FFR 20

FFR20

ISSN: 1929-7238

©2016 Now, for the nonce, and nevermore, Fowl Feathered Review is purportedly the disorderly quarterly published by Fowlpox
Press.

This issue is dedicated to the memory of Camille Claudel (8 December 1864 – 19 October 1943) and Vali Myers (2 August
1930 – 12 February 2003)

Cover: The Power of Myself by Jirawat Plekhongthu. You can see more of his amazing work and purchase here:
http://bit.ly/2fVdxtZ Mr.Plekhongthu has generously donated this photo for our use so that readers will feel encouraged to make donations to
the FFAC Foundation in Bangkok, Thailand. Children in need will benefit. Their website may be seen here: http://www.ffac-foundation.org/

Guest DJ: BJ Rubin, host of the BJ Rubin Show, which airs on Manhattan Neighborhood Network every other Thursday at 4pm,
and on Brooklyn Public Network the first Thursday of the month at 2pm. You can catch past episodes here:
http://www.pukekos.org/

kissing the stitches:
5 poems by ayaz daryl nielsen

1.
and I’ve fantasized I’m the
leader of an outlaw gang
we never get older and
never get saddle sores nor
toothaches nor bullet holes
nor fall off horses
hangovers are unheard of
and we’re the best ever
romancing night-time ladies
and holding up banks
that don’t exist.

2.
evening path into the country

an owl hooting in a maple
apple and cherry trees in bloom
monarch butterflies on milkweed
a murmur from wild geese
grazing on these stilled fields
the squat pines in the swamp
holding up a flock of blackbirds
a brown squirrel watches quietly
from the limb his nest rests upon
today’s journal entry written full
and sometimes my life opens
its eyes a little bit more

3.
in our unkempt garage
a wasp humming as
she builds her nest
and I without a
word of reply
it seems we’re both
just fine
with everything
just the way it is

4.
grandfather’s stetson
upon the closet shelf
a firm presence

5.

middle of the night

a thoughtful, radiant wife

what might you say now

years so quickly passing by

in this festival of us

ayaz daryl nielsen was born in Valentine, Nebraska, attended schools in Minnesota, Wisconsin, and Monterrey, Mexico, has lived in
Bonn, Germany and now lives in Longmont, Colorado with beloved wife Judith. A veteran, former hospice nurse, ex-roughneck (as on oil
rigs), he has been editor of the print publication bear creek haiku for 25+ years and over 135 issues. ayaz can be found online at bear
creek haiku - poetry, poems and info. His poetry, published worldwide, includes senryu chosen in 2010 and 2012 as "best of year" by
the Irish Haiku Association, the chapbook ‘window left open’ from Prolific Press, and, with other deeply appreciated honors, he is
especially delighted by the depth and quality of poets worldwide whose poems have found homes in bear creek haiku’s print and online
presence.

Art by Ted Mineo from his website, http://tedmineo.com/

2 poems by Natalie Crick
Dead Bird

A bird’s darkened bones
Nestle in a crown of velvet moss

To decay with talent.
Floating feathers

Are arabesque
In shafts of sunlight.

Slowing
Touching

In the spring blizzard of warm wind
With soft pirouettes.

Silk

The houses are frozen,
Caked with white ice

In the eternal half-light
Of a full moon Winter night,

The wind a piercing star; it tumbles
And glances leaves across the lawn.

The light shines through.

We let in only as much

As we can bear.

The first moment your skin touched mine
After a hard rain

Your lips had the sheen
Of silk.

Grace never kisses
The darkness or the empty place.

Shadow eats up every thought
Of imperfection.

Natalie Crick, from Newcastle in the UK, has found delight in writing all of her life and first began writing when she was a very
young girl. She graduated from Newcastle University with a degree in English Literature and plan to pursue an MA at Newcastle
this year. Her poetry has been published or is forthcoming in a range of journals and magazines including The Lake, Ink Sweat
and Tears, Poetry Pacific, Interpreters House and Jet Fuel Review. Her work also features or is forthcoming in a number of
anthologies, including Lehigh Valley Vanguard Collections 13. This year her poem, 'Sunday School' was nominated for the
Pushcart Prize.



