News

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    We’re overjoyed to present the debut physical release from Portland’s A/V artist, Ben Glas. BST011, Music To Interact To, will be available digitally and physically on September 15th. Stream the Glas’ ‘Halbdruck’ via The Ransom Note.

    At the foundation of all organized audio (music) there exists systems. These systems provide a simple (preconceived) context for the listener and guides their perceptions through the piece. If an artist produces a piece based in these systems, but also allows for experimentation in an unrestricted environment, then naturally the end result will lead to these systems endlessly building on top of each other, cascading ultimately into complete nothingness. Meaning without meaning; conclusion without conclusion. This is the relationship that artist Ben Glas is most interested in, and is arguably the most crucial element to his productions. Glas finds extreme gaiety in exploring the highly personal interactions that take place between an audio (or musical) production and its audience.

    As a student at the Pacific Northwest College of Art, Ben has been actively investigating the immense power and complexities of sound as art and music as interaction. Through the lens of both an academic and autodidact, Ben aims to produce work that actively encourages a conversation, positive or negative, with the listener. ‘Music To Interact To’ finds Glas narrating that interaction, altering the listener’s perception and understanding while exploring the language of sound (technically and metaphorically) to the fullest.

    Pre-Order ‘Music To Interact To’ directly from us here: https://goo.gl/g5Ycwn

    Tracklist
    01. Sonic Primer I
    02. Halbdruck
    03. Hause
    04. Sonic Primer II
    05. Stagnation, Happydrone
    06. Digital Serialism

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  • 08.22.15
    8pm-late / Free / BYOB
    GREENPOINT ROOFTOP LOCATION
    TEXT FOR ADDRESS:
    503.734.9838

    M/M [1080p / DEEP / ATM] (Live Debut)
    GUT NOSE [Styles Upon Styles] (Live)
    SOLPARA [Booma / Other People] (Live)
    OREN RATOWSKY [BOOMA] (Live)
    +
    MAPES [Blankstairs] (DJ)
    FIRST CIRCLE [Blankstairs] (DJ)
    METROPOL [Blankstairs / Pastel Voids] (DJ)
    NATHANIEL YOUNG [Blankstairs / Styles Upon Styles] (DJ)

  • 08.07.15 / 10pm-late / Free
    Blankstairs at SISTERS
    900 Fulton St.
    Brooklyn, NY 11238

    Mapes [Blankstairs]
    DEBBIE [Don’t Trust Humans]
    Solpara [Booma / Other People]
    James Place [Umor Rex Records / Opal Tapes / Styles Upon Styles]
    Nathaniel Young [Blankstairs / Styles Upon Styles]



    / …/ linear memory /

    Facebook Event

  • We’re beyond ecstatic to present the PDX debut of Mexico City’s, White Visitation. WV has seen stellar releases on the always outstanding NYC imprint Styles Upon Styles, L.I.E.S., UK’s sturdy Opal Tapes, and most recently on Berlin’s formidable Blank Slate records. WV will be joined by Vancouver mainstays, Derivatives as well as the always punishing, A S S S. This is a night not to be missed.

    Purchase advance tickets here: https://goo.gl/3po7Wt

    \ 07.24.15
    \ $10 adv. $15 door
    \ 11pm - late
    \ at INFORMATION WAREHOUSE

    \ \ Facebook Event

    + www.411pdx.com
    + www.blnkstrs.com

  • Following up on their recent performances at MUTEK, Stefan Jós & FDG - will be visiting from Montreal with a pair of New York-premier sets downstairs at 915 Wyckoff. 

    Live sets from:

    Stefan Jós (Opal Tapes / Flau // MTL)
    FDG - (Where to Now? / No Exp. // MTL)
    Austin Cesear (Proibito / Public Information / Opal Tapes // NYC)
    Motiv-A (French Grey 90% // NYC)
    Solpara (BOOMA / Other People // NYC)

    +
    DJ support from Nathaniel Young (Blankstairs // NYC)

  • We are extremely excited to present our next release from Portland’s Chloe Alexandra Thompson. ‘Unnaming Permissibility’ marks our first release of a none musical medium and further emphasizes the importance of cross-platform modes of expression. Be on the look out for more work from Chloe in the coming year as well as other incredibly talented visual artists.

    BST010 comes from the Portland based, Canadian, poet and visual artist Chloe Alexandra Thompson. 'Unnaming Permissibility’ facilitates both written and visual artwork to describe a transitory period in culture brought about by new media. The work was created during her residency with Littman & White Galleries, was produced by Publication Studios Portland, and is the first publication to be released by Blankstairs Records.

    Purchase 'Unnaming Permissibility’ directly from us here: https://goo.gl/6HXIrc

    Naming is an act of representation. To represent is to claim or own. The act of unnaming serves to remove this sense of ownership. Permissibility, which suggests consent, also appears interchangeable with acceptability. This is most apparent with regard to the personae we adopt as the result of societal norms. Forming part of our Identity, such aspects of ourselves often serve as vessels of navigation or communication.

    The present work seeks to express awareness of a transitional cultural period shaped by the collective promise of new media. Mediation may be considered a means of denying death through the construct of memory, a collective history that affords a sense of continuity to social groups and subcultures. Through our individual and collective histories, particularly as filter through socially constructed norms, and which are presumably based on the choice between acceptability or deviance, we create our own timelines and develop Identity. This information, which is today largely deemed public and is essentially inerasable, brings into being the notion of the Internet phantasm. Through a form of ghosting, or trail marking by way of our interactions with social media, we provide a detailed account of our personal history and ultimately contribute to the cultural DNA.

    This cultural process is marked by the partial failure of representation: rather than greater communicative intimacy and a sense of collective transparency, a palpable distance and dissatisfaction may arise. Perhaps the greatest symptom of this sense of failure is the romanticization of the past, a nostalgia for prior historical periods during which less-mediated forms of social interaction were seemingly enjoyed. This dissatisfaction with new media in turn authorizes a contemporary Luddism: a refusal to engage with the proscriptive channels of social media stems from a loss of faith in such interactions, which seem to play out as distant, spectral connections. Such haunting is replaced by a simulated familiarity.

    Such symptoms expose the cultural unconcious. The parallelism described by the project’s images might therefore be taken to express the relationship between the capitalist economy (as unconcious 'base’) and the cultural forms (or symptomnal ‘superstructure’) produced by it. Integral to the cultural superstructure is new media, which promises to represent the world and the desires of its citizens. Cultural theorist Slavoj Zizek has therefore emphasized human desire in this connection, analyzing the relationship between the individual unconscious and our broader cultural situation. Adopting the concepts of the Real and Symbolic as given in Lacanian psychoanalysis, he has applied them to new media: the gap between the unconcious (the Real) and our lived, collective experience (the Symbolic – or that which is mediated by language and social convention), implies a fundamental, psycho-cultural distance tht serves to frame this project, particularly where desire and its negotiation in the language is emphasized.

    The role of the artist therefore emerges as one of bridging the divide implied by the failures of representation. In some cultures, the role of the mystic is to traffic back and forth between cultural and transcendental realms, or between the Real and the shared symbolic of the established, domestic world of lived experience. Our media technologies promise to unite and collectivize us, yet often sustain a sense of dissatisfaction, one that the artist might give voice to, serving to diagnose or address.

    - Chloe Alexandra Thompson, ‘Unnaming Permissibility’