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of recordings. The basement of the space was set aside for performances once local curiosity about the space was piqued, and performances here regularly took place in complete or near-complete darkness. This space would eventually close in 1990 (its 1-year anniversary) owing to a number of converging factors, including the economic situation of the neighborhood's residents (i.e. their operating on little more than a
304:. According to Prescott, the label formed in the wake of ongoing discussions between Schnitzler, Montgomery and himself, in which they "found that we had not only a lot in common, but particularly interesting differences which led to our each strengthening and developing out notions of music, art and life." As with other collaborative products involving Montgomery, the label was conceived as an alternative to both
572:
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currents of electronic music and also the more exclusively academic variations thereof (in a contemporaneous interview, Prescott stated that " music exists between what is typically thought to be 'academic' and 'pop' oriented…the farther these labels have gone, the more it becomes apparent that this
383:
zone with scant pedestrian traffic. Exhibiting hours were from 12-6pm on
Saturdays and 2-6pm on Sundays, while personal visits could also be arranged via appointment. Given this decreased likelihood of visits from strangers, the 'shop' aspect of Generator was de-emphasized in favor of its role as a
366:
Some of the distinguishing visual and interactive features of the
Generator space were cassette players attached to the walls for visitors to record on, while aural experiments (e.g. Montgomery's claim of "several sound systems running simultaneously") occasionally took the place of simple playback
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archive of past
Generator performances is also maintained by Montgomery, who makes these archival materials available for sale via the official Generator Sound Arts web presence. These discs are taken from the same source material as the original 'Live at Generator' cassette series, in which each
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shop and meeting place / information exchange. On this last count, the space was noted in particular for its connection to the 'Cassette
Culture' networks of the 1980s and the 1990s, and for its status as a "centralized location where at least one segment of the cassette
392:"When I started thinking about the artists that I knew working with sound, and some of them had given shows in Europe and other places, and there was no real place for them in New York, I thought it would be exciting to invite these people to come and do it here."
129:
and sonic listening experience which stimulates the mind and body in-the-moment, while producing an original, tangible, transformed personal object that will last…almost forever." Among
Montgomery's formative influences are the theories of composer
579:
Upon the folding of the original
Generator location, a Sunday evening performance series – "Generator at Webo" – was initiated at the Webo performance space as a means of offering further events in the spirit of the original Generator series.
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and the Gelbe Musik in Berlin as significant influences in this regard): "I saw all these kinds of places and every time I came back to New York I got very frustrated, because it seemed like there was nothing like that here."
190:
equipment. At the end of this period of creativity, an interval of flagging inspiration led
Montgomery to experiment with the use of quotidian household devices as instruments: these included an 'Ice-o-Matic' commercial
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district, differed from the original space in many salient respects. As opposed to being a ground floor / streetside space in a commercial district – making it suitable for "walk-ins" – the newer space was in a heavily
852:
I had one year to use the studio but after 11 months I couldn't figure out what I wanted to do. No inspiration. I knew my little instruments but these other high tech ones were so unknown to me I got lost in the
203:"In my East Village apartment in the late '70s, I remember throwing parties and instead of playing music I turned on kitchen appliances, tape players, fans, radios and a TV tuned between stations…I made my first
80:. Profits earned from Generator-related activities are split between the artists and a fund to support future sound art projects. Generator's emphasis on handmade, self-released audio works derives from the "
227:, and a refrigerator (Montgomery claims that refrigerator recordings were originally made as a protest to his landlord about the excessive noise of the unit he then owned.) The 2002 double CD compilation
342:
to initiate and maintain contacts. Montgomery stressed, in addition, that the
Generator space not be "reduced to any one of these things," and encouraged a concept for the space that involved "'turning
358:
The foundation of the
Generator space was partially inspired by Montgomery's trips to Europe, in which he encountered likeminded multi-purpose venues (citing the Staaltape cassette shop in
1180:
242:. This period saw the initiation of another project using found objects – the Eight Track Magic series of recordings – which were made of audio re-recorded from severely damaged
748:"For me…the imagination runs wild when an artist can free himself from the known and jump into the unknown. It can be sort of scary, but I've always been interested in jumping."
