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)