BRUXISTS - Revision history

Rabidpacifist: /* Cracked media, protest, and anti-misogyny in performance art and free-form noise */

2010-12-27T03:31:01Z

‎Cracked media, protest, and anti-misogyny in performance art and free-form noise

Rabidpacifist: /* Cracked media, protest, and anti-misogyny in performance art and free-form noise */

2010-12-27T03:27:45Z

‎Cracked media, protest, and anti-misogyny in performance art and free-form noise

Rabidpacifist: /* Recorded output and online media */

2010-12-25T22:53:56Z

‎Recorded output and online media

Rabidpacifist at 05:42, 24 December 2010

2010-12-24T05:42:14Z

Rabidpacifist: /* Cracked media, protest, and anti-misogyny in performance art and free-form noise */

2010-12-24T04:29:34Z

‎Cracked media, protest, and anti-misogyny in performance art and free-form noise

Rabidpacifist: /* Cracked media in performance art and free-form noise */

2010-12-24T04:27:04Z

‎Cracked media in performance art and free-form noise

Rabidpacifist: /* Cracked media in performance art and free-form noise */

2010-12-24T04:07:28Z

‎Cracked media in performance art and free-form noise

Rabidpacifist at 03:50, 24 December 2010

2010-12-24T03:50:21Z

Rabidpacifist at 03:43, 24 December 2010

2010-12-24T03:43:24Z

Rabidpacifist at 03:38, 24 December 2010

2010-12-24T03:38:59Z

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 Engaging in visual art, The Bruxists have been known to insert "gumball art," via tiny, acorn-shaped plastic capsules, into random candy machines in the Los Angeles area. According to one "bubblegum tract," the Bruxists' initial formation was inspired by the obscure, cross-dressing French philosopher/accountant, Geoff Prevert, and his rumored manifesto, "The Theory of Cognitive Hypocrisy." Prevert, as per said Bruxist tract, was a contemporary of Guy Debord who refused Debord's repeated invitations to join The Situationist International (SI) due, in part, to chronic toothache.
-Working with cracked media akin to that of Christian Marclay, GX Jupitter-Larsen, Oval, and Disc, Red E. Made creates "postmodern" free-form noise by way of used compact discs which are punctured with an electric drill. The discs are then played on random shuffle mode and treated with electronic effects. No samples are used. A. Pseudo, in his/her role as volunteer audience member and "primitive" drummer, is asked to wear an "honorary" traffic cone mask and beat on a metal oil drum or plastic garbage can with mallets or "dildos-cum-drumsticks."
+Working with cracked media akin to that of Christian Marclay, GX Jupitter-Larsen, Oval, and Disc, Red E. Made creates "postmodern" free-form noise by way of used compact discs which are punctured with an electric drill. The discs are then played on random shuffle mode and treated with electronic effects. A. Pseudo, in his/her role as volunteer audience member and "primitive" drummer, is asked to wear an "honorary" traffic cone mask and beat on a metal oil drum or plastic garbage can with mallets or "dildos-cum-drumsticks."
 Objecting to the misogynistic attitudes and themes commonly found in "extreme" experimental noise circles, The Bruxists support feminist performers such as Karen Finley, Ikue Mori, The Guerrilla Girls, and Metalux.

@@ Line 25: / Line 25: @@
 Engaging in visual art, The Bruxists have been known to insert "gumball art," via tiny, acorn-shaped plastic capsules, into random candy machines in the Los Angeles area. According to one "bubblegum tract," the Bruxists' initial formation was inspired by the obscure, cross-dressing French philosopher/accountant, Geoff Prevert, and his rumored manifesto, "The Theory of Cognitive Hypocrisy." Prevert, as per said Bruxist tract, was a contemporary of Guy Debord who refused Debord's repeated invitations to join The Situationist International (SI) due, in part, to chronic toothache.
-Working with cracked media akin to that of Christian Marclay, GX Jupitter-Larsen, and Markus Popp, Red E. Made creates "postmodern" free-form noise by way of used compact discs which have been punctured with an electric drill. The discs are then played on random shuffle mode and treated with electronic effects. A. Pseudo, in his/her role as volunteer audience member and "primitive" drummer, is asked to wear an "honorary" traffic cone mask and beat on a metal oil drum or plastic garbage can with "dildos-cum-drumsticks."
+Working with cracked media akin to that of Christian Marclay, GX Jupitter-Larsen, Oval, and Disc, Red E. Made creates "postmodern" free-form noise by way of used compact discs which are punctured with an electric drill. The discs are then played on random shuffle mode and treated with electronic effects. No samples are used. A. Pseudo, in his/her role as volunteer audience member and "primitive" drummer, is asked to wear an "honorary" traffic cone mask and beat on a metal oil drum or plastic garbage can with mallets or "dildos-cum-drumsticks."
 Objecting to the misogynistic attitudes and themes commonly found in "extreme" experimental noise circles, The Bruxists support feminist performers such as Karen Finley, Ikue Mori, The Guerrilla Girls, and Metalux.

