8/4/2000 San Francisco
During his life, mathematician Ross Rhesymolwaith
lived on the windy coast of Wales near Portmeirion.
He would always leave all the windows of his cottage
open so he could feel the wind against his face while he
did his calculations.
An amplified calculator was balanced on top of the
open grill of a desk fan which was pointed up at 90
degrees. The blades of the fan slapped against the
face of the calculator. An amplified hand-held fan was
also part of the motif. All the resulting sounds were
processed through the U.T.B. into a very loud static-
like throbbing pulse. The low bass-like sounds were
felt in everyone's gut, while the high-pitched sounds
were sensed inside the bones of everybody's skill.
Projected on the wall behind the performance was a
live video feed showing an extreme close-up of the
calculator on the fan. Equal amounts of wear arised on
both the calculator buttons and the fan's blades.
With 120 in attendance, this 15 minute performance was
entitled "Dirwyn". (#279)
30/7/2000 Los Angeles
An amplified calculator was balanced on top of the
open grill of a desk fan. The blades of the fan
slapped against the face of the calculator. All the
resulting sounds were processed into a full-spectrum
pounding. Four large speakers surrounded the 100
member audience. The two in front blasted low-end
sounds, while mid and high-end tones blared out from
the two behind. As the calculator slowly slid back and
forth over the little fan, not only would the
intonation of the noise change, but even the vibration
of the whole building fluctuated accordingly. The
contrast between the smallness of the action and the
vastness of the resulting noise was indisputable for
everyone present. This 25 minute performance was
entitled "Dirwyn". (#280)
31/12/2000 - 1/1/2001 Oakland
The Haters brought in the new year by performing a six
hour rendition of "Dirwyn". From 20h00 to 2h00, the
steady roar-like pulse deluged the 150 in attendance.
(#282)
Tina Carlton from Sacramento said; "I just couldn't
get far enough away from it. But after three hours, I
really started getting into it. It was so pure. Like
by the time it was over I didn't want it to stop."
On the other hand, Steve MacArtur from Alameda didn't
realize anything was actually going on. "I heard this
noise, but it was so constant I just thought there
must of been some kind of a big engine running
outside..."
6/6/2001 New York
A 10 minute variation of the "Dirwyn" performance with
the Untitled Title Belt used as an additional sound
source. Staged in the back alley behind the Front Room
Gallery, neighbours overhead on either side watched
from their windows. A few even yelled out supportive
commentary before, during and after the show. Entitled
"Untitled Title Shot". (#283)
7/6/2001 New York
A 15 minute variation of the "Dirwyn" performance with
the U.T.B. used for additional sounds. The resulting
noise was a loud gritty textual racket. This Untitled
Title Shot was staged at Scrape & Pry on Pitt Street.
(#284)
8/6/2001 Pittsburgh
A 20 minute variation of the "Dirwyn" performance with
the U.T.B. used for additional sounds. The result this
time were long howl-like wailing bellows, as if the
wind itself was composed of haunted voices. At one
point Jupitter-Larsen took off his hood and sat in the
audience to listen to the noise for a while. He then
walked back and slapped the calculator/fan
configuration off the table. The subsequent sharp
jagged audible crush was reciprocated by huge
applause. Entitled "Untitled Title Shot". (#285)
28/7/2001 Nashville
At an old punk club in called Springwater, about 55 gathered to
experience this 30 minute version of the "Dirwyn" performance.
The U.T.B. was used for additional sound. Super low
frequency falter throbbed continually while high end tearing and
ripping type shrills cracked all about. Everything and everyone
was punctured and riddled by the blaring noise. Due to the extreme
volume most had to leave the main room where the performance was
taking place. However no one left. Everyone clustered in the adjacent
rooms to listen to the intricate sonic designs that were occurring.
Entitled "Untitled Title Shot". (#288)
20-&-2l/4/2002 Paris
The first attempt at staging this performance was thwarted by a panicky
venue-owner who insisted that his tiny place couldn�t hold the number of
people showing up for the show. This and many other vague numbers were
argued all night by all involved in the resulting controversy. Postponed
and moved to a larger location the next day, the 20 minute "Dirwyn"
performance with U.T.B. finally met with some very receptive spectators.
