petak, 10. veljače 2017.

utorak, 7. veljače 2017.

Kristin Hayter / Lingua Ignota - Burn Everything



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kristinhayter.com/




Nasilje ne služi liječenju duše.











DISEASE OF MEN is number 13 in a 13-part song cycle loosely based on Igor Stravinsky’s SACRE DU PRINTEMPS. DISEASE OF MEN corresponds to Stravinsky’s SACRIFICIAL DANCE, in which The Chosen One dances to death ‘in the presence of the old wise men.’

all text is culled from BURN EVERYTHING TRUST NO ONE KILL YOURSELF, a 10,000 page document of electronically mediated pornogrind lyrics and documentation of my own experiences of sustained violence. 10,000 pages is 100 lbs of standard paper, equivalent to my body weight. BURN EVERYTHING is literally a corpus of predatory, abusive language i have ingested and chosen to hurl back into the world as my own.
my ongoing work with the project LINGUA IGNOTA is to appropriate the tropes of male-dominated extreme music and to re-articulate these tropes in a meaningful way for survivors of violence, eschewing traditional models of ‘healing’ in favor of Moral Ambiguity and Total Nihilism.
this version of DISEASE OF MEN is unmastered and abridged. full version will appear on an upcoming release.
read more about the 10,000 pages here.



































screen-shot-2017-01-04-at-12-34-06-pmBURN EVERYTHING




























IMG_3366
Kristin Hayter is an interdisciplinary artist, composer, and performer currently living in Rhode Island. She holds a BFA from The School of the Art Institute of Chicago and an MFA in Digital Language Arts from Brown University. She will be pursuing a doctoral degree in the Fall of 2017.
A classically-trained vocalist, Kristin works with a variety of media and technology to create dense works harnessing the tech-mediated or acoustically extended voice, and is inspired by vernacular extreme forms such as black metal, power electronics, and harsh noise as well as sacred and liturgical music.
Her solo project LINGUA IGNOTA explores violence and gender in extreme music through a morally ambiguous, emotionally/physically intense performance practice that has been described as “crushing.”