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39-474: Nocturnal Emissions is Nigel Ayers 's sound art project that has released numerous records and CDs in music styles ranging from electro-acoustic , musique concrète , hybridised beats, sound collage , post- industrial music , ambient and noise music . Their sound art has been part of an ongoing multimedia campaign of guerrilla sign ontology utilizing video art , film, hypertext and other media, particularly collage. Nocturnal Emissions were depicted by

78-674: A Dead Princess contains capsule reviews of dozens of obscure books as well as elaborate descriptions of stone circles, while in Down and Out in Shoreditch & Hoxton every paragraph is exactly 100 words long. At times in this period Home's film making also became radically non-representational, and rarely required any original cinematography whatsoever; for example his 2002 fiftieth anniversary English language colour re-make of Guy Debord 's "Screams in Favour of De Sade", and 2004 "Eclipse & Re-Emergence of

117-460: A conflict between him and Neoism founder Istvan Kantor had escalated and led to their alienation. Home's SMILE no 8, which appeared in 1985, reflected the split with Neoism by proposing a "Praxis" movement to replace Neoism, with Karen Eliot as its new multiple name. This and the following three SMILE issues otherwise featured an eclectic mixture of manifesto -style writing, political reflections on radical left-wing anti-art movements from

156-401: A lengthy publishing record with established publishers, Home still had difficulties, in recent years, finding publishers for his work, notably Art School Orgy , on account of the central character sharing the name with living artist David Hockney. The book depicts Hockney participating in scenes of extreme BDSM. During 2021, Home promoted the book via social media, predominantly via Facebook, and

195-435: A pamphlet and later a badge by Home as part of his prestigious edition of Imprint 93 multiples. At this time uber curator Hans Ulrich Obrist also included Home in his survey of young British art "Life/Live" Musée d’art Moderne de la Ville de Paris (October 96- January 97, subsequently toured). In the mid-nineties Home was also appearing regularly as a live artist at "Disobey" events organised by Paul Smith and featuring music from

234-458: A proposed movement and a series of "Festivals of Plagiarism" in 1988 and 1989, which themselves plagiarised the Neoist apartment festivals and 1960s Fluxus festivals. Home combined the plagiarism campaign with a call for an Art Strike between 1990 and 1993. Unlike earlier art-strike proposals such as that of Gustav Metzger in the 1970s, it was not intended as an opportunity for artists to seize control of

273-605: A punk band called White Colours (named after an experimental novel by R. D. Reeve) in 1980, he started a new group with the same name in 1982. He also published an art fanzine SMILE , the name of which was a play on the Mail Art zines FILE and VILE (which in turn parodied the graphic design of LIFE magazine ). The concept was that many other bands in the world should call themselves White Colours , and many other underground periodicals should call themselves SMILE , too. Home's early SMILE magazines mostly contained art manifestos for

312-559: A recipe for much of his subsequent novel writing of the 1990s (there are exceptions such as the non-linear "Come Before Christ & Murder Love"). The book Neoist Manifestos /The Art Strike Papers featured, on its first part, abridged versions of Home's manifesto-style writings from SMILE , and a compilation of writings and reactions regarding the Art Strike from various authors and sources, mainly Mail Art publications. His 1995 novel Slow Death fictionalises and ridicules this process of

351-479: A series of YouTube videos featuring Home with an inflatable doll named David Hockney. The book was eventually published in January 2023 by Loughborough-based online record label, New Reality Records, and sold via their Bandcamp page. The Neoist Alliance was a moniker used by Home between 1994 and 1999 for his mock- occult psychogeographical activities. According to Home, the alliance was an occult order with himself as

390-490: A simulated dream world. He is also interested in eroding the concept of individualised artistic personality using digital technologies to enable multiple authorship. This is exemplified in the remixable sound sample libraries he has released as a sound developer in the commercially released sample libraries for Sony's ACID Pro and Propellerhead's Reason (software) . In his sound installations , such as Soul Zodiac (2006) and The Planetarium Must Be Built (2007) he has explored

429-502: A youth Home was drawn first to music and bohemianism , and then to radicalism . He attended meetings of many different leftist groups including several organised by the Trotskyist Socialist Youth League and even two editorial meetings of Anarchy Magazine . He did not join these organisations and later repudiated them as reactionary , instead professing autonomous communist political positions after going to

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468-498: Is considered a useful art-history work, providing an introduction to a range of cultural currents which had, at that time at least, been under-documented. The work has, however, been highly criticised for deficiencies in its view of utopian currents, including its personal biases, by such writers as Bob Black . Pure Mania , Home's first novel from 1989, took the recipe of the Richard Allen parodies from SMILE and turned them into

507-505: Is rooted in assemblage and collage . Years before digital sampling became commonplace, his recordings used thousands of edited "found" and specially recorded sound samples. His interest in the psychological effects of sound, and in particular the recombination of sound to affect perception of time and space is reflected in CD titles such as "Practical Time Travel" where sound functions as snapshots of memory forming new associations as it passes into

