Primer

NOTES: Primer came with the cassette The Last Attempt At Paradise



FRESH SOUNDS INC proudly announces the release of SPK LIVE IN LAWRENCE, "The Last Attempt At Paradise.' 

While striving to bring regional music to world exposure FRESH also strongly feels responsible to not overlook area performances which have been overlooked by others. 
SPK are beginning to receive their just attention. They have continued on paving new paths with little regard for their acceptence. At last count 11 different members have been associated with the group. 
As summer ended in the Southern Hemisphere they played two memorable shows in Australia - first at an abandoned brick works factory which led to a show at a trendy nightclub, where their sound consistantly shattered the glasses on the shelves. 

SPK DISCOGRAPHY 

SPK - THE LAST ATTEMPT AT PARADISE : 
LIVE IN LAWRENCE, FRESH SOUNDS INC. 
FRESH TAPE 103 (USA) 

SPK - LEICHENSCHREI (2nd LP) 
THERMIDOR T9 (USA) 

SYSTEM PLANNING KORPORATION - INFORMATION OVERLOAD UNIT (1st LP) 
SIDE EFFECTS RECORDS (AUSTRALIA) 

SURGICAL PENIS KLINIK - MEAT PROCESSING SECTION 45 : MEKANO / SLOGUN 
INDUSTRIAL RECORDS (ENGLAND) 

SPK - MEAT PROCESSING SECTION 45 W/ ONE MORE CUT 
SIDE EFFECTS RECORDS (AUSTRALIA) 

SPK - NO MORE / CONTACT / GERMANS EP 
SIDE EFFECTS RECORDS (AUSTRALIA)


STRETCHING THE LIMIT . . . . 

Fakers fade as SPK outrages new wave rave 

by DOUG HITCHCOCK 
J-W Staff Writer 

A prerecorded cassette of manic, swirling, synthesized white noises blasted over the speaker system, punctuated by bass thumps and primal drum rhythms, and Leichenschrei, the screams of the dead. 
A tall, angular man in military garb stud amid the maelstorm, screaming Gregorian chants and beating a bass guitar designed for Star Wars. 
The sound rumbled out over the speakers, echoing dizzying waves, low notes vibrating internal organs. Films and slides from mortuaries and medical school anatomy laboratories were shown on the wall behind the stage. 
In one of six "assaults" on America the experimental music group SPK zeroed in Off the Wall Hall, 737 N.H., after playing Los Angeles and Phoenix. 
The band scheduled the Lawrence concert after making personal contacts in town. On their tour, which ends in Boston next month, they are staying with friends, travelling in a Ford van, and living basially hand-to-mouth, they said. 

