2/3/1990 San Francisco

Using different coloured jellied mixtures of gasoline & detergent, abstracts were first rendered on a variety of surfaces and then ignited. Painting with napalm. This was the 100th performance and it was entitled "Not an Image of The Totimorphous". (#100)

10/6/1990 San Francisco

In his 1964 book "Plat Rhif Car", Ross Rhesymolwaith wrote "Zero is still louder than negative-one."

Rhesymolwaith is a mathematician who's peace of mind was once said to sound much like calculators being rubbed against sandpaper. Calculation by disintegration as a reference to "a beauty resorting from the wearing down of numbers."

So as a performance entitled "The Thinking Ross Does", two members of The Haters each rubbed a calculator against very abrasive sandpaper. A contact-mic had been mounted on each of the calculators. The sound of the rubbing was amplified very loud! Staged for 25 minutes at a small gallery. The two of them, sitting at a table; rubbing away. Strongly audible. (#101)

7/9/1990 Santa Cruz

It was calculation by disintegration. One member of The Haters was using a power-sander to grind away at an amplified adding-machine, while another member was grinding an amplified calculator against very abrasive sandpaper. Both were sitting on stage behind two large amplifiers. A video camera was hanging from above, with three TV sets placed around the gallery so the audience could view the said event. Lasting 21 minutes, this performance was entitled "The Thinking Ross Does". (#106)

8/9/1990 San Francisco

Inside a long narrow gallery, three workmen built a small house-like structure around five members of The Haters. Both wood and metal were used as building materials. As soon as the house was completed, The Haters used crowbars to smashed their way out of the confines, causing much debris to fall over the 80 member audience that occupied what little space was left. Total chaos followed, and the whole place was trashed. Entitled "A Trapeze Number". (#107)

9/9/1990 San Francisco

After ten minutes of watching the darken screen of a large TV set turned off, a member of The Haters turned on the TV to blank static. At which point he stood up and started smashing up metal & glass & wooden objects for another nine minutes. Two other members, who had been cutting up fabric while the TV had been turned off, quickly joined in on the breakage. Pink noise was amplified during this whole performance. Entitled "A Trapeze Number". (#108)

15/9/1990 Oakland

Four members of The Haters were involved. Centre stage lay one mattress. At each corner of the prop sat a performer slowly hacking away at it with a knife. After 15 minutes of this cutting, each performer stood, walking off stage to the determined applause & cheers of the audience. Pink noise was amplified during this whole performance. Untitled. (#109)

31/10/1990 San Francisco

Six members of The Haters destroyed a pile of garbage. Much of the gallery audience helped out in making a mess of the place. Entitled "A Trapeze Number". (#110)

15/12/1990 San Francisco

Four members of The Haters were involved. They erected a wide lump of refuse. This was done by ripping, smashing, breaking & throwing about various ingredients of waste, trash & rubbish. The audience helped out by tossing much of the props evenly around the club. During this 15 minute performance a pre- recorded fire-like textural noise was amplified. Entitled "A Trapeze Number". (#111)

2/3/1991 San Francisco

Five members of The Haters performed by watching mud dry. Entitled "Watching Mud Dry", this performance lasted 33 minutes. (#112)

9/3/1991 Austin

Staged at a gallery. Jupitter-Larsen performed by counting, one by one, the number of soil particles in the dirt covered floor of an elevator. During the 4 hours of this untitled live-insulation, a metre long L.E.D. sign in the elevator flashed the text: "truth is not the answer to any problem... there are no solutions to problems... there are only solutions for answers...". The number of soil particles counted was 30,142 (later estimated to be 10% of the total amount). (#114)

15/4/1991 San Francisco

While one member of The Haters used an amplified shovel to dig dirt from a wheelbarrow to a large shallow box, another member used an unamplified shovel to dig dirt from the same box back to the wheelbarrow.

Collaterally, two other members tore paper. Throwing the pieces over the two that were digging.

Off to one side, a fifth member did a live mix of the amplified shovel with pre-recorded sounds of fire, glass smashing, auto crashes, and explosions.

During this ten minute performance, the audience quickly became inspired to an enraptured silliness. Running amok while covering most of the club in a thin layer of dirt and torn bits of paper. Entitled "A Trapeze Number". (#118)

18/5/1991 San Francisco

Staged at 02h30 in the basement of a warehouse, five members of The Haters were involved. The main props were paper, a telephone, a motorcycle, three car hoods, four car doors, six tires and a hundred phonograph records. The Haters performed by first tearing paper, and then smashing up the metal objects with crowbars and large hammers. The records were thrown about by both performers and audience members alike. In fact, many from the audience joined in on the smashing as well. During this 15 minute performance, tearing sounds & white noise were amplified in a field of ear-piercing feedback. Entitled "A Trapeze Number". (#119)

13/7/1991 Denver

Fabric cut. Glass smashed. Metal thrown about. Untitled laughter. (#122)

