Unlikely 2.0

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Editors' Notes

Maria Damon and Michelle Greenblatt
Jim Leftwich and Michelle Greenblatt
Sheila E. Murphy and Michelle Greenblatt

A Visual Conversation on Michelle Greenblatt's ASHES AND SEEDS with Stephen Harrison, Monika Mori | MOO, Jonathan Penton and Michelle Greenblatt

Letters for Michelle: with work by Jukka-Pekka Kervinen, Jeffrey Side, Larry Goodell, mark hartenbach, Charles J. Butler, Alexandria Bryan and Brian Kovich

Visual Poetry by Reed Altemus
Poetry by Glen Armstrong
Poetry by Lana Bella
A Eulogic Poem by John M. Bennett
Elegic Poetry by John M. Bennett
Poetry by Wendy Taylor Carlisle
A Eulogy by Vincent A. Cellucci
Poetry by Vincent A. Cellucci
Poetry by Joel Chace
A Spoken Word Poem and Visual Art by K.R. Copeland
A Eulogy by Alan Fyfe
Poetry by Win Harms
Poetry by Carolyn Hembree
Poetry by Cindy Hochman
A Eulogy by Steffen Horstmann
A Eulogic Poem by Dylan Krieger
An Elegic Poem by Dylan Krieger
Visual Art by Donna Kuhn
Poetry by Louise Landes Levi
Poetry by Jim Lineberger
Poetry by Dennis Mahagin
Poetry by Peter Marra
A Eulogy by Frankie Metro
A Song by Alexis Moon and Jonathan Penton
Poetry by Jay Passer
A Eulogy by Jonathan Penton
Visual Poetry by Anne Elezabeth Pluto and Bryson Dean-Gauthier
Visual Art by Marthe Reed
A Eulogy by Gabriel Ricard
Poetry by Alison Ross
A Short Movie by Bernd Sauermann
Poetry by Christopher Shipman
A Spoken Word Poem by Larissa Shmailo
A Eulogic Poem by Jay Sizemore
Elegic Poetry by Jay Sizemore
Poetry by Felino A. Soriano
Visual Art by Jamie Stoneman
Poetry by Ray Succre
Poetry by Yuriy Tarnawsky
A Song by Marc Vincenz

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910 Noise

910 NoiseHeavy on improvisation and full of energetic cosmic bluster, noise art can be compared to birth. An ugly little thing violently squirming in its own filthy ooze, noise art often emerges as a complex orchestra of aural neurotransmitters, body mass, and bloody tissue. In other words, noise takes on shape. 910 Noise is a collective of artists who sculpt with noise and performance. The use of traditional instruments in radically untraditional ways often produces their unique visions of sight and sound. Like with any avant-garde artist, the final piece is not necessarily the elevated importance so much as the action of creating is. It is in this determination that gives noise its artistic value.

Area code noise has been creeping its way into art galleries and small, usually dark, bars since around 2001—according to Alex Murphy of Bootleg Magazine, the original area code noise started in Richmond, Virginia and is known as 804noise. The purpose of most area code noise collectives is to perpetuate and collaborate with artists of similar vision who share a willingness to expand the fundamental noise-properties of musical instruments, sex toys, and anything else that might be used to create sound. Ryan Lewis is the founder of 910 Noise, out of Wilmington, North Carolina, and he places highest power on artistic expression and to demonstrate "creative diversity while melding art and sound."

In its rawest form, noise can be painful or pleasantly absent but live performance is quintessential to the concept (which is why this month's music offering is in the form of a streaming video, rather than an .mp3). Stage presence is like framing the painting. In our correspondence, Ryan said of performance "Some of the artists during live performance report out of body/ mind experiences from the high intense energetic massive walls of sound..." This is a fitting description because on so many levels noise is exploding through the placenta of normalcy into a world where, like it or not, evolution is the only law. —ES

910 Noise's new album, 910 Compilation v.3, has been produced by Ryan Lewis' Obscura Art and Records in conjunction with Ack Recordings. You can buy it through Paypal here:

But immediately before you buy that, check out 910 Noise member The Pony Gropers, presented to you by the miracle of videographic technology, by clicking on the pretty words below:

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