USING ELECTRONIC gadgetry, tape machines, a bass guitar, and, for percussion, a pair of automobile coil springs, drums and syndrus -- electronic drums with an endless range of effects -- the band produced an otherwordly wall of sound. It could have been Kurtz' soundtrack from the Heart of Darkness. 
Some were viably shaken, shuddering at what they had seen and heard during the hour-and-a-half show, which combined the diaconcerting music and simularly natured visuals. 
Others, however, seemd to have found what one band called "the dark humor." and a metaphorical, though macabre, message about some of the demons that haunt modern life. 
Real 'orror show. 
We're now entering a "new dark age." Oblivion, one of the founding members of SPK, said in an interview before the band's performance. And SPK, which Oblivion said originated in New Zealand, tries to depict their view of society's regression -- the consequences of it, and the accompanying emotions. 
THE HELLISH aspects of mental disease, along with the more grotesque "rituals" of modern medicine, like austopsies, and the degradation of pornography, provide a comment on the state of life for "your normal, everyday depressed person." Oblivion said. 
SPK's music undoubltedly stretches the definition of the term, whether for good or bad. 
The band doesn't claim to entertain. Some of the people who came to the show, perhaps expecting just another banal, guitar-based group of punkolds, left after the first few minutes of the show, wearing looks of disgust and uncertainty. 
SPK's music and viusal step beyond mere allenation -- which seems to be the fodder for most punk or new wave thrashers -- to the edges, indeed, beyond the boundaries of what is considered sane, normal, or socially acceptable. 
Oblivion said the band tries to "raise awareness" of the ravages of mental disease -- the self mutilation, pshysical decay and the occasional artistic outpourings which he he says he and and other band members have spent many hours researching. 
"Like (author William S.) Burroughs said, 'There are a few morons among us who stand out only becasue the rest are worse,'" he said. 
THE BAND has its reasons for focusing on the mind -- it is the only source for change, Oblivion said. 
"The mind is the center of all revolutionary activity, so I think ultimately that's where it all comes down to," he said. "You are not really repressed by the state apperatus to the same extent you are repressed by yourself, your own inability . . . your own desire to consent to conform." 
The point is to "shock people out of their complacency," Oblivion said. 
He rapidly illustrated the ban'd methods by describing a scene in the life of L.P. Paviov, the Russian psychologist who spent years in the early 20th Century studying dogs' behavior, researching and confirming the existence of the condition response. 
Pavlov had several dogs conditioned to respond on command -- specifically, to salivate at the sound of a bell -- until the room they were kept in flooded, Oblvion said. The conditioning had disappeared after the event because of the shock, he said. 
Oblivion and a friend, Nihilist, decided to start a musial organization as a means to leave a government mental hospital in New Zealand. Oblivion was an aid, Nihilist was committed for schizophrenia. 
Oblivion's job was to train patients how to perform various mental tasks on a daily basis. 

"THESE GUYS had no memory span of more than five minutes," he said. "And you had to retrain them every five minutes. For three months, three hours a day, it just drove you insane." 
"It came down to the point where we either had to be terrorists or musicians," Oblivion said. "Not that we really call ourselves musicians," Oblvion said. "Not that we really call ourselves musicians." 
Nihilist eventually commited suicide. The band added members and reformed with four members , Jack on drums, Karl on tape recorders and sound, Oblivion on bass, coil spring, violin and vocals, and Tone Generator in control of the visuals. 
SPK had recorded its second record on the Side Effect records, its own lable. Three more discs are due to follow, as well as a movie entitled, "L'Etat Haemophiliaque (Internal Bleeding)." band members said. 


Walker Art Center 
Performing Arts 

SPK is a controversial group of musical subversives who use synthesizers, noise tone generators, and other high-tech devices to produce a complex music that assaults existing aesthetic categories and preconditioned responses. Among the very few geninely futurist groups, SPK uses a highly scientific approach, going beyond the technological pop romanticism of bands such as Devo or Kraftwerk. Though American appearences by the Australian SPK have been exceedingly rare, their San Francisco show last year inspired William S. Burroughs to call them his favourite band. SPK's album, Information Overload Unit, appeared on the Side Effects label.


SPK -  DOKUMENT 1. 

Thank you for your interest. This is the first in a series of Dokuments, with the intention of providing a visual interpretation of SPK to accompany standard aural output. This particular Dokument is expressly intended for use with the first LP by SPK, Information Overload Unit. 
Details - Personnel; 
Operator - synthesizers, rhythms, treatments, vocals. 
Wilkins - guitars, bass, tapes, vocals. 
Mr.Clean - technician. 
Tone Generator - synthesizers, treatments. 
Details - Content; 
Face Ultra - Emanation Machine R.Gie 1916. Suture Obsession. Macht Schrecken. Berufsverbot. 
Face Hyper - Ground Zero:Infinity Dose. Stammheim Torturkammer. Retard. Epilept:Convulse. Kaltbruchig Acideath. 

The project ideal is to express the content of various psycho-pathological conditions, especially shizophrenia, manic - depressive psychosis, mental retardation and paranoia. Information Overload supersedes normal, rational thought structures, forcing deviation inot less restrictive mental procedures of so-called 'mental illness'. SPK is trying to be a voice for those individuals condemned to the slow decay of mental hospitals and chemical / electro / surgical therapy, without fetishising them into blatant entertainment product. 'SONICS FOR MANICS' aims to be a vehicle for sharing mental experience through sound. 