Ultimate Care II is the new album from cycle splashes, metallic clanks and processing too. In its starkest passage,
renowned conceptual electronics duo electronic beeps are parsed into an we hear the rinse cycle of the machine
Matmos (Drew Daniel and M.C. Schmidt). eclectic syntax of diverse musical genres. run uninterruptedly for four minutes as a
Recorded in the basement studio of their The result is a suite of rhythmic, melodic slow filter sweep combs across the
home in Baltimore, the album is and drone-based compositions that oceanic frequency range. The result is a
constructed entirely out of the sounds morph dramatically, but remain kind of “Environments” LP that never
generated by a Whirlpool Ultimate Care fanatically centered upon their single, was: the Psychologically Ultimate
II model washing machine. Like its original sound source. Washing Machine. It’s a gesture that’s
namesake, the album runs across its likely to infuriate some people and
variations as a single, continuous thirty Like their promiscuous DJ sets, the tantalize others. Is this the conceptualist
eight minute experience that starts with palette of genres in play reveals emperor’s new clothes, a wistful
the grinding turn of the wash size Matmos’ hybrid musical DNA: domestic reverie, a parody of recent
selection wheel, and ends with the alert Industrial music, vogue beats, gabber, moves in “object oriented” philosophy,
noise that signals that the wash is done. Miami bass, free jazz, house, krautrock, a feminist point about alienated
Between these audio-verité book-ends, drone, musique-concrete, and new age domestic labor, an elegy to a
we experience an exploded view of the music all churn up to the surface and are discontinued model that stands in for
machine, hearing it in normal operation, sucked back into the depths. In this unsustainable and water-wasteful
but also as an object being rubbed and moiré pattern of textures, the listener technologies generally, or simply an
stroked and drummed upon and encounters elements that sound like immersion in the beauty of the noises of
prodded and sampled and sequenced horns, kick drums, xylophones or sine everyday life? Sucker-punching ambient
and processed by the duo, with some waves, but in fact each component is pastoral, the album ends with a techno-
occasional extra help from an ultra-local meticulously crafted out of a industrial-booty bass workout that
crew of guest stars (some of whom manipulated sample of the machine. In recapitulates motifs from across the
regularly do laundry chez Matmos). Dan other hands, such relentless conceptual entire composition before grinding to a
Deacon, Max Eilbacher (Horse Lords), tightness would court claustrophobia. halt, its task completed. Funny and sad,
Sam Haberman (Horse Lords), Jason Happily, Matmos’ willingness to bouncy and creepy, liquid and
Willett (Half Japanese), and Duncan transform audio and engage pop mechanical, Ultimate Care II swirls with
Moore (Needle Gun) all took part, either structure bypasses arid, arty thought perverse paradox, but the agitation at its
playing the machine like a drum, exercises and produces instead their core offers vital evidence of Matmos’
processing its audio, or sending MIDI signature effect: abject and unusual abiding faith in the musical potential of
data to the duo’s samplers. The noises yielding weirdly listenable music. sound.
vocabulary of the Ultimate Care II, its
rhythmic chugs, spin cycle drones, rinse The duo know how to rein back the In a visual analogue to the recording

process, the artwork for the album is Becker mastered the album at D&M in be performing in the United States and
constructed entirely out of photographs Berlin. San Francisco motion graphics Europe to celebrate the release. The
of the machine in question shot in its firm L-inc, who created the “Very Large washing machine was not available for
natural habitat and then digitally Green Triangles” video for Matmos’ comment.
manipulated by New York artist Ted last album, “The Marriage of True
Mineo. Lending trunk-rattling low end Minds”, are slated to create a video to https://matmos.bandcamp.com/
and sharp high frequencies, Rashad accompany Ultimate Care II. The duo will

“When does the stormy paste
appraise the decision?”

—Voltaire, upon failing his
driver’s exam, 1956.

international think tanks, and the contributions

Walter Thompson—Soundpainter, of a wide range of artists and educators.
Composer, Woodwinds, Piano,
Percussion, Educator Soundpainting is now being used both

professionally and in education in more than 35

countries around the world including; the

United States, France, Canada, Australia,

Czech Republic, China, Germany, Spain,

Norway, Denmark, Sweden, Finland, Italy,

Japan, South Africa, Brazil, Uruguay,

Montenegro, Guadeloupe, Argentina,

Kazakhstan, Mexico, Nigeria, Switzerland,

Turkey, and the Netherlands.