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soundtracks curated by AV Geeks, and a CD jewel case containing no playable media inside. Not all A.T.M.O.T.W. releases are done in this mold, however: the compilation release
371:), and the propensity of the potential customers or visitors to already be sound producers themselves, and thus presumably less interested in buying new sound recordings.
178:
and cheap toys, originally recording this material under the project name "Gen Ken & The
Equipment." The artist also enjoyed a period of access to a professional
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720:"None of my projects have been very business-like as I've always had as my motivation certain ideals that seem to exclude any possibility of a real 'business.'"
309:
delineation doesn't exist." In lieu of an already existing musical categorization, Generations Unlimited products were marketed as "dramatic electronic music."
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sound artist David Prescott (who was also a partner in the Pogus Productions record label) and featured releases from an artist roster including
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performance and exhibition space. Like the original Generator, though, the inspiration for its establishment lay partially in Montgomery's
388:
communications and collaborations, and the perceived disparity in available performance and installation spaces in Europe. As he recalls,
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199:. This was not an abrupt shift in methodology, but rather a return to an expressive style previously experimented with. As he explains:
484:, Arcane Device, Charles Cohen, Bradley Eros, Jeanne Liotta, Leah Singer, Eric Schefter, Matty Jankowski, Gen Ken & Mariano Airaldi
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in his late childhood and early teens. Since 1994, he has used the "Gen Ken" moniker for sound art / noise music (he also uses the
401:
The following is an abridged chronology of public events to have taken place in the different Generator spaces from 1991 to 1992.
105:
Generator's founder and proprietor Ken Montgomery (aka Gen Ken Montgomery) (born 1957) is a New York-based sound artist raised in
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already in my mind." Montgomery worked, from the early 1980s until 1991, with traditional electronic music instruments such as
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release included a chrome cassette, a photograph, and a story relating to the performance from which the recording was taken.
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The Generator Experimental Music Gallery was founded on June 1, 1989, on 3rd & Avenue B in New York City's
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Egnekn: Lifeless Guitar Feedback With Themes Of Death, Pornography, Nazism, Etc. Used To Hide Lack Of Ideas.
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A second iteration of Generator, existing from June 1991 until June 1992 on 547 West 20th Street in the
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121:-based projects.") As to the latter, Montgomery's "lamination ritual" is a staple of his performance
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that hosted exhibitions, installations and performances of sound art, while also functioning as a
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collects much of the audio material created from re-appropriated devices and appliances.
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215:-based sound works included recordings and performances made with a Keystone Model 16CC
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In 2015, Montgomery released a special limited edition cassette that he curated called
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for this purpose – Montgomery claims "I quickly discovered I was approaching with the
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By 1994, citing another period of creative burnout, Montgomery took a sabbatical in
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Unofficial Release: Self-Released and Handmade Audio in Post-Industrial Society
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could congregate": a rarity in an artistic milieu that otherwise relied upon
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in which "all the things he had previously done at home would be moved to a
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42:
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is a selection of material recorded in tribute to the late Abigail Lavine.
276:(from left to right) Gen Ken Montgomery, Conrad Schnitzler, David Prescott
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491:(Al Margolis), Dan & Detta Andriano & Matty Jankowski, Trigger (
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June 1 – July 31, 1991: The Reincarnation of Generator – Arcane Device,
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870:(booklet). Ken Montgomery. New York, New York. XI Records, 2002. XI 126
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Pinsent, Ed. "Gen Ken Montgomery: Music That Others Would Call Noise."
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where anyone could walk in off the street and see what was happening."
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Interactive cassette player at the entrance of Generator gallery, 1989
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Pinsent, Ed. "Lamination Rituals: An Encounter with Ken Montgomery."
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134:– particularly those outlined in Cage's 1961 collection of writings,
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Ken Montgomery quoted in Dery, Mark, "Notes From The Underground."
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is a Generator Sound Arts sub-label focusing more exclusively on
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June 7, 1992 : Small Cruel Party / Wolfgang und Die Stuermer
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Ken Montgomery interviewed about Conrad Schnitzler, ARTonAIR.org
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before I knew that audio installations and sound art existed."