28/7/1991 Denver

Jupitter-Larsen performed an ventriloquist act at a small club. Both he and the dummy were wearing hoods which covered all but their eyes. The dialogue suggested that the two characters were debating the nature of rot and decay. Entitled "The Ventriloquist Act", this performance lasted 15 minutes. (#124)

3/8/1991 Chicago

Four members of The Haters were tearing paper and cutting up mattresses. After ten minutes of this mirth, many from the club audience ran up on stage to take part in the celebration. Hereafter both performers & audience members alike started tossing about refuse. And smashing up various wooden objects with large metal clubs. Amplified white noise & feedback sludged throughout this 21 minute performance. Entitled "A Trapeze Number". (#125)

10/8/1991 Cleveland

Five members of The Haters cut, ripped, teared & slashed away at a chair, mattress, table, VCR, oversized highway pylon with flashing orange light, two sofas, three car seats, four car tires, and five motorcycle tires. They started slowly at first. Hacking away at the fabric for about ten minutes. Thereafter, many from the audience would join in on the celebration. Everything got smashed. The performance ended when one performer set off a rather large smoke-bomb. Polite applause from the audience. During the whole of this 22 minute performance, pre- recorded "popping-tearing" sounds were amplified. Entitled "A Trapeze Number". (#127)

11/8/1991 Detroit

After the 10 minute untitled performance, several members of the audience met with Jupitter-Larsen just outside the club. There on the street, they debated thought probabilities for hours into the night. (#128)

14/8/1991 Charleston

While the pre-recorded sounds of tearing were amplified, five members performed by playfully tearing up hundreds & hundreds of books. Everyone in the audience threw the rippings around & about. Rivers of torn books frolicsomed through the air. Performance lasted 20 minutes. Untitled. (#130)

16/8/1991 Philadelphia

Through all the pre-recorded noise & feedback, five members of The Haters could be seen cutting up fabric. Then a rather large smoke-bomb was set off. Through all the smoke, one could see sparks fly as inside agitators used power-tools to slice & dice various auto parts. Performance lasted 20 minutes. Entitled "A Trapeze Number". (#131)

24/8/1991 New York

Pre-recorded sounds of "breaking & smashing" were being amplified while junk was just pouring out from the gallery's freight elevator. Performing inside the elevator itself were four members of The Haters. Two were cutting up fabric & foam. One was tearing up books. And the other was throwing hundreds upon hundreds of bits of costume jewellery at the audience. Many in the audience threw the junk right back him. Some even threw themselves into the garbage. This performance ended after 15 minutes when one performer set off a rather large smoke-bomb. Entitled "A Trapeze Number". (#133)

31/8/1991 New York

While standing over a girl seated in front of him, Jupitter-Larsen performed by breaking one raw egg over her head every 30 seconds. For 15 minutes, while his fingers danced through egg shell, her body became increasingly soaked in yoke & white. Staged in a gallery's freight elevator, this performance was entitled "Breaking". (#136)

28/9/1991 Budapest

Over 200 people packed a small club to see four members of The Haters tear paper and cut fabric and break wood and smash glass. During this 30 minute performance, the pre-recorded sounds of "breaking & smashing" were amplified. Entitled "A Trapeze Number". (#138)

4/10/1991 Berlin

Centre stage were two large padded chairs. In one of the chairs sat a pile of wood. Standing just behind this chair stood a member of The Haters. He was using an electric drill to build lots of little empty holes in the wood. In the other chair sat another member. He was cutting the chair up with a razor-blade. During the whole of this 20 minute untitled performance, the pre-recorded sounds of "breaking & smashing" were being amplified. (#139)

5/10/1991 Berlin

At a table at the back of a club stage, one member of The Haters was grinding a calculator against very abrasive sandpaper. Just in front of him, a second member tore paper. And just in front of him was a third member who was electrically manipulating the sanding & tearing sounds into an amplified mess of noise. Simultaneously entitled "The Thinking Ross Does" and "Teeaarrr" and "The Potential". This performance lasted 30 minutes. (#140)

13/10/1991 Zurich

Two performances. The first was staged at 18h00 at an abandoned train station. On one side of the rails, a sizable audience gave polite applause. On the other side, Jupitter-Larsen stood over a girl seated just in front of him. The two were illuminated by a single electric light. He broke one raw egg over her head every 30 seconds. His hands and her face became yellow with egg yoke. During the 15 minutes of this performance, a soft quiet hiss was amplified. Entitled "Breaking". (#143)

The second performance was staged at 20h00 at a small gallery a kilometre away from the train station. By using electric drills, three members of The Haters calmly transformed a large wooden table into sawdust. During the 25 minutes of this performance, the pre- recorded sounds of "breaking & smashing" were amplified. Polite applause from the audience. Entitled "Building Empty Holes". (#144)

24/10/1991 Paris

The club was packed with an attentive audience. Two members of The Haters were involved. For 25 minutes, while the pre-recorded sounds of "breaking & smashing" were being amplified, one performer tore paper while the other used an electric drill to build lots of little empty holes in an variety of large wooden objects. Entitled "Meuble pour Trous". (#146)