Entitled "Untitled Title Shot". (#295)
22/4/2002 Paris
This 15 minute "Dirwyn" performance was broadcast live on the pirate radio
station Aligre FM. (#296)
23/4/2002 Paris
A completely non-amplified rendition of the "Dirwyn" performance. (#297)
26/4/2002 Hamburg
A screening of the video "Holes On The Neck" was immediately followed by
a 18 minute variation of the "Dirwyn" performance. The Untitled Title Belt
was also used for sounds. From the cinema�s stage, a pulsating hiss wailed
out shiny jarring blasts. Entitled "Untitled Title Shot". (#299)
27/4/2002 Berlin
About 75 people were at hand to experience what would be the 300th
performance of The Haters. First, a reading from the novel "Raw Zed &
The Condor". Then, a 20 minute rendition of the "Dirwyn" performance with
U.T.B. that was very loud. So loud in fact, the whole gallery quivered, as
did the hearts and minds of much of the audience. Entitled "Untitled Title Shot". (#300)
28/4/2002 Leipzig
This performance was originally set to take place at an old theatre, but a
week before it was to take place, a city crew came and demolished it. The show
had to be quickly reorganized and relocated to a different venue. That venue was
the catacomb-like basement of an old squat. The stone archways echoed with tlaps
and slaps of smacks and spanks. This "Dirwyn" performance with U.T.B. was nothing
but pure distortion & feedback. Entitled "Untitled Title Shot". (#301)
3/5/2002 Wiesbaden
A voice-like buzz made up this 18 minute "Dirwyn" performance with U.T.B.
Entitled "Untitled Title Shot". (#302)
4/5/2002 Zurich
A very thick bellowing roar give rise to this 16 minute "Dirwyn" performance
with U.T.B. Applause & cheers followed. Entitled "Untitled Title Shot". (#303)
21/2/2003 Oakland
GX Jupitter-Larsen appeared as a heel manager during the inaugural matches of the Oaktown Wrestling Association. GX then did what any wrestling manager would have done after escorting the top contender, War Chief, to the ring for his Hardcore match with Ice Box. He yelled out words of encouragement to his man, slapped his hands on the mat, tried to distract the referee whenever possible and clashed with the face manager around the ring. He did whatever it took to make the screaming crowd scream just that little bit more. The two gigantic super-heavy-weights in the ring gave a lofty performance! It was a first-rate match by anyone�s account. However, despite GX�s best effort, The War Chief lost to Ice Box. It was a classic metal folding chair to the head, followed by a big belly flop off the top rope. GX helped the hurt War Chief back to the dressing room, only to bring him back out a few matches later for a 15-Man Battle Royal for the OWA Championship Belt.
Again, GX gave his all for his man. The War Chief however was ganged up on by three other men and was thrown out of the ring; giving way for Ice Box to ultimately take the title. The Untitled Title Belt was around the waist of GX Jupitter-Larsen the entire night. It wasn�t plugged in. It didn�t need to be. Even silent, it still added to the overall absurdity of the festivities at hand. You see, managers don�t normally wear title belts. (#304)
1/5/2003 Long Beach
An installment of Audiothecary entitled "The Haters 24th Anniversary Show." Click here for a excerpt (#307)
9/2003 Berlin
During September, free thinkers and cultural activists of all kinds from all over met for Meinebank's month-long international economic symposium Crashcourse. GX Jupitter-Larsen participated in various panel discussions, workshops, & group meetings. The overall objective was to work out alternative strategies and methods for both within & outside the market place.
As part of the evening performances that were also taking place, there were three separate installments of Audiothecary. Amplified balance scales were used for weighing noise instead of wealth. The installment on September 19th was loud (#308). The one on the 20th was louder (#309). And the one on the 21st was louder still (#310).
