Viva 10 : Primavera 1983
NOTE : This Italian magazine was supplied with the cassette From
Science To Ritual. It contains a booklet on SPK called "From Science
To Ritual" that has a translation of The
Post-Industrial Strategy, an SPK discography and some songtexts. Seperate
from that, there are 3 sheets, one called "Graven Image".
Formed September 1978 Sydney Australia
EMS AKS - synthesisers, tapes, rhythm machines, vokals
Ne/H/iL - vokals, rhythm treatments
Danny Rumour - guitars
David Virgin - bass
Karmel E-Clastic - drums
Performed 3 times in Sydney. Video of performanceby S. Jones.
March No More/Kontakt/Germanik ep on own label Side Effects
May Factory/Retard/Slogun ep on Side Effects
Operator (EMSAKS) - tapes, synthesisers, rhythms, vokals, metal
Tone Generator - synthesisers, visuals
Wilkins - guitars, bass
Mr Clean - engineer
Performed December 1980 with Throbbing Gristle/ ACertain
Ratio in London
April 1981 with Factrix in San Francisco
March 1981 Information Overload Unit lp on Side Effects
1980 release of Mekano/ Slogun on Industrial Recds
January - June 1982
Oblivon (Operator) - tapes, rhythms, metal, synths, vokals, elektronik perkussion
Ne/H/iL - rhythms, synths
Tone Generator - video, visuals
Pinker - drums, electronik perkussion
Performed twice in Sydney Australia including an outdoor venue at an
abandoned Brick Works.
Toured USA performing II times from San Francisco to New York
May Leinchenschrei lp on Thermidore Recds
June Last Attempt At Paradise live cassette on Fresh Sounds
June - December 1982
Oblivon - all kompositions and instruments
Sinan - electronik and metal perkussion
Dominik Guerin (Tone Generator) - video, visuals
Performed October - London tour of West Germany and Italy - Berlin, Frankfurt, Rome
Videography: August Despair I hour VHS videocassette on our own label Twin Vision
SOZIALISTICHES PATIENTEN KOLLEKTIV (Heidelberg)
SURGIKAL PENIS KLINIK
SYSTEM PLANNING KORPORATION (divisione segreta di ricerca armi chimiche in USA)
SEPPUKU (suicidio rituale)
(Hanging not punishment enough).
"Every person condemned to death shall be beheaded" (French penal code 1791).
Images and sounds in SPK have laceration as a common theme. The laceration of habits of perception recall the attention above all to the true scope of this so-called civilized, nightmarish world which makes its violence and its atrocities with fine words, fine ideals, so much mdoetrination and spectacle for a standard and passive public.
The emphasis given to images and sounds (information in an environment already informatio-saturated) is necessary to force an active responce from the viewer-listener, hooked on standard conditioning.
The laceration tearing open of tissues, bodies, information: autopsies, mutilations, deformations, are like the unconscious MEMORY of the holocaust that science makes Life. Our concentration camp is the scientific and medical labratory, the hospital, therapy, the morgue, the make-up of corpses. Bodies dissected with methodical indifference.
Extreme, unfamiliar images, the obsessive repetition of which highlight not so much the "unreality" shown (the breaking down of audio-visual taboos) as much as a reflection on the mechanisms of these same places of Science and Vision.
Not emphasis and intensity for its own sake, not scandalous; it is concerned only with OBSERVATION. The scandal is elsewhere. The obsessive repetition is obsession itself. obsession with suffocating, claustrophobic, inward-looking closed spaces, in which life becomes drawn and quartered, counted. A metaphor on the essence of Science and Vision. Both of them operate surgically on the inside of objective data-like corpses. Reclusion and therapy.
The implicit minimalism of the video shots used in the immediate identification of the EYE (EYE that has interiorised techniques, means) with the object dissected as if it were dealing with the same thing, a "natural" thing.
Science and Vision are not on equal terms with the self-same forces of death.
"The veil of night that hides and envelopes truth is life; death, on the other hand, discloses in the light of day the black casket of death - dark life, light death."
"This multisensory perception is only a way of anticipating that triumph of seeing which is autopsy; the car and the hand are nothing other than provisional organs, substitutes waiting for death to give luminous presence for truth; it deals with a reference point in life; that is, in night, to point to that which would be everything in the white clearness of death." (M. Foucault)
Death is just an accumulation of corpses. Death(s) in detail, death(s) in bits. Vision is, in itself, an immense accumulation of inorganic remains, the sole remaining movement is of an anonymous camera, impersonal and wandering.
Eroticization of machines, sexual relations between corpses... The metaphors is more explicit in so much as it does without rhetorical references (for example, Nazi concentration camps) it immediately focuses the subject in a defined locus, circumscribed, scientific and representative.
And it is much more ironic in that it plays on the spectator's desire for truth and scandal. Macabre, ghostly irony: a subtle limbo between ritual and cosmetic death, a distanceless grin you cannot escape, both a mockery and a challenge which evokes the derisory figure of the prisoner condemned to death facing his executioners.
"In the end he was torn apart. This last operation took a long time, because the horses were not used to pulling; so that we were obliged to use six horses instead of four; and still not being enough, in order to dismember the unfortunate, we had to chop at his nerves and joints with an axe." (The Damiens Trial, Amsterdam Gazetxe, 1.4.1757)
Sandro Bergamo, 8.1.1983 (translated from the Italian by Mari Warner).
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