30/10/1991 Bordeaux

Staged at a small gallery overflowing with on-lookers. Two members of The Haters used electric drills to make hundreds of little holes in an variety of large wooden objects. Transforming wood into sawdust by building empty holes. During the 28 minutes of this performance, the pre-recorded sounds of "breaking & smashing" were amplified. Entitled "Building Empty Holes". (#147)

31/10/1991 Bordeaux

Two members of The Haters performed for 25 minutes by cutting up foam & cardboard with amplified knifes. The sounds of the cutting vibrated & twitched in a thick mass of feedback. Polite applause rang out from the audience. Entitled "DECHIRURES SOURIANTES". (#148)

10/11/1991 Vienna

Staged at the Museum Moderner Kunst with on-lookers abound. Jupitter-Larsen performed by digging a hole in a garbage-bin full of dirt & small radios. All of the radios were tuned to static. So as the hole got larger, the radio static got louder. Entitled "Building Empty Holes", this solo performance lasted 15 minutes. (#150)

15/11/1991 Bologna

Staged in a small courtyard illuminated with open flame. Four members of The Haters were involved. For 25 minutes, they used electric drills to build lots of little empty holes in an variety of large wooden objects. Polite applause from the audience. Entitled "Building Empty Holes". (#151)

17/11/1991 Rovereto

For 25 minutes, three members of The Haters used electric drills to build lots of little empty holes in an variety of large wooden objects. During the drilling, the pre-recorded sounds of "breaking & smashing" were amplified. After the performers were all done drilling, most of the gallery audience ran up on stage; appreciatively laughing & smashing up all the props to rubble. Later, some of the audience took it upon themselves to arranged the rubble on stage according to size & colour. Entitled "Building Empty Holes". (#152)

28/11/1991 Lyon

Two members of The Haters used electric drills to build lots of little empty holes in an variety of large wooden objects. Sawdust filled the air of the small gallery. After the performers were all done drilling, many from the audience started kicking & breaking the props into rubble. Entitled "Building Empty Holes", this performance lasted 40 minutes. (#153)

3/12/1991 Barcelona

Two members of The Haters were each sitting in a padded chair. For 5 minutes they would use knifes to slowly slice into the chairs. Right after this cutting, the performers both tuned to an variety of large wooden objects that were just behind them. And for 20 minutes used electric drills to build lots of little empty holes. During the whole performance, the pre-recorded sounds of "breaking & smashing" were amplified. Polite applause followed from the audience. Entitled "Building Empty Holes". (#154)

28/12/1991 New York

A "clici-clic" is a hand-held hole-punch mounted with a contact-mic for amplification. Three members of The Haters each used a clici-clic to pop hundreds upon hundreds of little holes through numerous sheets of paper & cardboard. For 28 minutes, the sound of the crushing was amplified into a fragile expansion of textural noises. The technical name for the little discs of paper left behind by a paper punch is "chad". The stage area would be covered in chad. Staged in a gallery's freight elevator, this performance was entitled both "Building Empty Holes" and "The Potential". (#155)

29/12/1991 New York

The tattooist used needles empty of any ink to tattoo the mathematical equation "0 + 0 = 0". Staged at a friend's home, Jupitter-Larsen got a tattoo of nothing on his left arm. Entitled "Tattoo of Nothing". (#156)

11/1/1992 Denver

Four members involved. A burst of noise followed by quiet. Soonafter an electric drill exploded in a performer's hands. A disproportionate amount of smoke poured out from the drill's casing. The small venue quickly filled with a smell of burning abeyance. Then bits of books started to fly from the action of tearing. Appreciative laughter & cheers from the audience during the whole of this 12 minute untitled performance. (#157)

28/6/1992 Vienna

At an art school lecture hall Jupitter-Larsen performed by giving a speech on his transexpansion numeral units (TNU). The discourse focused on the TNU as a transcendental relationship between two linear counting numbers which do not neighbour each other. Assuming that each individual linear number is a particular location along a counting order, one then would assume that each individual TNU is the distance between two selected linear locations. The main example used was "I" (pronounced "a") which is located in between 1 & 4 but not 2 & 3. Performance lasted a hour, and was entitled "Lecture on the TNU". (#167)

15/8/1992 Paris

Whenever one sits down, one still continues to move. Carried by the spinning planet along its orbit. In commemoration of this polywave, Jupitter-Larsen mounted a different discarded chair on five public benches around the city. It was the irrational thing to do. Staged at daybreak, this performance lasted 90 minutes. Entitled "Facts On Polywave". (#171)

25/10/1992 Pordenone

Three members of The Haters were involved with more clici-clicing than you could shake a stick at. Everything got covered in chad. Untitled 35 minutes. (#172)

26/10/1992 Venice to Paris

From the first departure to the final arrival, Jupitter-Larsen was continuously wandering up & down the span of a passenger-train. All the while counting the number of steps taken. He counted 184,000. In the context of this event's location, the counting describes the nature of a particular concept. That any single direction is just a cross-section of a larger accumulative wave form. Entitled "Comb About Polywave", this performance lasted 12 hours. (#173)

The term "comb about polywave" means to search by counting. To search for whatever probabilities one can sum up for one's self.