Owing to the instability of personalities associated with SPK output is likely to be irregular, as it has been up to now. 

We would like to hear from anyone interested in what we are doing, especially those with interest in, or history of, pshycotic disorder. We will reply personally to all correspondence. Our name and material will vary with each project, but once established, you will have no difficulty in maintaining contact.


STRESS REDUCTION TRAINING.

At the Neuropsychiactric Lab, in San Diego the men are shown a series of films which become steadily more horrific. The trainee is ofrece to watch by having his head clamped so he cannot turn away, and by the use of a device which keeps his eyelids open. One of the first films shows an African youth being circumcised with a blunt knife and without anaesthetic. When the film is over, the trainee is asked questions like "What was the motif on the knife handle?" or, "How many people were holding the youth down?". 
It appears this technique was particulary employed towards the end of 1973, at the time of the Yom Kippur war. So, far from using research to prevent atrocities occuring in the future, it appears that atrocities are being studied to learn more about killing, and to train people to be better at it. 

A technique used to exploit the need to comply is to spend hours asking and shouting questions to which the priosoner cannot possibly know the answer - details of atomci weaponry etc. Many ex-prisoners spoke of the "...tremendous feeling of relief you get when he finally asks you something you can answer." 

The Russians were reported to have used succiny chlorine on Israeli prisoners in Syra, 1973. The drug, administred by injection, causes convulsive muscular spasms, leaving the victim totally paralised, in agonising pain, unable to breathe properly, but concious. The victim himself dying for lack of oxygen, although the effict is transitory, but there is then the threat of a repeat experience.


Operation Black Eye is a good example of psychological threat manipulation. Selected South Vietnam operators were organized into terror squads, trained to infiltrate villages. As a result, Viet Cong leaders started dying in their beds. On each of the bodies was a piece of paper printed with a grotesque human eye, which came to represent a threat. Next, 50,000 ofthe eyes were printed by the USA and started appearing pinned to people's homes. Now the eye took a more potent form because it was an uncertain threat.

TORTURKAMMER 

Following the apperance of the Baader-Meinhof group, the Germans developed long-term solitary confinement units known as Tot Trakt (Silent Floor) in which all walls and furniture were painted harsh white, the lights were permanently on, and the windows were dark and extremely difficult to see through. This system led to Holger Meinz starving himself to death and to Meinhof's suicide by hanging in May 1976.


primer8-9.jpg (25740 bytes)


NEWS FLASH:NEWS FLASH:NEWS FLASH:NEWS FLASH:NEWS FLA 

ALL THE WAY WITH S.P.K. 

AMERICAN TOUR: 

SAN FRANCISCO: 17/4/82; 
PLAYED WITH THREE LOCAL GROUPS; USING FLAME THROWER, ACCIDENTALLY IGNITED ONE OF THE AUDENCE, FORTUNATLY THEY WERE JUST AS QUICKLYPUT OUT. AUDIENCE RESPONSE GOOD . . . 

LOS ANGELES: 24/4 
PLAYED AT 'AL'S BAR' WITH LOCAL OUTFIT NERVOUS GENDER, EXCELLENT SETUP AND SHOW, WELL RECEIVED. 

PHOENIX, ARIZONA: 25/4 
PLAYED AT SALTY DOG CLUB, ANOTHER GOOD SHOW TO SMALL CROWD. PUNK REVIVAL VISITORS FROM L.A. TOOK EXCEPTION TO THE PERFORMANCE AND COMMENCED TO ATTACK WITH CHAINS AND OTHER WEAPONS. FORTUNATLY ONLY MINOR INJURIES WERE SUSTAINED. 