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Gen Ken Montgomery interviewed on the Belsona Academy podcast
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is another recurrent theme within Generator-affiliated work.
88:" milieu of the 1980s–1990s,. The embrace of spontaneity and
1045:"AV Geeks: 16mm Film Soundtracks." Retrieved March 4, 2013.
29:
was an experimental arts and culture organization based in
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March 20 – April 5, 1992: Gen Ken Montgomery, "Icebreaker"
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Ken Montgomery quoted interviewed by Daniel Plunkett in
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as a physical gallery / exhibition space existed in the
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which was used both in concert and in the CD recording
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Goldsmith, Kenneth. "Stairway To Eight Track Heaven".
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January 25 – March 1, 1992: Ken Butler, "Man's Angles"
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August 23 – September 8, 1991: Entropy – Tim Sweet,
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moniker "Egnekn" for "more whimsical and especially
978:Ken Montgomery quoted in James, Robin (ed.)(1992).
555:March 28, 1992: Michael Schell, Fast Forward &
446:("Music From Nowhere"), Laura Kikauka ("Headspace")
264:, for whom he oversees the Ministry of Lamination.
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1123:of Ken Montgomery's "8 Track Magic" audio project
1069:Various Artists: Links Outta Here CD compilation.
140:– and the participatory work ethic of the German
1008:Faulkner, Tony. "Folk Music for the Nineties."
529:October 13, 1991: Mariano Airaldi & Gen Ken
249:Montgomery is also allied with the Kingdoms of
1181:Defunct art museums and galleries in Manhattan
896:Trina, Daniel. "Generator: A New Sound Wave."
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914:Margolis, Al. “The Dave Prescott Interview.”
8:
960:Krause, Adam. "Tapes From The Underground."
476:June 26, 1991: "Live Sound Manifestation" –
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855:" Ken Montgomery quoted in Pinsent, 2002.
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927:David Prescott quoted in Margolis, 1990.
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832:Ken Montgomery quoted in Plunkett, 1992.
41:. It focused upon the work of dedicated
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604:"Artists Throwing Money Out The Window"
162:Having originally planned to work as a
49:that facilitated the activities of the
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726:magazine / cassette. ND, Austin, 1992.
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617:Fabio Roberti's car muffler, a CD of
599:Artists Throwing Money Out The Window
57:audio recording label, and a second,
7:
313:Generator Experimental Music Gallery
811:Bailey, Thomas Bey William (2012).
238:and then set up residence in rural
288:was co-founded in 1987 along with
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880:Ministry of Lamination homepage.
505:August 25, 1991: Charles Cohen,
495:, Leslie Ross & Paul Hoskin)
435:September 14 – October 6, 1991:
125:, described by the artist as "a
33:, co-owned by the sound artists
449:November 24 – January 5, 1991:
442:October 11 – November 16, 1991
422:, Mary & Bill Buchen &
347:inside out'," or a blurring of
159:performance of 'KMZ' in 1982.)
1:
736:Generator Sound Arts history.
127:people-participatory activity
1186:Cassette culture 1970s–1990s
940:Generator Sound Art history.
466:, "Velocity & Vibration"
1119:September 27, 2013, at the
1098:September 28, 2013, at the
708:Generator Sound Arts index.
575:audience at Generator, 1990
321:. This was a multi-purpose
262:Carl Michael von Hausswolff
1207:
1132:December 12, 2012, at the
1106:The Ministry of Lamination
1071:" Retrieved March 4, 2013.
1058:" Retrieved March 4, 2013.
1036:. Retrieved March 4, 2013.
397:Performances / live events
815:. Belsona Books. p. 166.
462:April 10 – May 23, 1992:
107:Churchville, Pennsylvania
76:The organization was non-
1102:(episode 3 on this list)
942:Retrieved March 4, 2013.
882:Retrieved March 4, 2013.
738:Retrieved March 3, 2013.
710:Retrieved March 3, 2013.
693:Retrieved March 3, 2013.
53:/ exhibition space, the
681:. December 20–26, 2000.
