Excerpt mp3 from: Hairrier total run time 33min. 2008
Hairrier
- 01/25/2008
- 03/22/2008
- Weston Art Gallery
- Cincinnati, OH
Press Release
Hairrier: The Hovering Drone
Jimmy Baker (Cincinnati, OH) and Nathan Tersteeg (Richmond, VA) as Dungeon Thud
Recycled plastic, wood, Lexan, synthetic hair, electronic equipment, papier mâché, glass dome, hardware, lighting, latex paint and 33:23min audio performance.
2008
The Harrier Jump Jet has had a tumultuous history as a product of the global military-industrial complex. Brought in and out of active service for the last fifty years, it has consistently been plagued by mechanical failure. Combining this icon of war with the adjective hairy—an oft-used military term describing a hazardous situation fraught with difficulties—this work examines the symbiotic relationship of music as protest to the circumstance of war. In much the same way that Psychedelic music was created as a response to the harsh reality of the Vietnam conflict, contemporary Noise and Experimental music may be understood as a response or reaction to our nation’s occupation of Iraq.
The downed jet depicts the aftermath as a structure for assessment. In the opening night performance that engaged the sound and sculpture of Hairrier, Dungeon Thud frantically struggled to determine the nature and severity of their situation. This performance questions the cognitive reality of living in a democracy heading in a direction that opposes many of its citizens. The dichotomy between pilot and passenger conveys the helpless feeling that however one has participated in American Democracy, it is inevitable that the entire plane is bound to crash.
Jimmy Baker (Cincinnati, OH) and Nathan Tersteeg (Richmond, VA) as Dungeon Thud
Recycled plastic, wood, Lexan, synthetic hair, electronic equipment, papier mâché, glass dome, hardware, lighting, latex paint and 33:23min audio performance.
2008
The Harrier Jump Jet has had a tumultuous history as a product of the global military-industrial complex. Brought in and out of active service for the last fifty years, it has consistently been plagued by mechanical failure. Combining this icon of war with the adjective hairy—an oft-used military term describing a hazardous situation fraught with difficulties—this work examines the symbiotic relationship of music as protest to the circumstance of war. In much the same way that Psychedelic music was created as a response to the harsh reality of the Vietnam conflict, contemporary Noise and Experimental music may be understood as a response or reaction to our nation’s occupation of Iraq.
The downed jet depicts the aftermath as a structure for assessment. In the opening night performance that engaged the sound and sculpture of Hairrier, Dungeon Thud frantically struggled to determine the nature and severity of their situation. This performance questions the cognitive reality of living in a democracy heading in a direction that opposes many of its citizens. The dichotomy between pilot and passenger conveys the helpless feeling that however one has participated in American Democracy, it is inevitable that the entire plane is bound to crash.