LAWRENCE, KANSAS: 28/4 
PLAYED AT "OFF THE WALL HALL" BEST PERFORMANCE TO DATE. FLATTENED ENTHUSIASTIC AUDIENCE WITH MASSIVE P.A. AMPLIFICATION OF FX BASS REGENERATION. 
LIVE RECORDING RELEASED ON FRESHSOUNDS BOX 36, LAWRENCE KANSAS, 
MIXDOWN FROM 4TRACK TO CASSETTE 66044


MINNEAPOLIS, MINNESOTA: 1/5 
PLAYED AT THE WALKER ART CENTER, PROJECTED VIDEO FILM NECROPHILLIAQUE ON 20FT SCREEN. CREATED AN ATMOSPHERE OF FEAR TO AN AUDIENCE OF WHICH SOME WERE WHITE COLLAR AND MIDDLE AGE COUPLES. 

MINNEAPOLIS, MINNESOTA: 2/5 
AS A RESULT OF THE ABOVE SHOW INVITED TO PLAY "SAM'S DISCO." AUDIENCE OF AROUND 150 COVERED LOCAL MODELS WITH PIECES OF BRAIN AND FLESH. 

CHICAGO, ILLINOIS: 6/5 
AT CLUB COD, AUDIENCE AROUND 150 BUT BY ALL REPORTS THEY CONSISTENTLY OUTSELL THE BIRTHDAY PARTY ON THEIR RECENT TOUR. 

BOSTON, MASSACHUSETTS 16/5 
PLAYED AT MAVERICS, SOUND SYSTEM BLEW UP AFTER THREE SONGS SO SHOW HAD HEAVY VISUAL ATTENTION, SOME TROUBLE SIMILAR TO PHOENIX. 

NEW YORK: 1/6 
PLAYED AT THE PYRAMID CLUB, DNA DATE CANCELLED AS BAND BROKE UP. 

NEW YORK: 7/6 
PLAYED AT CBGB, BEST NY SHOW. USED PIG HEAD AND BACK SCREEN PROJECTION. 

NEW YORK: 13/6 
PLAYED AT DANCETERIA WITH SOME NEW MATERIAL DONE IN N.Y. GREAT RESPONSE. 

DEPARTED USA 15/6 FOR LONDON 
PLANNING ON A EUROPEAN TOUR IN JULY. POSSIBLE RETURN TO NEW YORK IN FALL. 


Sunday, June 13:

SURGICAL PENIS KLINIK. Probing the alternative imagination and the depths of unconscious, SPK create metaphorically macabre music that exposes the demons of modern life like a raw nerve. Using electronic gadgetry, tape machines, bass guitar, automobile coil springs, and lots of metal, they produce an otherwordly wall of sound. From Australia, the group was formed in 1978 and released their first record on Throbbing Gristle's label, Industrial Records. Their second album just out on S.F.'s Thermador, assaults the senses with screaming Gregorian-chant vocals and low notes that vibrate the internal organs. The performance includes film and slides in a similar vein as the music. "The hardest, most uncompromising edge of the New Wave. . . their originality and intensity of instrumentation sets them apart from others in the 'experimental' heap" (New Musical Express). Not for the feint of heart, but NOT TO BE MISSED. 

L.A. Reader

But dispite my misgivings about both the attitudes and the music these furtive little sluggards make, occasionally I hear something that isn't instantly dismissable -and that's the case with SPK, I'm surprised to say SPK is yet another noxious ensemble obessed with medical-textbook photos of decaying flesh, solemn to the point of rigor mortis, and seemingly even more mired pathology than their chums in Throbbing Gristle. But SPK -- which sometimes stands for Surgical Penis Klinik -- occasionally commits some intriguing noises to vinyl, and while their "Mekano" b/w "Slogun" (Industrial import single) was a bore, the new LP, Leichenschrei (roughly translated, "scream of the dead"), on Berkeley-based Thermidor Records, is the best record in this coprophiliac genre that I've endured. What sets Leichenschrei apart are it's variety of effects, which range from dub-influenced ping-pong percussion to to natural sounds to tape loops, all of which are displayed and faded with enough speed to keep the tedium at a minimum. Obviously this isn't a blanket recommendation, even to liberal, open-minded Reader readers, but if you salivate at the sight of Slug Bait, this may be the platter for you. 
SPK hatch up their schemes in Australia, and they've played America only once -- in San Francisco last summre. But they're back again for a cross-country tour, and they'll play Al's Bar this Saturday, one show only, with Nervous Gender as the opening act. I suggest earplugs as an essential fashion accourtrement --the volume levels at Al's are painful enough with mundane rock 'n' roll, and this kind of thing could be damaging. 
Aw, go on I dare ya. 