338:and mini-media such as
256:established by artists
90:unintended consequences
61:audio recording label.
982:. Autonomedia. p. 92.
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166:– briefly studying at
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1157:40.74536°N 73.99887°W
608:conceptual recordings
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282:Generations Unlimited
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268:Generations Unlimited
244:eight track cassettes
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55:Generations Unlimited
47:umbrella organization
21:
1034:Fabio's Muffler" CDR
902:. November 20, 1990.
336:postal communication
284:record and cassette
1162:40.74536; -73.99887
1153: /
916:Electronic Cottage.
800:The Sound Projector
784:The Sound Projector
542:February 28, 1992:
532:December 29, 1991:
349:personal boundaries
182:with synthesizers,
176:analog synthesizers
142:electronic musician
109:, where he studied
73:from 1989 to 1992.
27:Generator Sound Art
577:
546:& Dina Emerson
534:GX Jupitter-Larsen
522:October 12, 1991:
511:October 11, 1991:
430:GX Jupitter-Larsen
369:subsistence income
278:
251:Elgaland-Vargaland
211:Other forays into
101:Gen Ken Montgomery
35:Gen Ken Montgomery
24:
1111:Kenneth Goldsmith
1010:Barnard Bulletin.
691:Generator Online.
648:Conrad Schnitzler
507:Conrad Schnitzler
498:August 24, 1991:
493:Fred Lonberg-Holm
487:August 23, 1991:
480:, Laura Kikauka,
296:, Arcane Device,
294:Conrad Schnitzler
188:signal processing
153:Conrad Schnitzler
51:Generator Gallery
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786:#17 (2008–2009).
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626:Links Outta Here
622:educational film
561:April 24, 1992:
549:March 24, 1992:
298:Iancu Dumitrescu
180:recording studio
86:Cassette culture
84:networking" or "
39:Scott Konzelmann
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1134:Wayback Machine
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1100:Wayback Machine
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899:Rutgers Review
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841:Plunkett, 1992
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679:New York Press
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453:, "Dolci Mura"
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519:, Ben Manley
470:
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439:, "Sputniks"
412:Alvin Lucier
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319:East Village
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258:Leif Elggren
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240:Pennsylvania
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225:coffee maker
210:
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146:Joseph Beuys
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115:anagrammatic
104:
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69:and then in
67:East Village
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50:
34:
26:
25:
15:
1160: /
918:March 1990.
853:technology.
802:#10 (2002.)
615:disc jockey
551:John Duncan
524:Ron Kuivila
482:Ron Kuivila
451:Ron Kuivila
424:Ron Kuivila
405:Exhibitions
332:underground
254:micronation
1175:Categories
1148:73°59′56″W
1145:40°44′43″N
964:Fall 2012.
724:Fragment 4
659:References
653:Staalplaat
544:Ken Butler
500:The Haters
353:storefront
323:arts space
197:Icebreaker
172:soundtrack
119:lamination
78:commercial
1191:Sound art
768:Keyboard.
752:Keyboard.
643:Sound art
557:Ikue Mori
517:Ben Neill
502:, Gen Ken
489:If, Bwana
464:Chop Shop
360:Amsterdam
345:apartment
213:appliance
164:filmmaker
132:John Cage
63:Generator
59:eponymous
1130:Archived
1117:Archived
1096:Archived
632:See also
471:Concerts
340:fanzines
327:boutique
221:radiator
193:icemaker
184:samplers
82:cassette
376:Chelsea
306:New Age
149:protégé
137:Silence
96:History
71:Chelsea
1114:review
986:
819:
515:&
290:Boston
236:Europe
157:German
123:oeuvre
111:violin
286:label
144:(and
984:ISBN
817:ISBN
619:16mm
612:WFMU
585:CD-R
300:and
280:The
260:and
223:, a
219:, a
186:and
37:and
168:NYU
1177::
995:^
969:^
947:^
932:^
907:^
887:^
860:^
791:^
775:^
759:^
698:^
666:^
595:.
583:A
418:,
246:.
151:)
1067:"
1054:"
1032:"
990:.
850:"
823:.
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