Tellus Audio Cassette Magazine was in activity for the ten years of 1983-1993, thus witnessing and participating in the digital revolution taking place in new media arts. Some points of comparison can be established with the Toronto-based MusicWorks Journal cassette series (launched in 1978) and with the ROIR cassette-only releases of various musical styles (from Flipper to Lee Perry to Einstürzende Neubauten) launched in 1981.
Tellus published audio art, new music, poetry and drama, exploring musical spheres as diverse as avant-garde composition, post-industrial music, NY no wave, Fluxus sounds, noise music, heirs to Harry Partch, avant rock, sound poetry, radio plays, tango, electroacoustic music, sound collage etc.
The series included some landmark sound works now regarded as historical: Louise Lawler’s ‘Birdcalls’ (Tellus #5-6), Christian Marclay's ‘Groove’ (Tellus #8), Lee Ranaldo's ‘The Bridge’ (Tellus #10) and Alison Knowles's ‘Nivea Cream Piece’ (Tellus #24); among others.
Tellus championed the audio work of women and gay artists, something that was very much needed at the time in the machismo-tinged experimental music scene. Their curatorial policy was efficient, as well, as the editorial trio sometimes asked outside specialists to compile a program in their own field. This policy ensured state-of-the-art programming.
Read more about Tellus Audio Cassette Magazine: Distribution and Production, Legacy and Appreciation, The Tellus Archives, Tellus Cassettography, Cover Art Galery
Famous quotes containing the word magazine:
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