30/10/1992 Paris

Monitors placed around the gallery were used for a screening of the videos "Frequency", "Counting The Sand" and "Facts On The Polywave". Right after the last video was shown, two members of The Haters appeared centre stage. While one performer held an electric drill mounted with a grinding wheel, the second performer slowly pushed a live microphone into the spinning grinder to gently wear it down to a stub. Erosion as penetration; penetration of the void. For erosion is the only way a solid object can truly penetrate the void. The audience cheered on. Entitled "The Grinding Gig", this performance lasted 20 minutes. (#174)

1/11/1992 Lyon

Over 175 people crammed into the small club. Standing centre stage, one performer held an electric drill mounted with a grinding wheel, while the second performer slowly pushed a live microphone into the spinning grinder. The loudest noise that came from the mic was a solid buzz made after the grinding wheel got passed the diaphragm, and came into contact with the wires down the mic's handle. The audience cheered on. Entitled "The Grinding Gig", this performance lasted 25 minutes. (#175)

Right after was a screening of the video "Facts On The Polywave". A projector was used to cover a whole wall with the orchestrated static.

5/11/1992 Bordeaux

Two members of The Haters stood at opposite ends of the club stage. Both held a power-grinder in one hand, and a live microphone in the other. Slowly they ground the mics down to stubs. Standing between the two grinding, a third performer clici-cliced. For 25 minutes both the noise & feedback from the performance, as well as the screaming & cheers from the audience were perpetual. At several instances during the performance, a girl from the audience took it upon herself to jump up on stage hitting and kicking the performers. The performers were surprised and amused. Entitled "The Grinding Gig". (#176)

19/11/1992 Leeds

While one performer held a power-grinder, a second performer pushed a live mic into it. Cheers from the club audience. Entitled "The Grinding Gig", this performance lasted 15 minutes. (#177)

21/11/1992 Leeds

Two members of The Haters clici-cliced a chorus of distortion & feedback for 20 minutes. Chad everywhere. Polite applause. Untitled. (#178)

23/11/1992 Liverpool

Another variation of "A Trapeze Number". (#179)

12/12/1992 Leeds

Each using his own TV set, two performers watched blank static for 20 minutes. Another variation of the "Ishittal" performance. (#180)

18/12/1992 New York

Two members of The Haters were involved in more wear & tear by performing "The Grinding Gig" in a dark warehouse basement full of junk. The main source of lighting was the blank static from a TV set hung just above the performers. During the whole 25 minutes, a petrol-like fragrance poured out from the grinder's motor. As the microphone was slowly pushed into the grinding wheel, it turned into a fine black powder which filled the air. (#181)

Afterwards, a few from the audience committed to Jupitter-Larsen how fascinated they were by the process of "...breathing plastic".

23/1/1993 Denver

Two members of The Haters, each with a live mic in hand, stood on either side of a duel-wheel bench- grinder mounted on a small table in the middle of a club stage. Sparks were flying as their microphones were slowly pushed into the grinding wheels. A third member electrically manipulated the motor sounds from the grinder into an oscillation of thick distortion mixed with some pre-recorded clici-clicing. Affectionate cheers followed from the audience. Entitled "The Grinding Gig", this performance lasted 18 minutes. (#183)

3/3/1993 Boulder

Four members of The Haters, all with a live mic in hand, stood around a duel-wheel bench-grinder mounted on a small table in the middle of a club stage. An audience member would later comment how the performance resembled "...four guys warming themselves by an open fire..." Sparks were flying as their microphones were slowly pushed into the grinding wheels. Entitled "The Grinding Gig". 21 minutes. (#184)

21/5/1993 San Francisco

Seven members of The Haters were crowded onto the small club stage. Every performer had a live mic and some kind of grinding tool. Two in the back each had their own electric drill mounted with a grinding wheel. Two up front shared a combination electric drill & grinding wheel. One in the middle had a small bench-grinder. And two others off to one side shared a hand-powered grinding mill. All slowly ground away at their mics in this 22 minute blast of feedback, crackles & pops. The audience was mesmerized till the end when they broke out in applause. Entitled "The Grinding Gig". (#186)

7/7/1993 San Francisco

Centre stage, seven members of The Haters sat watching blank static on a TV while slowly cutting up large pieces of cardboard with small knifes. The same TV static was also being projected, covering three of the four walls of the club. The hiss of the static was amplified loudly enough to rattle the whole space.

Hung from above, during this 20 minute untitled performance was a 6.5 square metre ion-gun. This device propelled massive clouds of ions into the 160 member audience. Once charged, little arcs of electricity started bouncing from person to person. It was an austere spectacle of audio static, video static, and static electricity.