19/3/2004 Seattle
Original cast members Colin Upton, Ken Gerberick, and Fraser Hall joined GX Jupitter-Larsen sitting around a small amplified card table. Each rubbed a bright pink calculator against some very harsh sandpaper. Pink dust literally poured off the sides of the tiny table as a thin pink haze hovered over the performers. The Untitled Title Belt was used as an extra sound source. The resulting vibrations were an abrasive severity that seemed to make everyone in the gallery severely happy. This 25 minute performance ended when one of the performers used a crowbar to smash up the table. Entitled �The Haters 25th Anniversary Show.� (#311)
21/3/2004 Portland
An installment of �Audiothecary� which was the loudest to date. The U.T.B. was used as an extra sound source. The low reverberations rippled like a breeze right through every single body no matter where they happened to be in the building. This 33 minute performance was entitled �The Haters 25th Anniversary Show.� (#312)
1/5/2004 Reno
Call it the cryptic gesture of intermolecular forces if you like, but in conjunction with the ongoing international Obscure Actions congress OA04, The Haters took over an abandoned house near the downtown area. In each of the six rooms a different performer was either clici-clicing, breaking glass, tearing paper, starting small fires, drilling wood into sawdust, or grinding metal into glowing sparks. These were simultaneous acts amplified through a single sound system throughout the ruin. Without any announcement, proclamation, or warning, members of the public were allowed to come and leave as they like during the 20 minute performance. About 36 random people off the street came in to explore the dark, yet noisy building. This live map of the polywave was entitled "The Haters 25th Anniversary Show." (#313)
5/6/2004 Los Angeles
An amplified tin funnel was rubbing off against a sandpaper dress being worn by a Haitress. The U.T.B. was used as an extra sound source. Low grinding reverberations amalgamated with high pitched ripping sounds that filled the theater. Jupitter-Larsen pressed the funnel harder and harder against the dress, pushing the Haitress down. Bent out of shape, when the Haitress finally fell to the floor, the 14 minute performance was over. Entitled "The Haters 25th Anniversary Show." (#314)
7/8/2004 San Francisco
GX Jupitter-Larsen first premiered his new apparatus at the first annual San Francisco Bay Area Harsh Noise Festival. GX had taken an old record player and replaced the cartridge and arm with an amplified toy shovel. Instead of playing records, the shovel would drag against the bare turntable. Emil Beaulieau that night would name it The Spinner Spade. Plumes of smoke expelled from the speakers on stage as The Spinner Spade discharged a very loud full-spectrum noise. This 20 minute pereformance was entitled "The Haters 25th Anniversary Show." (#315)
30/10/2004 Atlanta
An installment of �Audiothecary� in which two members of The Haters took turns operating the amplified balance scales. This 20 minute performance was entitled �The Haters 25th Anniversary Show.�(#316)
21/12/2004 Oakland
The second live episode of "The Spinner Spade". This 30 minute performance was entitled "The Haters 25th Anniversary Show." (#317)
12/2/2005 San Francisco
The Eighth Annual Activating the Medium festival was a reunion of early pioneers of the American Noise scene. Audience members came from as far away as New York, Nashville, and Paris to attend this Old School theme revelry, which would feature a first-time ever live San Francisco appearance from Chop Shop. Also performing were both A.M.K., and blackhumour.
For The Haters portion of the festivity, two members were involved. While one sat and watched blank static on a TV set, the other stood operating the amplified balance scales which were mounted on top of the TV. They each took three turns doing both. The Untitled Title Belt, which was draped over one side of the TV set, was used as an extra sound source. Wave after wave of clamorous blasts of harsh noise engrossed the whole cultural centre. Entitled both "Ishittal" and "Audiothecary." (#318)
5/5/2005 Los Angeles
Not satisfied with the audience being largely unable to see the interaction between the amplified toy shovel and the turntable, GX assembled a new vertical spinner spade. This new spinner was constructed from an antique portable record player donated by IDX1274, and the shovel from the original spinner spade. The new upright spinner is also self-illuminated from lights installed within its structural case. Entitled "The New Vertical Spinner Spade." (#319)
14/5/2005 Los Angeles
A second installment of "The New Vertical Spinner Spade." (#320)
22/7/2005 Stralsund
GX dug a hole in the ground with a pair of live mics.
