Wednesday, January 11, 2006

QUASIMOTO- The alter ego of Madlib

Yes, I need to feed you some mp3s, and no, I don’t have time to write a big long post. That’s when I reach into the hip hop cabinet and pull out some 21st Century vintage. Sure, this underground stuff might have a better flavor when you know more information about it - the vineyards, the process, yadda yadda… But I’m a little too white to give you that.

Quasimoto is the martian-voiced alter ego of Madlib, a guy who’s got his finger in so many pies he’s a one-man music machine. Stones Throw Records brought this guy to my attention (if you dig him, click that link; they’ve got tons of cool videos and more mp3s for download). Lord Quas has some connection with Melvin Van Peebles, and you can hear Mr. Peebles’s vocals all over the last album. Madlib is also a member of the strange combo Yesterdays New Quintet, a mellow fusion of hip hip instrumentation and spacey free jazz. Anyway, no one can convey the beauty of getting baked and digging through old records like this qwazy cat. It’s a vernacular even I can understand, and I haven’t smoked weed in 16 years.

Quasimoto - “Bus Ride”

Quasimoto - “Microphone Mathematics (Remix)”

Yesterdays New Quintet - “I Am Singing”

The quicktime movie below is Madlib’s delightful two-minute history of rap.

Quasimoto/Madlib - “Rappcats pt.3″ (.MOV file, 11.6 MB)

by Toe Stubber


Dear Tech Support:

Last year I upgraded from Girlfriend 7.0 to Wife 1.0. I soon noticed that
the new program began unexpected child processing that took up a lot of
space and valuable resources. In addition, Wife 1.0 installed itself into
all other programs and now monitors all other system activity. Applications
such as Poker Night 10.3, Football 5.0 , Hunting and Fishing 7.5, and Racing
I can't seem to keep Wife 1.0 in the background while attempting to run my
favorite applications. I'm thinking about going back to Girlfriend 7.0 , but
the uninstall doesn't work on Wife 1.0. Please help!

A Troubled User. (KEEP READING) ___________________________________

Dear Troubled User:

This is a very common problem that men complain about.

Many people upgrade from Girlfriend 7.0 to Wife 1.0, thinking that it's just
a Utilities and Entertainment program. Wife 1.0 is an OPERATING SYSTEM and
is designed by its Creator to run EVERYTHING!!! It is also impossible to
delete Wife 1.0 and to return to Girlfriend 7.0. It is impossible to
uninstall, or purge the program files from the system once installed.
You cannot go back to Girlfriend 7.0 because Wife 1.0 is designed to not
allow this. Look in your Wife 1.0 manual under Warnings-Alimony-Child
Support. I recommend that you keep Wife 1.0 and work on improving the
situation. I suggest installing the background application "Yes Dear" to
alleviate software augmentation.

The best course of action is to enter the command C:\APOLOGIZE because
ultimately you will have to give the APOLOGIZE command before the system
will return to normal anyway.
Wife 1.0 is a great program, but it tends to be very high maintenance. Wife
1.0 comes with several support programs, such as Clean and Sweep 3.0 , Cook
It 1.5 and Do Bills 4.2.

However, be very careful how you use these programs. Improper use will cause
the system to launch the program Nag Nag 9.5 . Once this happens, the only
way to improve the performance of Wife 1.0 is to purchase additional
software. I recommend Flowers 2.1 and Diamonds 5.0 !
WARNING!!! DO NOT , under any circumstances, install Secretary With Short
Skirt 3.3. This application is not supported by Wife 1.0 and will cause
irreversible damage to the operating system.

Best of luck,
Tech Support

A Photo Montage of Kurt Schwitters - El Lissitzky

Scot Hacker-


Methods of collage of data using grounded theory

FUTURISM AND COLLAGE (1909-1915) Futurists integrated radical effects of the machine age and technological inventions. Their collages vigorously combined found materials into art of passionate rebellion, noise, energy, motion, and dynamism.

DADA AND COLLAGE (1915-1923) Reacting to the brutality of World War I, the most active collage artists in the early 20th-century were in the Dada movement. Dadaists ridiculed the culture of their time through deliberately absurd performances, poetry, and visual art.

RAY JOHNSON AND MOTICOS (1927-1995) In an interview for the inaugural issue of the Village Voice, Ray Johnson discussed what moticos were and what they weren't. "I've got a big pile of things at home which will make moticos. They're really collages - paste-ups of pictures and pieces of paperÉ but that sounds too much like what they really are, so I call them moticos. It's a good word because it's both singular and plural and you can pronounce it how you like." (Wilcock, 1955) Johnson's moticos, or collages, are exhibited more often in museums and galleries than his mail art because curators place the moticos in the category of fine art. In contrast, curators treat Johnson's mail art more as a long-term performance or avocation, rather than as individual art objects. This short history of collage brings us to the beginning of this research project and consideration of collage as a way to creatively use grounded theory methods to pull together diverse and changing sets of data.

HONORIAÕS RESEARCH AND COLLAGE (1999 Ð 2001) I use grounded theory as a method of data collage. Collage combines diverse components that the artist brings together. For a collage artist such as myself, grounded theory combines the creative attraction of collage with my academic training in observation, data collection, appreciation of tacit knowledge, data coding and analysis, and contributing to knowledge. I use grounded theory to build up a picture, or theory, from diverse meaningful fragments. The data fragments come from four general sources as pictured in the following diagram.


For most of the twentieth century, collage has been understood as being a unique mixture of “real” and “represented” elements. The Encyclopedia of World Art, for instance, says that collage’s chief innovation is the “inclusion of a piece of reality within a painting [that] projects it into the world of objects, narrowing the distance between painting and spectator” (597), and this appraisal is frequently echoed.2 Pablo Picasso’s Verre et bouteille de Suze is often reproduced as an example. [fig. I]. With its real label affixed to a painted bottle, this work helps exemplify what is often asserted to be one of the most striking developments in twentieth-century art—the movement from metaphor to metonymy, which may seem in line with Zukofsky’s Objectivist predilections.

However, Picasso’s collage also exemplifies why many recent theorists have found collage rife with ironies that question the earlier definition. That is to say, in “reality” when you hold a bottle of Suze, you consider the liqueur the “real” part. The label is the representational part. But in Picasso’s collage, the bottle is painted in a particularly flat way, eschewing the painterly illusion of depth, while the label is real. Thus the collage can be interpreted as showing the constructed nature of reality and the materiality of representation. For this reason, Rosalind Krauss argues that collage challenges “any simplistic idea of reference” and “effects the representation of representation” (37). Thomas P. Brockelman contends that collage should be seen as the “origin of postmodernism” (6).