Atkinson, Felicia: Readymade Ceremony
Atkinson, Felicia: Readymade Ceremony
Format: CD
On average, orders containing available-to-ship items are processed and dispatched within 1-2 business days, although this is not guaranteed.
Orders containing preorder items will ship as 1 fulfillment once all items in the order are available to ship.
Please note, Tower Records Merchandise and Exclusives are dispatched separately. On average, these items take 3-4 business days to dispatch, although this is not guaranteed.
The estimated shipping times that are displayed at checkout are from the point of dispatch.
See our shipping policy for more information.
We have a 30-day return policy, which means you have 30 days after receiving your item(s) to make a return.
To be eligible for a return of an unwanted item, your item must be in the same condition that you received it and in its original packaging.
In the unfortunate situation that a product is damaged/faulty/incorrect, let us know and we will endeavor to correct any issue as soon as possible.
Please see our refund policy for more information.
Artist: Atkinson, Felicia
Label: Shelter Press
Product Type: COMPACT DISCS
UPC: 769791955134
Genre: Pop
Félicia Atkinson (visual artist, writer, musician, graduate of École nationale supérieure des Beaux-Arts in Paris) presents a Readymade Ceremony, a concrète/post-digital oratorio in five parts. In pursuit of a radical economic autonomy, she created a Readymade Ceremony entirely on her laptop using basic software. The album's first foundational element is a text collage of extracts from Atkinson's own 2014 book Improvising Sculpture As Delayed Fictions, French poet René Char's 1955 Recherche de la base et du sommet, and Georges Bataille's 1937 erotic prose piece Madame Edwarda, as well as found texts, mostly from the Italian magazine Mousse. Objects speaking, sculptures arguing: there is a surrealistic feeling in the dark whisperings that one hears responding to Madame Edwarda on "L'Oeil." the other foundational element is Atkinson's return to her early artistic influences, including the Martenot Method; such literary figures as Antonin Artaud, Henri Michaux, and Jean Genet; Structures Sonores Lasry-Baschet, Pierre Henry, Cornelius Cardew, John Cage, Fluxus, Robert Ashley, Morton Feldman; noise, punk, drone, folk, and electronic music; and the filmmakers Brian de Palma, Nicolas Roeg, and Dario Argento. There's something potentially frightening that happens here, reminiscent of a feeling she felt while listening to Henry's Apocalypse de Jean as a child; something both scary and beautiful; something uncanny, like Ruth White reciting Baudelaire... a readymade ceremony. Notes on each track: "'Against Archives': What can a French woman in her 30s answer to this mostly masculine core of references? 'L'Oeil': What about asking a sweater or an electronic device to speak? 'The book is the territory': It's all about nostalgia; how the shifting of time changes our vision of the past and the future, like an echo or a delay. 'Carve the concept and the artichoke': Is this a waiting room? the prologue of an inexistent play or an introduction for a possible delayed climax? 'Recherche de la base et du sommet': Translates to 'research of the base and the peak,' as a raw reading of René Char. 'There is always a lack in the accident. There is no accident in the expression... The poet is not made of wood. The mouth and the eye speak separately.'" the music can be related to the work of Jefre Cantu-Ledesma, Valerio Tricoli, Grouper, Geoff Mullen, Sachiko M, and Kassel Jaeger. Mastered and cut by Helmut Erler at Dubplates & Mastering.
Tracks:
1.1 01./A1. Against Archives
1.2 02./A2. L'oeil
1.3 03./B1. the Book Is the Territory
1.4 04./B2. Carve the Concept and the Artichoke
1.5 05./B3. Recherche de la Base Et Du Sommet