Walter Thompson has achieved international Thompson has composed Soundpaintings with
contemporary orchestras, dance companies,
recognition as a composer and for the creation theatre ensembles and multidisciplinary groups
of Soundpainting, the universal multidisciplinary in many cities, including Barcelona, Paris, New
live composing sign language. Thompson has York, Chicago, Los Angeles, Boston, Oslo,
composed Soundpaintings with contemporary Berlin, Bergen, Lucerne, Copenhagen, and
orchestras, dance companies, theatre Reykjavik, among others, and has taught
ensembles and multidisciplinary groups in Soundpainting at the Paris Conservatoire;
United States, Europe and South America. Grieg Academy, Bergen, Norway; Iceland
In 1974, after attending Berklee School of Academy of the Arts; Eastman School of Music;
Music, Walter Thompson moved to Woodstock University of California San Diego; University of
and began an association with the Creative Michigan; University of Iowa; Oberlin College-
Music Studio. While there, he studied Conservatory of Music; and New York
composition and woodwinds with Anthony University, among many others. Thompson is
Braxton and began to develop his interest in founder of and Soundpainter for The Walter
using hand and body gestures as a way to Thompson Orchestra founded in 1984 and
create real-time compositions. Beginning as a based in New York City.
tool to help shape the direction of a
performance, it has evolved to become a In 2002, Premis FAD Sebastià Gasch d’Arts
universal composing language for composers Parateatrals awarded Thompson the
and artists off all disciplines and abilities. prestigious “Aplaudiment” for his work with
Soundpainting in Barcelona, Spain. He has also
The language continues to be developed received awards from the National Endowment
for the Arts, Meet the Composer, the Mary
through Thompson’s performances, Flagler Cary Charitable Trust,

ASCAP, Rockefeller Foundation, Mid Atlantic
Arts Foundation, New York State Council on
the Arts, and the Jerome Foundation.

Soundpaintig Introduction in any way they desire. The Soundpainter
sometimes knows what he/she will receive from
Soundpainting is the universal multidisciplinary the performers and sometimes does not know
live composing sign language for musicians, what he/she will receive – the elements of
actors, dancers, and visual Artists. Presently specificity and chance. The Soundpainter
(2016) the language comprises more than 1200 composes with what happens in the moment,
gestures that are signed by the Soundpainter whether expected or not. The ability to
(composer) to indicate the type of material compose with what happens in the moment, in
desired of the performers. The creation of the real time, is what is required in order to attain a
composition is realized, by the Soundpainter, high level of fluency with the Soundpainting
through the parameters of each set of signed language.
gestures. The Soundpainting language was
created by Walter Thompson in Woodstock, The gestures of the Soundpainting language
New York in 1974.
are signed using the syntax of Who, What, How
Analysis
and When. There are many types of gestures,
The Soundpainter (the composer) standing in
front (usually) of the group communicates a some indicating specific material to be
series of signs using hand and body gestures
indicating specific and/or aleatoric material to performed as well as others indicating specific
be performed by the group. The Soundpainter
develops the responses of the performers, styles, genres, aleatoric concepts,
molding and shaping them into the composition
then signs another series of gestures, a phrase, improvisation, disciplines, stage positions,
and continues in this process of composing the
piece. costumes, props, and many others.
The Soundpainter composes in real time
utilizing the gestures to create the composition http://www.soundpainting.com/
http://www.cdbaby.com/cd/waltert

Villages and Plains the Streams Flow Through
Jonas Mekas
Translated by Vyt Bakaitis

You too return, along with days gone,
and flow again, my blue rivers,

to carry on the songs of washerwomen,
fishermen's nets and grey wooden bridges.
Clear blue nights, smelling warm,
streams of thin mist off the meadow drift in
with distinct hoof-stomps from a fettered horse.