Custom designed & built for The Haters by Greg Leyh, the ion-gun consisted of a high voltage wire grid that created an uniform static electric field. The entire audience was charged to five thousand volts. Persons with a higher capacity for charge would transfer that charge to those with a lesser capacity. The transfer was accompanied by a visible spark and an audible crackle. Muscle twitching occurred as well as some spontaneous vocalization. Thorough fun was had by all as audience members chased one another giving each other shocks. People were even getting up on tables and chairs, reaching towards the ion-gun, hoping to get more of a charge to give bigger shocks to their friends. All the while, The Haters remained on stage peacefully slicing cardboard. (#188)

9/9/1993 San Francisco

The club was hot & crowded, and then were was the presentation on stage. Puppeteers pumped away at large peddles to animate two large metal puppets mounted on stands. The puppets swung about wildly, whacking everything with the long rods they held. These two puppets were placed on opposite sides of a marionette made from a pile of garbage-cans propelling up & down. It looked as if the two performers were smashing up junk, however during the course of this performance, it was the performers who fell apart, leaving the pile of garbage intact.

Custom designed & built for The Haters by Chip Flynn, each of the puppets were equipped with a contact-mic so a third performer could mix the puppet noises with pre-recorded sounds of glass breaking. During the 10 mintues of this presentation, the audience, feeling exhausted by encountering such a thing, broke into unfetter cheer. Entitled "The Puppet Show". (#190)

23/10/1993 Los Angeles

The convenience of an accident is measured by degrees of deliberateness. The more convenient an event, the more deliberate it was. To be deliberate is to perceive accident. Likewise, the inconvenience of an accident is measured by degrees of synchronicity. The more inconvenient any event, the more synchronized it is. Synchronicity is the inability to perceive deliberateness. Another hot & crowded club; another deliberate celebration. Three members of The Haters appeared centre stage. While one performer held an electric drill mounted with a grinding wheel, the other two slowly pushed live microphones into the spinning grinder; wearing them down to stubs. During much of the 22 minute performance, audience members were throwing bottles and cans at the performers. Polite applause followed. Entitled "The Grinding Gig". (#191)

1/12/1993 San Francisco

The 250 member club audience cheered on as eight puppeteers were taking turns animating two large metal puppets that swung about wildly beating on a motorized junk pile placed between them. Shifting around in a circular motion, this garbage gadget ran continuously during the 12 minute performance. As the puppets beat on the trash, they became covered with much of the refuse which consisted of plastics, cardboard, food byproduct and small machine parts. An audio recording of the previous Haters' puppet show was mixed with live sounds from this show. Entitled "The Puppet Show". (#192)

10/3/1994, Berkeley

Two members of The Haters drilled a large wooden desk into a small pile of sawdust. Gleeful applause from the club audience. Entitled "Building An Empty Hole". (#194)

19/5/1994 San Francisco

It was opening night for "Not An Exhibition of The Totimorphous" at The Living Room; a retrospective of 40 paintings by Jupitter-Larsen from 1979 to 1994. Most of the works were assemblages of garbage & litter coated with various layers of acrylic paint & varnish. In conjunction with this opening was a performance, which consisted of Jupitter-Larsen slowly & carefully cutting up the sofa he was sitting in with a single-sided razor-blade. Sitting next to him on the sofa was a second member of The Haters mixing pre-recorded sounds of ripping & cutting. Entitled "Slice", this performance lasted 25 minutes. The exhibition ran a total of four weeks & three days. (#197)

18/6/1994 Lost Skulls Mine

Staged in the Nevada desert, The Haters unceremoniously detonated a series of explosions. Loud orange fire balls rose towards the night sky. Several from the cheering audience quickly joined in the festivity by helping to put out the resulting small brush-fires. Entitled "Orchestrated Explosions". (#198)

25/6/1994 Los Angeles

It was opening night for "Not An Exhibition of The Totimorphous" at Anomalous; an exhibit of 20 recent paintings by GX Jupitter-Larsen. There was a screening of the videos "Zero Plus Zero" and "Frequency". The Haters also made an appearance. For 20 minutes, four puppeteers were taking turns animating two large metal puppets that recklessly swung beating on a marionette made from a pile of trash & garbage-cans. Contact-mics were mounted on each of the puppets, and the performers would also take turns mixing the puppet noises with recordings of previous puppet shows. Attentive applause & cheers from the audience. This was the 200th performance and it was entitled "The Puppet Show". (#200)

1/7/1994 Livermore

By skydiving with a large drill-bit in hand, GX Jupitter-Larsen drilled a hole through the sky. Staged near the Byron Airport, the jump was made from about 3,000 metres. About 40 seconds of freefall was followed by a descent under canopy for about 4 minutes. A small audience on ground applauded. Entitled "Building An Empty Hole". (#201)

5/11/1994 Los Angeles

For 28 minutes six performers were using electric sanders to wear away the motorcycle tires each of them are wearing over their shoulders. The audience applauded. Entitled "Changing The Tire". (#203)