SPK DOKUMENT  II   The second in the series to update on progress and projekts. We have begun working on the second album: LEICHENSCHREI, due for release from the US in May, 82. This will be the final product, as we originally intended. However, there will be a movement into video and film, beginning with L'Etat Haemophiliaque (Intemal Bleeding) which is in progress and will have its first screening in Australia later this year. SPK will then specialise in soundtrack, a medium we have always had a strong sympathy with.     In response to the considerable interest shown in our projekt so far, we have decided to devote a Dokument to an explanation of some of the areas of research into sound and visuals which we have used. Subliminal content in lyrics and voice tapes occupies much of our attention. However it requires feedback from others in order to evaluate their effectiveness. That is why we always encourage personal correspondence, even though various members of the group prefer to remain anonymous (as far as possible). In addition, we try to provide some interesting information on experiments into mental phenomena, and to dispel some of the boring myths about infra/ultra-sonics.     We have often been asked the reason for apparently limiting ourselves to the mental sphere. The answer is that we feel the need to intensify interest in the SPECIFIC locus of consent to be repressed in the individual. We therefore claim to be "political," but not in the accepted sense of the term. In 1982 SPK will abandon its earlier practice of limited publik appearances, with scheduled live assaults in Japan, Europe and Amerika.   SOUNDS OF EMOTIONAL DISTURBANCE There exist dynamic mechanisms whereby the emotionally disturbed person produces a specific acoustic impact on the listener. 
Acoustic patterns are subject not only to the physiological laws governing respiration and phonation, but also to social rules regarding acoustic expression of emotion. Experiments by Peter Ostwald in 1960 resulted in objectification of some patterns into four categories: 1. Hysterical/excited subjects produced a 'sharp' voice with acoustic doubling in the mid-range, identical to children's voices. 2. Depresse`Vobsessional people show persistent fixing of one fundamental tone, and a midrange pattern smeared out in a 'flat' way across the spectrum.  3. Organically ill/emotionally drained subjects have characteristically 'hollow' voices with just a single concentration of sound energy at the low end of the spectrum. There is steady dropping off of energy in the mid-range and wasting away in the upper region, responsible for unintelligibility.  4. A 'robust' voice was characteristic of those who felt the need to be heard, to impress and influence others. This was most often displayed by epileptic personalities, and by hypomaniacs and some neurotic subjects.     But what effects do such impact patterns have on the auditory system of the listener? The intake structure of the human ear favors the mid-range of the acoustic spectrum. Sounds there produce a much stronger impact than equally intense insonation at the upper and lower extremes. Hence the reason that the human scream is concentrated over that area. Acoustic records of psychiatric patients reveals certain peaks along the frequency-intensity spectrum more recurrent and prominent than others. When subjected to stress situations, ordinary subjects exhibit a gain in acoustic intensity at 125Hz and 500Hz. It is more complicated with psychiatric patients, but the measure of total loudness is significant also at 500Hz. In addition these observations were taken before and after various standard types of treatment, the results showing that there was a significant increase in loudness after electroconvulsive therapy and a decrease after drug treatment.     It is of interest that the 500HZ band is the most significant, since it is here that the neonatal infant emits the first cry. The experiments also showed there was little difference between patterns of the two sexes, indicating that sounds of acutely disturbed patients stem from some primitive, pregenital response pattern.     SUBLIMINALS AND UNCONSCIOUS The unconscious provides frames through which consciously perceived data is interpreted and evaluated. The task of art, music, literature, psychoanalysis and advertising, is to penetrate and manipulate these structures. The effectiveness of any of these fields has very little to do with conscious perception.  The most blatant use of subliminals is of course found in advertising, but in art is goes a lot further back. The most usual technique is EMBEDDING of words or pictures in the ground of the advertisement, behind the figure (or obvious focal point). This technique was a favorite with 18th Century artists, and must later Dali, Escher etc. A subliminal imprint of the word SEX can even be found in a Rembrandt. This is the most common of a vocabulary of eight words (including CUNT, FUCK and DEATH) which are very frequently embedded in advertising copy. The word is either painted on a photoengraving plate with asphaltum and briefly immersed in acid, or lightly airbrushed into a photograph in hair, folds of clothing, etc., or written onto a transparent overlay, photographed alone at about 1/2,000 of a second, then double exposed at the art layout at around 1/100 of a second. The zenith of obscenity was reached in the daily newspaper photograph of Vietnam atrocities, which often had an extraordinary mosaic of SEX's scrawled subliminally over them (see photo) [TIME March 1971]. To sell war better? To make it more palatable? More erotic? The other technique used very often is incorporating ANAMORPHIC images into the copy. This is high distortion, often grotesque, and only at times consciously distinguishable. One of the earliest examples in art is Holbein's anamorphic skull in the Ambassadors (1533). Frequently this method of triggering unconscious response in advertising involves strange and distorted shadows in the ground.     Television and film have incorporated subliminals for a long time. They are presumed banned from television but are often so subtle that they escape censorship. A fairly recent example in film was the apparently innocuous Exorcise where the whole

