the action of learning itself. So his ability to see something new and original gradually dies away. And without it there is evidently no ground from which anything can grow.'
guns n roses | axl rose | daniel bohm | childhood | creativity
'That human life must be some kind of mistake is sufficiently proved by the simple observation that man is a compound of needs which are hard to satisfy; that their satisfaction achieves nothing but a painless condition in which he is given over to boredom; and that boredom is a direct proof that existence itself is valueless, for boredom is nothing more than the sensation of the emptiness of existence. For if life, in the desire for which our essence and existence consists, possessed in itself a positive value and real content, there would be no such thing as boredom: mere existence would fulfil and satisfy us. As things are, we take no pleasure in existence except when we are striving after something—in which case distance and difficulties make our goal look as if it would satisfy us (an illusion which fades when we reach it) ...'
rolling stones | arthur schopenhauer | philosophy | rock and roll | desire | boredom
'There is a sentimental rhetoric which readily waxes emotional about deserving paupers and unhappy millionaires alike, and which rails against money... These melodramatic and moral motifs are part of the everyday lives of poor people. Verbal propaganda of the rich, they make up the greater part of the average person's ideological baggage. Disguised as an indictment of money, they justify wealth by reducing it to a mere accident of the human condition...'
mo money | mo problems | lefebvre | biggie smalls | notorious BIG
'The bigots, the hysterics, the destroyers of the self - these are the writers who bear witness to the fearful polite time in which we live... Ours is an age which obsessively pursues health, and yet only believes in the reality of sickness. The truths we respect are those born of affliction. We measure truth in terms of the cost to the writer in suffering - rather than by the standard of an objective truth to which a writer's words correspond. Each of our truths must have a martyr.'