4/2/1995 San Francisco

Four performers were taking turns throwing fire-works into a large metal box. All kinds of fire-works were used; nearly a thousand pieces in total. Sparks were flying; and not only did the smoke billowed out from the opening on top, but it spouted from creaks along the edges as well. The front of the box was made of a clear bullet-proof plastic, so the audience could watch the glow. Contact-mics in the box were used to amplify the noise. Two other performers also operated a variety of noise generators during the 20 minutes of this performance. Prolonged applause from the audience. Entitled "Bang Box". (#205)

18/6/1995 New York

A young girl dressed in a gown was wearing an auto tire over their shoulder like a sash. Using an electric drill mounted with a sanding wheel, Jupitter-Larsen was wearing away at this tire for 30 minutes. A third performer was processing the resulting sounds. The smell of rubber filled the small club. Polite applause followed. Entitled "Changing The Tire". (#213)

5/10/1995 Graz

Sitting at a desk, centre stage, GX Jupitter-Larsen rubbed a calculator against sandpaper nonstop for 40 minutes. Two contact-mics were mounted on the calculator. Staged at the Grazer Congress, the entire performance was also broadcast live on Austrian national radio. Entitled "The Thinking Ross Did". (#217)

5/11/1995 Bordeaux

One member of The Haters was grinding a calculator against some sandpaper, while a second member was using an electric sander to wear away at the car tire the first had over his shoulder. For amplification contact-mics were placed on both the calculator and the sander. It was very loud. So loud in fact that after 12 minutes into the performance, all the lights & power went out in the whole building. A brief quiet was followed by applause in the dark. The end. The show was staged as the final event of an all-day book-fair. Simultaneously entitled "The Thinking Ross Does" and "Changing The Tire". (#218)

11/11/1995 Paris

Over 200 people crammed into the small theatre. Also performing this night were Smell & Quim, and Manon Anne Gillis, but first there was a screening of the video "Holes On The Neck". Then for 25 minutes, while wearing a car tire over his shoulder, a performer stood rubbing a calculator against some sandpaper which had been taped to the top of a TV set. A second performer was using an angle grinder to cut large holes through this tire. During the whole performance there was smoke, sparks and the strong smell of burning rubber. Contact-mics were placed on both the calculator and the grinder. Playing on the TV was a video of the June 27 1995 San Francisco version of "Changing The Tire". The show was followed by frenzied applause & cheers. Simultaneously entitled "The Thinking Ross Does" and "Changing The Tire". (#219)

27/11/1995 Toulouse

After a screening of "Holes On The Neck", one performer sat on the floor and rubbed a calculator against sandpaper. Another stood behind using an electric drill mounted with a sanding wheel to wear away at the car tire the first had over one shoulder. Contact-mics were on both the calculator and the drill. Next to the two performers was a TV set. During this 15 minute performance, a video was being shown of the June 27 1995 San Francisco version of "Changing The Tire". Entitled both "The Thinking Ross Does" and "Changing The Tire". (#220)

5/12/1995 Birmingham

While one performer rubbed a calculator on sandpaper, a second used an electric sander to wear away at the car tire the first had over his shoulder. Contact-mics were on both the calculator and the sander. A third performer off-stage manipulated the resulting sounds. This 15 minute performance was entitled both "The Thinking Ross Does" and "Changing The Tire". (#221)

9/12/1995 Leeds

While one performer rubbed a calculator on sandpaper, a second used an angle grinder to cut away at the car tire the first had over his shoulder. Contact-mics were on both the calculator and the grinder. The smoke & smell of burning rubber drove out most the audience. The few that stayed for the whole 20 minute performance cheered on. Entitled both "The Thinking Ross Does" and "Changing The Tire". (#222)

14/12/1995 Bradford

One performer rubbed a calculator against some sandpaper taped to the top of a TV set, while a second performer used an angle grinder to chew up the car tire the first performer had over his shoulder. Contact-mics were on both the calculator and the grinder. The club quickly filled with the smoke & smell of burning rubber. A great deal of sparks thoroughly coated the TV in a black dust mixed with little burnt bits of melted tire. Playing on the TV, during this 20 minute performance, was a video of the June 27 1995 San Francisco version of "Changing The Tire". Applause followed. Entitled both "The Thinking Ross Does" and "Changing The Tire". (#223)

17/12/1995 Nottingham

While one performer rubbed a calculator against sandpaper, a second used an angle grinder to cut away at the car tire the first had over his shoulder. Contact-mics were on both the calculator and the grinder. A third performer off-stage manipulated the resulting sounds. Next to the two on stage was a TV set. A video of the June 27 1995 San Francisco version of "Changing The Tire" was screened during the 20 minute performance. The stench of burning tire became overpowering. The venue would smell of burnt rubber for weeks afterwards. Entitled both "The Thinking Ross Does" and "Changing The Tire". (#224)

19/12/1995 London

Not all flying saucers are from outer space. The sky will occasionally sang on itself, leaving a temporary saucer-shaped rip. During this 25 minute performance, a still image of such a rip in the sky was projected over the three performers. One performer stood centre stage with a motorcycle tire over his shoulder. A second performer behind him used an electric sander to wear away at the tire. A third in front rubbed a calculator on some sandpaper which had been taped to the tire. Contact-mics were on both the sander and the calculator. Entitled both "The Thinking Ross Does" and "Changing The Tire". (#225)