range of techniques was used, including death-mask embeds of two frames at 1/48 of a second. This was consciously visible to about 1/3 of the audience, and another 1/3 was vaguely aware of it upon questioning. But the group on whom the film showed most emotional impact were those who had not noticed it at all, i.e. those who had consciously repressed the images. 
Soundtracks are also especially important in management and control of movie audiences. Hitchcock ranked sound as more vital to the success of his suspense movies than his visual illusions.     It is often claimed that subliminal material does not really affect the subject. In fact it is true that the subtlety is difficult to specify in simple cause-effect terminology. But it can be shown that there is something going on in the unconscious by watching EEG and galvanic skin response meters, and retinascopes which measure the compulsive expansion/contraction of the retina, plus Mackworth camera which tracks the ultra-fast movements of the fovea across any scene. In addition the Poetzle Effect whereby people exposed to subliminal ads reveal their effectiveness much later by unconsciously choosing that brand out of a wide range, is statistically verified. Experiments with fovea cameras have shown that the fovea moves in a saccade from point to point in response to symbolizing content. Symbols involving death will pull the eye irresistibly towards a specific locus, and even sex has to run second in Westem culture in almost 100% of cases. Design elements - lines of movement or attention - also are vital in directing the fovea. Meaning is derived from the sequence of microsecond stops compulsively made by the fovea in its saccades. Change the sequence and the meaning changes, even though the frame content remains the same.     BEHAVIOR CHANGES PRODUCED BY ACOUSTIC STIMULI. Systematic manipulation of the acoustic environment can and has been used as a primary technique for influencing human behavior. High intensity noise was used in the cells of the prison at Sta'T~nheim in West Germany where the Baader-Meinhof were imprisoned. The constant inability to hear the sounds of their own bodies and the unceasing stress caused must have been a major factor in their suicides. The intensity level is the most important feature. Noise above 130 dB leads to loss of space orientation, above 140 and the subject feels nauseous and may vomit. At 145 dB the stretch receptors of muscles, joints and tendons are affected and the movement of limbs becomes disorganized. And at 150 dB the skin receptors are activated producing heat pain. But in addition to stress, there is the annoyance factor. To speak intelligibly in noise requires 18 dB more volume than the noise signal, and the listener must also work harder. Feedback mechanisms are interfered with when one can't hear one's own sounds, leading to speech retardation, blocking, slurring and repetition. In addition the nomlal speech rhythm and intonation patterns are lost and subjects produce strange noises. They also laugh aggressively and erotically, and most significantly reveal information they would otherwise have never divulged. This pattern is most notable in acute paranoid schizophrenics where aggressive behavior and panic reactions involving hyperparanoia can be induced. Finally one can consciously or unconsciously attribute meaning to noise because it frustrates the habitual listener demand for precise environmental clues. Noise had the capacity to suggest various imaginary and autistic interpretations which may disturb. Human body sounds are also the subject of investigation as to their effects on listeners. Respiratory sounds have been found to have a hypnotic effect when amplified and resumed to the ears of the breather and others. Panting produces anxiety and wheezing seems to stimulate paternal/maternal "instincts."     found that behavior and development of babies can be sped up by exposure to taped heart beats. Those in the experimental group exhibited increase in weight, greater depth and regularity of respiration, less restlessness and crying, and fewer gastro-intestinal problems. An intimate relationship between the sound of urination and human auditory responsivity has often been noted (first by Van der Heide 1941), but the study was never completed. It is possible that the foetal development of the urogenital tract and the ear are related in some way. Tests carried out by psychologists in the auditory field show much the same unconcious processes operating as for visuals. It is fairly easy to see that sublimal stimuli presented at intensity just below that necessary to hear them properly will trigger off psychic responses. But a stimulus influences not only output behavious, but also input, because the meaing of the word contributes to its audibility. Sex words presented 5db below threshold to anorexics, for exapmple, let to signigicantly more food responses that neutral or conscious stimuli. It is important however to adopt an attitude to sublimal techniquse, as to most technology, that it is not, in itself, a grat evil. The problem is that we are being manipulated without our knowledge for purely commercial or reputational gain by corporations or artists interested in pantentialting specific responses. In both cases the subject has no choice in the matter. However, it is possible to use the idea in another way. The educational potential of sublimals is enourmous, since it is experimentally shown that thresholds for learning are much lower at the unconscious than the conscious level, where distraction, anxiety, tension and fear control the thresholds. In film and sound production it is possible to include sublimals which can potentiate free associations in the