@@ Line 35: / Line 35: @@
 A proposed second Bruxists record, ''No More Monster Mask Masterpieces'', was recorded circa 2007, but has yet to see an official release. The title is an apparent nod to Antonin Artaud's manifesto, "No More Masterpieces." A sole track, "Thomas Dolby's Revenge," may be found on the Bruxists' MySpace page.
-Also during 2007, a third Bruxists release was promised at a "belated" date. A literal piece of vinyl, ''Polyvinyl Chloride Soul'' was described in the Bruxists' MySpace blog as a "genuine vinyl" concept album. The release was to "consist of a section of found traffic cone roughly cut into the shape of an LP record," with the intention of "wreaking havoc on turntable needles." Red E. Made described the concept as "something of a companion piece to a certiain album by a 20th Century experimental band that everyone and their grandparents love so much." Made also admitted that he "likes to talk shit every now and again."
+Also during 2007, a third Bruxists release was promised at a "belated" date. A literal piece of vinyl, ''Polyvinyl Chloride Soul'' was described in the Bruxists' MySpace blog as a "genuine vinyl" concept album. The release was to "consist of a section of found traffic cone roughly cut into the shape of an LP record," with the intention of "wreaking havoc on turntable needles." Red E. Made described the concept as "something of a companion piece to a certain album by a 20th Century experimental band that everyone and their grandparents love so much." Made also admitted that he "likes to talk shit every now and again."
 == '''Discography''' ==

← Older revision		Revision as of 05:42, 24 December 2010
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−	[[File:Brux.3.jpg\|200px\|thumb\|right\|The Bruxists circa 2001: Red E. Made, right; A. Pseudo, left]]	+	[[File:Brux.3.jpg\|200px\|thumb\|right\|The Bruxists in Los Angeles, circa 2001: Red E. Made, right; A. Pseudo, left]]

	== '''Origin and background''' ==		== '''Origin and background''' ==

@@ Line 27: / Line 27: @@
 Working with cracked media akin to that of Christian Marclay, GX Jupitter-Larsen, and Markus Popp, Red E. Made creates "postmodern" free-form noise by way of used compact discs which have been punctured with an electric drill. The discs are then played on random shuffle mode and treated with electronic effects. A. Pseudo, in his/her role as volunteer audience member and "primitive" drummer, is asked to wear an "honorary" traffic cone mask and beat on a metal oil drum or plastic garbage can with "dildos-cum-drumsticks."
-Objecting to the misogynistic attitudes and themes commonly found in "extreme" experimental noise circles, The Bruxists champion feminist performers such as Karen Finley, Ikue Mori, The Guerrilla Girls, and Metalux.
+Objecting to the misogynistic attitudes and themes commonly found in "extreme" experimental noise circles, The Bruxists support feminist performers such as Karen Finley, Ikue Mori, The Guerrilla Girls, and Metalux.
 == '''Recorded output and online media''' ==

@@ Line 19: / Line 19: @@
 "Humanity is a failed experiment. Everything is never enough. Life is under constant construction. Bring on the aliens, who've evolved beyond the need for teeth..."
-== '''Cracked media in performance art and free-form noise''' ==
+== '''Cracked media, protest, and anti-misogyny in performance art and free-form noise''' ==
 Inspired by diverse influences ranging from John Cage and The Residents to Ernie Kovacs and Bill Hicks, The Bruxists traffic in sound-based performance art. One performance found the group lampooning the acronym of the Time Warner Inc.-owned CNN as the "Cartoon News Network," while they  protested outside the Los Angeles CNN building on Sunset Boulevard. Another date found them handing out copies of Wolf Eyes CDs on the sidewalk outside The Hollywood Bowl before a performance by The Los Angeles Philharmonic.

← Older revision		Revision as of 03:50, 24 December 2010
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−	[[File:Brux.3.jpg\|200px\|thumb\|right\|The Bruxists circa ~~2003~~: Red E. Made, right; A. Pseudo, left]]	+	[[File:Brux.3.jpg\|200px\|thumb\|right\|The Bruxists circa 2001: Red E. Made, right; A. Pseudo, left]]

	== '''Origin and background''' ==		== '''Origin and background''' ==

← Older revision		Revision as of 03:43, 24 December 2010
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−	[[File:Brux.3.jpg\|200px\|thumb\|right\|The Bruxists circa 2003; Red E. Made, right; A. Pseudo, left]]	+	[[File:Brux.3.jpg\|200px\|thumb\|right\|The Bruxists circa 2003: Red E. Made, right; A. Pseudo, left]]

	== '''Origin and background''' ==		== '''Origin and background''' ==

← Older revision		Revision as of 03:38, 24 December 2010
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		+	[[File:Brux.3.jpg\|200px\|thumb\|right\|The Bruxists circa 2003; Red E. Made, right; A. Pseudo, left]]
		+
	== '''Origin and background''' ==		== '''Origin and background''' ==