7/2/1996 San Francisco

About 75 people gathered in front of the stage. The curtains were drawn. Two performers then used staple- guns to break and shatter a stack of 81 LP records. Placed on a small table, the records had been bolted together. The longer the stapling, the shorter the stack. Staples and cracked vinyl were spraying about; hitting many in the audience. Both staple-guns were mounted with contact-mics. A third performer was processing the resulting sounds into a loud multitude of rhythms. Some members of the club audience threw things at the performers during most of the 20 minute performance. Applause & cheers followed. Entitled "Mind The Gap". (#226)

20/4/1996 Northampton

For 20 minutes Jupitter-Larsen used a staple-gun to break and shatter a stack of 91 LP records. Placed on a small table, the records had been bolted together. The longer the stapling, the shorter the stack. Staples and cracked vinyl sprayed about. The staple- gun was mounted with two contact-mics. The resulting sounds were a loud and harsh distortion. Applause & cheers followed. Entitled "Mind The Gap". (#227)

22/4/1996 Lowell

For 20 minutes Jupitter-Larsen stapled 101 LP records to a large TV set. Placed on a small table, the records had been bolted together. The longer the stapling, the shorter the stack. Staples and cracked vinyl sprayed about. His staple-gun was mounted with two contact-mics. The TV was tuned to an empty channel. The stapling and TV static were amplified and mixed together. Applause & cheers followed. Entitled "Mind The Gap". (#228)

23/4/1996 Boston

The club staff became panic-stricken by the presence of the unconventional gathering, and The Haters were kicked off stage before they got the chance to set up. (#229)

25/4/1996 Concord N.H.

For 20 minutes Jupitter-Larsen used a staple-gun to break and shatter a stack of 111 LP records. Staples and cracked vinyl sprayed about. The staple-gun was mounted with two contact-mics. The resulting sounds were loud. Applause & cheers followed. Entitled "Mind The Gap". (#230)

26/4/1996 Boston

For 20 minutes Jupitter-Larsen used a staple-gun to break and shatter a stack of 121 LP records. Staples and cracked vinyl sprayed about. The staple-gun was mounted with two contact-mics. The resulting sounds started out as a loud erratic pounding and slowly progessed into a wall of total unadulterated feedback for the last 10 minutes of the show. Applause & cheers followed. Entitled "Mind The Gap". (#231)

5/9/1996 Linz

Jupitter-Larsen stapled 151 antique computer floppy- discs to a motorcycle tire that a young girl was wearing over her shoulder. His staple-gun was mounted with two contact-mics. For 25 minutes the resulting sounds were transmitted live over the Internet via realAudio. It was staged from the ORF studios. The audience applauded. Entitled "Mind The Gap". (#234)

30/3/1997 Austin

A funnel, attached to a wheelchair that three performers were holding up, was allowed to drag and erode on the Drunk-On-Decay-Deluxe. For 15 minutes, both the funnel and the turntable were amplified. Entitled "Drunk On Decay". (#238)

5/8/1997 New York

A funnel, attached to a young girl that three performers were holding up, was allowed to drag and erode on the Drunk-On-Decay-Deluxe. For 15 minutes, both the funnel and the turntable were amplified. Entitled "Drunk On Decay". (#244)

11/8/1997 Pittsburgh

A funnel, attached to a bicycle that three performers were holding up, was allowed to drag and erode on the Drunk-On-Decay-Deluxe. For 15 minutes, both the funnel and the turntable were amplified. Entitled "Drunk On Decay". (#250)

5/12/1997 Vienna

GX Jupitter-Larsen gave a lecture on the history of Noise. Entitled "Noise, And The Noisician"; the lecture opened with the statements: '...In much the same way the early modernists were inspired by primitive art, most contemporary noisicians are excited by the archaic technologies of wire-recorders, the 8-track cartridge, and vinyl records. When given the choice of having their work released as either a vinyl record or digital CD, most still choose vinyl. Most noisicians would rather develop their own personal technology then conform to the commercial mass-media norm. Many not only build their own noise- generating devices, but even their own specialized recording equipment. Rejected sounds together with rejected technology married in attitude. Without having anything in common, noisicians all record, document and achieve the very sounds nobody else wants to hear... With very little else in common, the issue of fetish, obsession, or mania is the one thing that all contemporary noisicians seem to share. After a century of audio experimentations by art movements, academia, and the fringes of pop culture, the current Noise scene has taken avant-guard sound and given it unprecedented passion...' (#255)

18/4/1998 San Francisco

Two performers each had an electric drill mounted with a grinding wheel. They both pushed the spinning grinders into a live microphone being held up by a third performer. The mic was slowly worn down to a stub. Applause followed from the cheering audience. Entitled "The Grinding Gig", this performance lasted 30 minutes. (#258)

That same night the proprietor installed a copy of the "Breakthrough" single in the club's jukebox.

