Tellus Audio Cassette Magazine

Launched from the Lower East Side, Manhattan in 1983 as a subscription only bimonthly publication, the Tellus cassette series took full advantage of the popular cassette medium to promote cutting-edge downtown music, documenting the New York scene and advancing experimental composers of the time – the first 2 issues being devoted to NY artists from the downtown no wave scene. [Essays by Claudia Gould, Carol Parkinson, Joseph Nechvatal, Carlo McCormick, Brian Karl, Gen Ken Montgomery, Barbara Moore and Taketo Shimada included in "TellusTools" liner notes, Harvestworks ed., 2001] The series was financially supported along the years by funding from the New York State Council of the Arts, Colab and the National Endowment for the Arts. [Alan W. Moore, "Artists' Collectives: Focus on New York, 1975-2000" in "Collectivism After Modernism: The Art of Social Imagination after 1945", Blake Stimson & Gregory Sholette, (eds) University of Minnesota Press, Minneapolis, 2007, pp. 193-221]

"Tellus was created in 1983 at the Rum Runner Bar on Canal Street in New York City. Joseph Nechvatal, a visual artist, Claudia Gould, a curator and Carol Parkinson, a composer and staff member of Harvestworks/Studio PASS met to discuss the idea of a magazine on cassette which would feature interesting and challenging sound works. With the advent of the Walkman and the Boom Box, the editors perceived a need for an alternative to radio programming and the commercially available recordings on the market at that time."
(from Harvestworks website [http://www.harvestworks.org/cms/] )

= The Tellus Project =Tellus publishers (digital artist and art music composer Joseph Nechvatal, curator and now director of the Institute of Contemporary Art, Philadelphia Claudia Gould and composer Carol Parkinson, director of Harvestworks from 1987 on) never considered running an underground culture audio publication, rather envisaging the compact cassette medium as a no wave fluxus art form in itself. Fact|date=October 2008 This was quite a unique point of view at a time (the early 1980s), when many self-released cassettes blossomed through mail order and trade between audio artists, mail art folks and hardcore punk bands who were promoting a mostly minimalism punk inspired DIY technique of more-or-less anti-art nihilism. [Robert Palmer "Pop Life: Electric Guitars", The New York Times, September 25th, 1985] But Nechvatal and Parkinson had met in the mid-1970s dancing as a performance art / minimal art dance trio (with Cid Collins) influenced by the post Merce Cunningham postmodern dance/choreography of Lucinda Childs, Deborah Hay, Yvonne Rainer and Carolee Schneemann (with whom they toured Europe in 1978). And they continued to see each other in the art music milieu of the rigorous downtown minimal music scene as they worked for the Dia Art Foundation as assistants to La Monte Young, Marian Zazeela and Pandit Pran Nath. [Carlo McCormick, "The Downtown Book: The New York Art Scene, 1974–1984", Princeton University Press, 2006] So by contrast to a lax attitude, the Tellus Audio Cassette Magazine never indulged in rank amateurism. Their audio releases were always tightly focused, well researched and aptly curated.Fact|date=October 2008

Curatorial Policy

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. Fact|date=October 2008 Some points of comparison can be established with the Toronto based MusicWorks Journal cassette series - launched 1978. And with the ROIR cassette-only releases of various musical styles (from Flipper to Lee Perry to Einsturzende Neubauten) that was launched 1981. Fact|date=October 2008

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.Fact|date=October 2008 This policy insured state-of-the-art programming.Fact|date=October 2008

Distribution and Production

From the start, the founding members deliberately aimed at raising the profile of cassette culture releases, sending Tellus issues by mail to US public libraries, university galleries and various art museums. Fact|date=October 2008 In addition the Tellus team helped launch the [http://www.harvestworks.org/ Harvestworks Artist-In-Residence Program] which was set up to help promote independent artists’ projects and provide them with a professional sound recording facility: namely [http://www.harvestworks.org/cms/index.php/Table/Studio-Services/ Studio PASS] .

Legacy and Appreciation

*Tellus Audio Cassette Magazine has been mentioned as an inspiration to the opening of the Sound Art Museum in Rome (2007).
*An exhibition was held at Printed Matter in New York City devoted to current American cassette culture entitled "Leaderless: Underground Cassette Culture Now" (May 12th -26th 2007) that referred to the influence of Tellus.

The Tellus Archives

In November-December 2007 the blogger of reassessed aural delicacies [http://continuo.wordpress.com/ Continuo] and avantgarde resource Ubuweb decided to create an exhaustive on-line archive for the Tellus audio recordings - now as free mp3 files - thus launching a renewed interest in the Tellus series.

= Tellus Cassetography =

= Cover art galery =

Footnotes

References

* Robert Palmer "Pop Life: Electric Guitars", The New York Times, September 25th, 1985
* Jon Pareles on "cassette underground", The New York Times, May 11, 1987
* Barbara Moore "The Sound Of Music", essay printed in Tellus #24 "FluxTellus", 1990
* Robin James ed. "Cassette Mythos", Autonomedia, 1992
* David Toop "Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds", Serpents Tail ed., 1995
* Simon Emmerson "Music, Electronic Media and Culture", Ashgate Publishing Co., 2000
* Essays by Claudia Gould, Carol Parkinson, Joseph Nechvatal, Carlo McCormick, Brian Karl, Gen Ken Montgomery, Barbara Moore and Taketo Shimada included in "TellusTools" liner notes, Harvestworks ed., 2001
* Elizabeth Hinkle-Turner "Women Composers and Music Technology in the United States", Ashgate Publishing Co, 2006
* Carlo McCormick, "The Downtown Book: The New York Art Scene, 1974–1984", Princeton University Press, 2006
* Alan W. Moore, "Artists' Collectives: Focus on New York, 1975-2000" in "Collectivism After Modernism: The Art of Social Imagination after 1945", Blake Stimson & Gregory Sholette, (eds) University of Minnesota Press, Minneapolis, 2007, pp. 193-221

Online articles

* Carlo McCormick "Tellus: Time Loops Our Sonic Stigmata", UbuWeb Tellus Notes
* Marvin @ Freealbums [http://freealbums.blogsome.com/2008/05/30/various-artists-tellus-1-2/ "Various Artists - Tellus 1 & 2"]
* Kenneth Goldsmith [http://www.poetryfoundation.org/audio/BestDecadeEver.mp3 "Poetry Foundation Podcast: The Tellus cassettes"]
* Marc Weidenbaum [http://disquiet.com/2008/03/18/tellus-mp3s-controlled-bleeding-merzbow/ Classic Tellus Noise]
* [http://www.newmusicbox.org/page.nmbx?id=29nw02 Amanda MacBlane at New Music Box writing on TellusTools LP]

External links

* http://www.harvestworks.org/cms/
* http://www.harvestworks.org/tellusWEB/
* http://www.ubu.com/sound/tellus.html

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