unconscious, rather than dictating any specific response to it and denying it any choice or participation in the process.     INFRA / ULTRA SOUND. Sound sources at frequencies outside the nomlal limits of human auditory response are the subject of much popular mythology. First research in depth by the US Military in the 50s, they are now used primarily in warfare and medical applications. SPK has been using certain kinds of low and high frequency generators: for some time in live assaults. Here we present some facts about such signals.  Infrasound, or frequencies below 20 Hz, is commonly the byproduct of transport, air heating/cooling systems, compressors, transfommers, and vibration/acceleration phenomena. But in order to experimentally generate these frequencies at adequate levels for hearing (or rather for experiencing), requires immense power and large and specialized equipment (e.g. piston-driven speakers). The loudness factor necessary is in excess even of the loudest aero-turbine at some frequencies. However, once generated, annoyance thresholds increase very fast as we take the oscillator or noise generator down through 
the range. Once the tactile sensations become evident there is a dramatic leap in the response curve (i.e. below 10 Hz). At 20 Hz it requires 85.2 dB for the signal to be perceived, rising to 92.1 dB at 15 Hz, 99.5 at 10 Hz, 111.1 at 5 Hz, and a massive 121.4 dB at 2 Hz. The following subjective responses were experimentally gained by subjecting test subjects to whole-body fields. 2 - 5 Hz (137 dB) - difficulty in speaking/voice modulation, chest wall vibration, swaying sensations, lethargy, drowsiness, headaches and fatigue. 5 - 15 Hz - middle ear pain, difficulty speaking/voice modulation, severe chest wall vibration, severe abdomen vibration and nausea, falling sensation, lack of concentration/drowsiness, severe fatigue/headache. 15 - 20 Hz - severe middle-ear pain, respiratory difficulty, severe chest wall vibration, gagging sensations, spasm of uncontrollable coughing, nasal cavity vibration, persistent eye watering, fear symptoms (including excessive perspiration/shivering), severe fatigue/headaches. In two cases (both female) cuntaeous flushing. Yet perhaps most interesting of all is that in no case did any of the subjects request that the experiment be discontinued, though several were unwilling to submit to a repetition. In fact if the same volume of sound is fed to experimental subjects at frequencies above theinfrasonic region (e.g. from 50 -100 Hz) the above symptoms are seen to be far more acute, and at lower volumes. At the other end of the spectrum, it is necessary to have more specialized equipment for generating signals in the megahertz range. But the effects are severe and applied in sophisticated weapons technology.  