To carry off rioting spring thaws,
willows torn loose and yellow lily cups,
with children's shrill riots.
The summer heat, its midday simmer:
lillypads crowd, where a riverbed's narrowed,
while mud in the heat smells
of fish and rock-studded shallows.

And even at the peak, when the heat

locked in with no wind appears to shiver and burn,
and barn siding cracks in the sun, even then
this water touches shade, down in the reeds,
so you can feel the pull and crawl,
one cool blue current through your fingers,
and bending over its clear blue flow
make out field smells, shimmering meadows,
other villages passed on the way here,
remote unfamiliar homesteads,
the heavy oakwood tables
heaped with bread, meat, and a soup of cold greens,
the women waiting for the reapers to return.

Mikalojus Konstantinas Čiurlionis, The Sun, 1907

Mirror (Russian: Зеркало, translit. Zerkalo; Distributed in United States as The Mirror. Released in 1975, directed by Andrei
Tarkovsky.

Interview with Jirawat Plekhongthu, was built when King Chulalongkorn and pattern. I wanted to capture the
Photographer paid visit to the Praya Nakorn Cave. movement of them with the same
And of course, your university is sense of awe that I experienced in
Our named after that king! How did you my childhood and convey their beauty
fascination with become a photographer? to the world.
a series of
photographs of Plekhongthu: The turning point FFR: Obviously, you have succeeded.
fish in dance- occurred during my last year in Is it hard to wait for the perfect
like motion university. I took a photography moment?
compelled us to course and I found myself passionate
become more familiar with their in my desire to share the beauty of Plekhongthu: Yes, it's quite difficult.
creator, the decorous and erudite the natural world through my artistic Each fish moves in a unique way.
Jirawat Plekhongthu. perspective. Then I had many What I can do is clean the fish tank,
opportunities to experience different ensure that the water is clear and set
FFR: Perhaps we could start with a kinds of photography as a the lights. And then I patiently wait for
synopsis of your life and calling. freelance/commercial photographer. the perfect moment.

Plekhongthu: I was born in 1990 and FFR: What prompted you to take FFR: Ah, yes, or as photographer
graduated with a Bachelor’s Degree photographs of fish? Henri Cartier-Bresson called it, “the
in Geology from Chulalongkorn decisive moment”, taking his
University, Thailand. In 2015, I started Plekhongthu: When I was a boy, my inspiration from 17th century Jean
the series called The Elegance of father gave me a pet called "Pla-kad" François Paul de Gondi, cardinal de
Siamese Fighting Fish. I’m an artist in Thai langue (Siamese fighting fish). Retz, who wrote: "Il n'y a rien dans ce
featured in the FineArtGate photo They have become my lovely pets monde qui n'ait un moment decisif"
gallery located in Geneva, because of their strong shape and ("There is nothing in this world that
Switzerland. I also sell my pictures on colour. Originally in Thailand you does not have a decisive moment").
a microstock site. could commonly find them in canals, Where can our readers find your
rice paddies and floodplains. Later, wonderful work—these “decisive
FFR: Where do you presently work when I grew up, I saw them in the moments?”
and live? Chatuchak Weekend Market in
Bangkok, Thailand. They're so Plekhongthu: You can find my work
Plekhongthu: I work from my home in beautiful and look more elegant than on the following websites:
Prachuap Khiri Khan, Thailand. the fish that I had when I was a child.
That is because Thai fish farmers https://500px.com/jirawatplekhongthu
FFR: That brings to mind the have developed various species of
provincial seal, which displays the them. They're amazing both in colour http://www.jirawatfoto.com/
Kuha Karuhas Pavilion. The Pavilion

“The secretive argument communicates the exchange.” George S. Patton, in
conversation with Chief Sitting Bull on The Dick Cavett Show