The performance was in the back of a garage, so there was a live video projection of the digging on one of the garage walls. The sound however, just seem to push everyone outside through the large open doors of the building and across the road. Many from the audience even crossed the canal, that runs parallel to the road, to listen to the performance. It was reported that the low end frequencies were best experienced on the opposite side of the waterway.
This 20 minute untitled performance was broadcast live on the Polish/German network Radio Copernicus. (#321)
6/8/2005 San Francisco
A very low frequency buzz was the result of this third installment of "The New Vertical Spinner Spade" which was staged as part of the second annual San Francisco Bay Area Harsh Noise Festival. (#322)
12/8/2005 Los Angeles
In this fourth installment of "The New Vertical Spinner Spade" GX just couldn�t find the right sound. Then, at about the 10 minute mark, he found a way of making the amplified toy shovel stick into the rubber pad of the turntable without staling the machine. For the next 20 minutes, the resulting rumbling was completely bombastic in both the high and low frequencies! Gleeful applause from the audience. (#323)
9/9/2005 Seattle
In this fifth installment of �The New Vertical Spinner Spade� GX and Colin Upton took turns operating the spinner. Over 100 people attended this 30 minute performance which was one of the loudest ever performed by The Haters. Place and people alike were blusted by both extreme high and booming low frequencies. (#324)
An audience member was later overheard saying that the performance appeared like "a couple of large leather bondage daddies gently attending to a tumultuous mechanical baby..."
Christopher Delaurenti of 'The Wire' wrote: The Haters spewed colossally loud broadband pulses that eventually coalesced into a quasi rumba groove. The Haters provoked the most intense physiological response � the room felt like a rapidly depressurizing airplane cabin.
28/10/2005 Los Angeles
A 10 minute installment of "Audiothecary" by GX Jupitter-Larsen. (#325)
17/6/2006 Eugene
It was all part of the Second Annual Eugene Noise Fest. For both a live collaboration with IDX1274 (#326) and a solo performance later that evening (#327), GX balanced two amplified toy shovels on a new hand-held battery-operated spinner spade. The turntable of this spinner was cover in sandpaper. All changes in sound vibration were a result from the maneuvering of the shovels over the rotating sandpaper, and not the manipulation of any other piece of equipment.
IDX1274 had come up with his own spinner device for the collaboration.
For both acts, the consequence was a massive physical noise in dazzling contrast to the means in which the sound was produced.
12/7/2006 Los Angeles
A 15 minute installment of a battery-operated spinner spade. (#328)
20/8/2006 Leipzig
At a flat near the Karl-Heine Kanal there was a live installation. An electric drill empty of any drill bit was placed in the middle of a floor in an empty room. The installation started when someone pluged the drill in. The bit-less drill was left to rattle around on the floor by itself. Ten minutes later, the installation was over when someone else unpluged the drill. (#329)
12/10/2006 Lausanne
The birth city of Arthur Cravan was the setting of this 15 minute installment of a battery-operated spinner spade. A member of The Haters, a Haitress and some pushing and shoving completed the motif. (#330)
3/2/2007 Ken Gerberick's hometown
A 30 minute installment of "Audiothecary".(#331)
24/6/2007 Leipzig
A performance-installation in which there was a stack of paper on a small table in the middle of an otherwise empty room. For nearly 6 hours people would come and go. Some even brought their own hole-punch, occasionally punching holes in the paper provided. More than once as many as four people would be punching holes together for as long as 30 minutes. There was a small cassette player fixed to one of the legs of the table. An endless cassette played the lo-fi sound of clici-clicing. Other than that, there were no instructions for the audience. By the end of the evening, the room was covered in chad and other bits of paper. Entitled "Building Empty Holes". (#332)
28/7/2007 Los Angeles
A 24 minute installment of "Audiothecary" by GX Jupitter-Larsen, A.M.K., and Geoffrey Brandin. (#333)
9/2007 Tilburg
In conjunction with the ZXZW festival, four performances were enacted. Each one happening at a different venue around town.