Ultrasound works by raising the temperature of living tissue, the main parameter being DURATION of exposure rather than variation in frequency or intensity of the source. The threshold temperature is inversely related to the logarithm of duration, for irreversible damage to the mammalian central nervous system it is sufficient to generate a signal of 2.7 MHz pulsing 10 - 200 microseconds sustainer for anywhere between 0 1 - 180 microseconds, giving a temperature rise of 42c. Specific effects from experiments at similar levels Neurological/Behavioral - altered BEG, altered emotional behavior, delayed neuromotor reflex, development in foetus. Genetic - decreased incorporation of nucleic acid, precursors, chromosomal aberrations, DNA strand degradation. Foetal Development - mutations, postpartum mortality, reduced weight, altered emotional behavior. Hematological/Vascular- decreased clotting time, haemorrhage, blood stasis. Immunal System - depressed response in general, spenomegaly.     ART BRUT Art Brut is the name given to the collection of paintings, sculptures, drawings, and writings by patients in mental asylums of France, or by people found living  in total obscurity producing works producing works of art obsessionally. It is housed in a small museum in Laussane, Switzerland and periodically is shown at obscure venues around Europe. The quality of the work is screened (for better or worse) with a view to retaining only that which seems entirely original. The result is a living array of undecipherable calligraphiks, primitivist figures, unreadable muzik, and obsessive designs as well as a vast array of curious paintings of style found nowhere in "art history". Some of the more interesting people are Adolf Wolfi, who aged 25 molested young girls, was given 2 years jail, and later, a similar offense led him to be interned at Waldau. He was conceptionally violent and spent 20 years in solitary confinement. In 1899 he began to write, design, and compose musik, working feverlishly day and night. His muzikal works are not able to be interpretated in the ordinary way, appearing to be for vusual effect and incorporating strange collages. Heinrich Anton Muller began in 1917 to design and cover the walls of his room iwh symbolic images. He also made funcionless machines, this work occupying him for 12 years. Then in 1925 he suddenly began again and produced a completely different set of designs. Robert Gie was hospitalised for 14 years as alcoholic, until 1922, where he suffered from delusions of paranoid variety. Most of his work was done around 1916, and its complex linkages between man and machine figuring control of mental process, is far in advance of such ideas in mainstream art.     xywoleh vay barec het vay yomar ha elohe elohim ascher tywohe hythale chuabotay lep ha nawabra hanveys ha hakla elohim haro he otymeo dy addhayon hazze hamalech hago (SOLOMON'S KEY) Lyrics from SPK's forthcoming LP. reprint from SPK DOKUMENT II

SPK  Primer is designed to accompany FRESH TAPE 103. Proof photos courtesy Richard Schneider. 
All photos from the Lawrence performance. All information has been reprinted. Press clips courtesy Lawrence Journal-World, Average Normal, LA Reader and Walker Arts Center. Tour news courtesy SPK Appreciation Society in Sidney. Portions of Dokument I and condensed Dokument II courtesy SPK. Special thanks to all involved.  --Bill Rich, Special Project Director, Fresh Sounds Inc., P.O. Box 36, Lawrence, KS 66044, USA.