12/2/1999 San Francisco

Conceived by Jupitter-Larsen, with electronics by Damion Romero, and leather-work by Paul Stoll, this was the premiere of the Untitled Title Belt (U.T.B.). Unlike the traditional championship wrestling belt it was fashioned after, this implement functions as a combination microphone, distortion-pedal, & noise generator.

As Jupitter-Larsen stood centre stage, operating the U.T.B., two Haitresses stood to either side of him to tie a young woman to his back. Then, for 15 minutes, they proceeded to slowly cut off her garments using amplified scissors. The girl squirmed around so much, it made operating the U.T.B. both awkward and exhausting. As the girl was behind him, the audience was unable to get a clear view of the source of Jupitter-Larsen's difficulty. All sounds were being progressed through the belt. The belt itself was providing a very low pulverizing base, while the scissors supplied the mid and high frequencies. Entitled "Untitled Title Shot". (#267)

29/5/1999 San Francisco

About 100 people ambled around the venue's exhibit of performance relics and documentation that covered 20 years of activity. Leading up to the performance were two hours of video highlights screened on monitors placed around the space. The performance consisted of a member of The Haters and a Haitress sitting opposite each other at a small table, each rubbing an amplified calculator against some very abrasive sandpaper. The male performer's calculator was EQ'ed towards the low end, while the female's was EQ'ed towards the high end. The signals from the calculators were also being processed through the U.T.B. The noise was both gratting and engrossing. Projected on the wall behind the performers was a live video feed of the performance itself. Lasting 21 minutes, and entitled "Untitled Title Shot". (#268)

30/10/1999 The Boston area & Holland

Building empty holes to erect a noisy mess, two members of The Haters were performing at one city, while two others were performing at another. This was the first time The Haters performed in two different places at once. Simultaneously at both the Boston & Dutch stagings of this intercontinental performance, The Haters used amplified electric drills to make sawdust out of wood. In the Boston segment the U.T.B. was used as an extra sound source, while in the Dutch half a third and forth member progressed the live sounds of the drilling. About 50 people were in attendance at both stagings. Outside before the Dutch event commenced, some computers were cast into four cement-mixers. The computers crushed themselves to pieces rolling about in the rotating barrels which acted as loud-speakers for the breaking. Entitled "Untitled Title Shot". (#271)

7/11/1999 Tokyo

About 85 people were in attendance. For 15 minutes, a member of The Haters and a Haitress stood side by side clici-clicing. The U.T.B. was used as an extra sound source. The performance was followed by staggering applause. Many in the audience rushed the stage to snatch up the bits of paper left after all the hole- punching. Entitled "Untitled Title Shot". (#272)

12/11/1999 Tokyo

For 25 minutes, a member of The Haters and a Haitress stood side by side clici-clicing. The U.T.B. was used as an extra sound source. During the entire performance everyone in the 150 member audience was yelling and screaming as the mostly low-frequency bursts from the amplified hole-punches thumped and cracked both ear-drums and guts alike. After the finale the two performers left the stage to steady cheers of "Haters! Haters! Haters!..." A lone performer came back out to grind the clici-clics against the stage floor for 3 minutes. The resulting sound was a deafening wall of sharp intense vibrations. It was the first time a Japanese Noise audience had ever demanded an encore from anyone. Entitled "Untitled Title Shot". (#273)

14/11/1999 Tokyo

The U.T.B. was installed in a record shop and left to feedback on itself for 20 minutes. The small shop filled with a noise that seemed to oscillate to every nearby train passing by. Entitled "Untitled Title Shot". (#274)

17/11/1999 Nagoya

For 20 minutes, two members of The Haters clici- cliced. The signals from the hole-punches were being processed through the U.T.B. Everything got covered in chad. Entitled "Untitled Title Shot". (#275)

18/11/1999 Kyoto

For 15 minutes, two members of The Haters clici- cliced. The U.T.B. was used as an extra sound source. The grating pops throughout the very low-pitched static were intensely jolting to everyone. Chad was everywhere. Entitled "Untitled Title Shot". (#276)

20/11/1999 Osaka

For 31 minutes, Jupitter-Larsen clici-cliced a sheet of paper into nothing, then rubbed a couple of hole- punches against a piece of sandpaper. The reverberation from the two hole-punches clanging and clanking against each other produced a ringing whistle amid the dull sandpaper/U.T.B. swishing that splished the space over and over again and again. He finished by clici-clicing up a second sheet of paper. The performance was followed by staggering applause from the 65 member audience. Entitled "Untitled Title Shot". (#277)

21/11/1999 Matsuyama

For 15 minutes, Jupitter-Larsen clici-cliced a sheet of paper into nothing, then rippled his hole-punch against the wire-meshed fence behind him. The resulting thorny throbbing barbed tough. He finished by clici-clicing up a second sheet of paper. The U.T.B. added to the feedback. Entitled "Untitled Title Shot". (#278)



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