From September 18th through 21st, GX Jupitter-Larsen conducted a workshop which took on the framework of both a performance and an installation. A small collection of noise-generating implements were left to produce low tones amid an exhibition which included drawings of holes, some wooden rulers, and notebooks about the polywave, xylowave, and The Totimorphous. During these 4 days, GX would welcome gallery visitors, offer them something to drink, and answer any questions they might have. Untitled. (#334)
At the second venue, on September 19th, GX got up on stage without his performance-hood, and turned on an amplified electric drill emptied of any drill bit. He put his hood on and then looked at his watch for exactly 3 minutes. Then he turned off the drill and took off his hood. He then took a bow and walked off the stage. Gleeful applause from the audience followed. Untitled. (#335)
At the third venue, on September 21st, there was a 20 minute installment of "Audiothecary" by GX who utilized a young lady as a placemat on a large table. The amplified scales were place on the Haitress' abdomen, reducing the measure of unwanted feedback. The resulting noise was actually very loud. So much so that the floor of the building quivered. Taking their que from the female placemat, many in the audience took to laying on the floor to feel the vibration more directly. Negativland's Mark Hosler, who happened to be in the audience, later proclaimed it was like getting a deep full-body massage. (#336)
On September 22nd, five members of The Haters were involved in the performance that took place in the forth and final venue of the week. Sanding, rubbing, and grinding blended into a forceful prolonged 20 minute blast of noise. Untitled. (#337)
11/16/2007 Seattle
Four performers tearing pages from amplified books. (#338)
18/5/2008 New York
It was the final set of the final night of this year's No Fun Fest. GX Jupitter-Larsen operated a number of noise generators, including the Untitled Title Belt. Next to him were three other performers; two boys standing and one girl sitting, all in bondage outfits. While GX did the noise, the rest just stood there at first, then the two boys started trying to knock the girl off her chair. When she finally fell, the performance ended. "The Haters 29th Anniversary Show" lasted 10 minutes. (#339 overall, 200th in America)
14/9/2008 Los Angeles
Two performers pushing a live mic into a wooden table. Over and over again. Semi-mute dying mic sounds without much processing would sometimes erupt into squealing extremes. (#340)
20/2/2009 Los Angeles
Two amplified toy shovels on stage. Two hundred in the audience. (#341)
8/10/2009 Graz
Greg Leyh and The Haters reunited for a re-enactment of their 1993 Ion-Gun performance (#188). The new ion-gun had an improved transformer and driver assembly that charged the largely unsuspecting audience to over fifty thousand volts. In 1993 the American audience in San Francisco was more competitive with one another in seeing who could get the biggest charge in order to dish out the biggest shock. The 2009 Austrian audience, with a stronger sense of community, seemed much more curious with coming up with different ways to make the ion-gun a shared experience. Most people this time were using different body parts to see if that would effect the nature of the shock. This lead to people, mainly females, kissing one another directly under the ion-gun.
In 1993, the decoy performance on stage was seven members of The Haters watching blank static on a TV while slowly cutting up large pieces of cardboard. This time, the decoy was GX Jupitter-Larsen and Jessica King grabbing onto the same live microphone and pushing it into sandpaper together. An old guy was seen running around yelling about the noise scaring away the demon inside him. (#342)
14/10/2009 Lausanne
A book launch and book signing for the anthology of French translations of essays and short fiction by GX Jupitter-Larsen entitled "Saccages". (#343)
This was followed by a performance by The Haters in which GX Jupitter-Larsen and Jessica King, sitting across from each other, grabbed the same live microphone and pushed it into sandpaper together.(#344)
23/10/2009 Bodø
As part of the Nødutgang Festivalen, held just above the Arctic circle in Norway, GX Jupitter-Larsen and Jessica King, sitting side-by-side, grabbed the same two live microphones that had been taped together and pushed them into sandpaper. (#345 overall, 100th in Europe)