David Schafer | Times Ten Resequenced With Variable Gap and Two Second Gap

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Avant Garde: Sound Art Easy Listening: Background Music Moods: Mood: Weird
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Times Ten Resequenced With Variable Gap and Two Second Gap

by David Schafer

Ten easy listening records resequenced according to the theories of the muzak corporation and then superimposed.
Genre: Avant Garde: Sound Art
Release Date: 

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1. Times Ten Resequenced With Two Second Gap
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47:37 album only
2. Times Ten Resequenced With Variable Gap
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58:41 album only
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ABOUT THIS ALBUM


Album Notes
David Schafer is an artist who started exhibiting in the mid eighties in New York and was primarily involved in public art at the time. These projects incorporated language, signage, and architectural structures. The projects were driven by site-specific strategies for excavating and revealing buried information. They interrogated existing structures of viewing, public space, and history. His interest in structures of language and public space evolved and eventually started incorporating sound and audio components. Having, over years, amassed an extensive collection of records with an emphasis on noise and sounds experimentation, as well as a focus on easy listening, moog records, and electronic records, Schafer often mines this archive as the subject of his work. Sculptural, digital graphics, sound, and drawing based projects structurally and conceptually explore ideas about how the structures of space and sound data, controls, oppresses, stimulates, or enlivens the listening and viewing subject. Schafer has worked with voice actors and also with various degrees of superimposition that border on, or fully engage, the noise side of things. Linear narrative structure and its fragile relationship to intelligibility is an ongoing subject of interest.

http://www.davidschafer.org/

Schafer resided in New York from 1983 to 1996, then in Los Angeles where he taught at Art Center College of Design until 2006. He currently lives and works in New York.

Schafer's sound works have been exhibited at Special K, Beyond Baroque, Shoshana Wayne Gallery; in Los Angeles, The Sculpture Center in New York, Gallery 400; Chicago, DeVleeshal; Middelburg Holland. His work has also been played extensively on WFMU. He has written reviews and features for Cool and Strange Music Magazine, Exotica Etc., Paper, and Documents Journal. His sound works have been written about in: Chartsweep, The Anti-Fun Magazine of Belgium, Cabinet Magazine, Chicago Tribune.


Reviews


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The Anti-Fun Magazine of Belgium, Pierre Hemptinne

A work of collage, but almost a document, a research project, a study on a traum
A work of collage, but almost a document, a research project, a study on a traumatic section of our universal musical culture (2 copious CD for a very vast and complex matter). One could say [it is] the analysis of the repressive and coercive role of the liberal music of department store, music[s] of conditioning, forced therapies at the service of a fun vision of your situation in society.
And everything goes. By successive waves. Overlapping, interpenetrating. Impetuous waves of sublime sillinesses. Primped [looking pretty]. Layers of tap dancing. Layers of chabada. A swirl for the romantic rags [magazines]. Tons of the pathetic. A flood of orchestral vacuities. Layers of "Volare" [the song]. Layers of spaghetti westerns. Layers of jingle bells. Layers of melodies of happiness. A swirl of sound tapes for certificates of the good life and morals. Syrupy praise of quietness, of the flat social electroencephalogram. Layers of "whisper" [speak more quietly]. Layers of heroic tear jerkers.
From superposition to superposition, here is a fabulous oozing pile-up.
All of these musics of the century are the testimony of a will to contain anguish, to drive back anxiety, to contain impulses in a watched [in the sense of surveillance], policed environment. And in this accumulation carried out by David Schafer, something occurs, unforeseen. Accumulation, the reactivated memory of pressures exerted on the social by these sterilizing ditties, makes these insipidities suddenly, excessively aggressive. It is complete symbolic violence contained - applied in homeopathic amounts, to the body of the social - which suddenly breaks out all at once.
What a grand disturbance!
From the infernal orchestra pit rises the nightmare! It overflows, oozes from everywhere, formidable nausea ("Clockwork Orange" style, except that here the horror is distilled by the most asexual music[s], the least suggestive to the act - it is a whole enterprise of repression which suddenly throws up).
Impressive! Trying! Essential experiment.

David Cotner

This is a simultaneously comforting and cacophonic series of recordings a rare d
Wherein “ten easy listening records played at the same
time (either in “two-second gaps” or “variable gaps”)
that take you right up above the muzak ether.” The
design and execution of this particular curiosity are
green and impeccable. Its a bit like changing
channels on the radio, this – however, the only
stations available are the easy listening ones. This
is not necessarily a bad thing – and this would make a
fantastic installation piece. At times, the waves of
nostalgia buffet gently against ones craft,
depending on whatever pharmaceuticals one has at hand
– at other times, its as if the drug spiral drags one
down through the nightmare psycho-logical sequences
from a 1960s film where the ending is anything but
certain.

In the face of considerable – yet identifiable
cacophony – the mind picks out recognizable and
comforting snippets (usually rhythmic) with which to
console itself. Alessandro Alessandroni is the person
behind the unique whistling on the Sergio Leone
Western soundtracks. That’s the most vivid thing I
could find.

This is a simultaneously comforting and cacophonic
series of recordings a rare duality indeed.