Buddin, David - Canticles for Electronic

Music

SKU UgExplode 54

"David Buddin’s ‘Canticles’ CD is an electronic music realization of the instrumental parts for a six-
movement chamber work featuring soprano voice. The music is vigorous, dissonant, rhythmically
complex and exhilarating. Influenced heavily by the thrust of the Western classical music tradition,
Buddin is a modern musical maverick in the lineage of radical, iconoclastic American composers
like Charles Ives, Carl Ruggles, Elliott Carter, Ralph Shapey and Milton Babbitt. The timbral
character of this release is reminiscent of latter-day electronic realizations by Karlheinz
Stockhausen, featuring phrases of seemingly erratic proportion, starkly dovetailing, unfolding and
hurtling chaotically from within a void of digital silence. Buddin’s fastidious compositional voice is
entirely uncompromising and bristles with untertones of violence, cruelty and danger. This release
should appeal equally to fans of New Music, noise, electronic music and avant-rock alike: It is
intense, relentless and highly intelligent. This sophisticated offering demands close scrutiny. David
Earl Buddin (b. 1968) is an American composer from South Carolina. His primary composition

teachers include Salvatore Macchia and Charles Wuorinen. Works of his have been performed by
such groups as the New York New Music Ensemble, Helix, and Ancora. His output is notable for its
volume and diversity. He has written large works for orchestra, chorus, chamber ensembles,
soloists, and electronic media. Presently he composes, performs, teaches, and writes about music
in Brooklyn."

“The work is generated from a single six-note ordered set and its canonical transformations . . . the
values of the intervals of this set determine everything from the note-to-note writing of individual
lines to the large-scale formal divisions of the six sections, as well as the durations of the sections
themselves.” - From the album notes by David Buddin















AMM ‎ – Ammmusic
Label:

Elektra ‎ – EUK-256
Format:

Vinyl, LP, Mono
CountrAMM ‎ – Ammmusic
Label:

Elektra ‎ – EUK-256
Format:

Vinyl, LP, Mono
Country:

UK
Released:

1967
Genre:

Electronic, Classical
Style:

Modern
Classical, Noise, Abstract, Experimental

Tracklist
A Later During A Flaming Riviera Sunset
B After Rapidly Circling The Plaza

Companies, etc.
 Recorded At – Sound Techniques, London

The Uncle Floyd Show

More From Life: Ernie Kovacs

Harvey Deneroff

The Life archive notes: "Electronic sight gag created by comic Ernie Kovacs in
which he appears to be peering thru

head of actress Barbra Loden as part of his TV special ‘Ernie Kovacs’."
This and the photo below (which shows how the effect was done) were by Ralph Morse and done in March 1957, which were
probably included in the cover story on Kovacs. Kovacs created something of a sensation with his half-hour NBC special, The
Ernie Kovacs Show. Usually, NBC specials were 90 minutes, but Jerry Lewis was only willing to do a hour-long show and Kovacs
very willing stepped into the breach to fill the allotted time slot. He took this opportunity to experiment with a show done entirely in

pantomime; he also showed his penchant for experimenting with the medium, including doing visual effects. These type of
"electronic" effects by Kovacs and other early TV pioneers in many ways anticipated today’s digital effects.
Anyway, as The Ernie Kovacs Website describes notes:

The 30-minute show Ernie did was devoid of any dialogue, and featured the silent character Ernie had been
developing, Eugene, as well as the Nairobi Trio. The show’s centerpiece was an extended series of surreal
sight gags following Eugene, a mute, meek character as a fish out of water in a stuffy men’s club. The
sketch included the famous gag involving the gravity-defying olives and thermos of coffee.

"Comic Ernie Kovacs pasting black patch on forehead of Barbra Loden before posing her against black background which will
create the illusion of a hole in Loden’s head for sight gag to air on his TV special."
Harvey Deneroff (in his own words):

I am an independent scholar based in Los Angeles. I recently retired, after 11-1/2 years, as professor in the Animation Department
of the Savannah College of Art and Design. where I mostly taught film and animation history and theory, as well as some studio
classes. (I was largely based at SCAD’s Atlanta campus, though I also taught for several years in Savannah).

Link to this and other articles: http://deneroff.com/blog/





Philip Larkin was an English librarian and leading poet of his generation. He remained so until his
death, at which point he became a bump beneath a tombstone, in front of which younger, balding
poets regularly have their album cover photos taken. This album was discovered in a Canadian
thrift shop. There’s a one word reminder on the album label, just in case you feel inclined to talk
over it or use the album for a Frisbee™. The same reminder is printed in subliminal fuchsia on the
lower, left portion of the front cover. LISTEN.