546-567: The Lettrist International , the Situationists, Fluxus , Mail Art , individuals such as Gustav Metzger and Henry Flynt , and short parodistic skinhead pulp prose in the style of his then unwritten early novels. Many texts included in Home's SMILE issues plagiarised other, especially Situationist , writing, simply replacing terms like "spectacle" with "glamour". At the same time Home

585-461: The Situationists , punk , and the plagiarism and Art Strike campaigns, and, as his source of income, the continued pulp-novel writing. In the post-Art Strike years, he had for the first time publicly occupied himself with hermeticism and the occult . The Neoist Alliance, his third one-person-movement after The Generation Positive and Praxis, served simultaneously as a tactical reappropriation of

624-538: The international Neoist network which had been active since 1980. Stewart Home had previously become a member and activist of that network in 1984, but renounced it one year later and subsequently worked under the collective monikers of "Praxis", later " plagiarism " and the Art Strike movement. Despite its highly personal perspective and agenda , The Assault on Culture: Utopian currents from Lettrisme to Class War (Aporia Press and Unpopular Books , London, 1988)

663-477: The "Generation Positive" in favor of Neoism, and make SMILE and White Colours part of Neoism as well. According to Florian Cramer (who didn't come into contact with Neoism until the late eighties) one year later, Home took a sleep-deprivation prank played with him at a Neoist Festival in Italy as the reason to declare his split from Neoism; Home insists he decided to break with Neoism before going to Italy. Shortly before,

702-532: The "Generation Positive", which in their rhetoric resembled those of 1920s Berlin Dadaist manifestos . In April 1984, Home got in touch with the originally American subcultural artistic network of Neoism , and participated in the eighth Neoist Apartment Festival in London. Since Neoism operated with multiple identities, too, and called upon all its participants to adopt the name Monty Cantsin , Home decided to give up

741-581: The London Workers Group. In the late seventies Home produced his first punk (music) fanzines, including early issues of "Down in the Street" which had run to seven numbers by the time he stopped publishing it in 1980. At the end of the seventies Home also made his first public appearances as a musician as bassist with revolutionary ska band The Molotovs. From 1982 to 1984, Home operated as a one-person-movement "Generation Positive", and having already founded

780-485: The Neoism label for self-promotional purposes, and as a corporate identity for pamphlets that satirically advocated a combination of artistic avant-garde, the occult, and politics into an "avant-bard". Higgs included Home in group shows he curated – such as "Imprint 93" at City Racing (London June–July 95), "Multiple Choice" at Cubitt Gallery (London March–April 96) and "A to Z" at Approach Gallery (London 1998) – as well issuing

819-488: The Oedipus Complex", the latter consists solely of still photographs of his mother with a narration scripted by Home but delivered by Australian actress Alice Parkinson. This tendency towards abstraction was already evident in some of Home's work of the 1990s, particularly sound pieces such as the cut up radio play "Divvy", but in the 2000s it became increasingly central to his output. Art School Orgy Despite having

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858-621: The concert hall by magical means during the concert. This was an homage to the 1965 anti-art picketing of a Stockhausen concert in New York by Fluxus members Henry Flynt and George Maciunas . Alliance activities ran parallel and were closely related to those of the revived London Psychogeographical Association and the Italian-based Luther Blissett project. Despite its name, the Neoist Alliance had no affiliation with

897-402: The focus of these reflections was often Neoism , a subcultural network of which he had been a member, and from which he derived various splinter projects. Typical characteristics of his activism in the 1980s and 1990s included use of group identities (such as Monty Cantsin ) and collective monikers (e.g. " Karen Eliot "); overt employment of plagiarism ; pranks and publicity stunts . As

936-633: The historification of Neoism (including the planting of archives at the National Art Library in the Victoria and Albert Museum . Home's novel Cunt was rejected by several publishers before being published by Do-Not Press in 1999. Its plot, which satirises travel writing , the picaresque novel and the publishing industry, centres on David Kelso, an author attempting to write a trilogy recounting his sexual experiences. Confusion Incorporated: A Collection of Lies, Hoaxes and Hidden Truths , published in

975-492: The likes of techno acts Panasonic and Aphex Twin . Aware of the marked decline in countercultural activities throughout the urban centres in which he operated, Home shifted gear in this area of his work in the new millennium, upping his level of Internet activities; web work had been only a minor part of his repertoire in the 1990s. Home's novels in this period no longer incorporated subcultural elements and instead focused on issues of form and aesthetics: 69 Things to Do with

1014-489: The magus and only member. The manifesto called for "debasement in the arts" and in a parodic manner plagiarized a 1930s British fascist pamphlet on cultural politics. Alliance activities mainly consisted of the publication of a newsletter "Re-action" which appeared in ten issues. In 1993, the Neoist Alliance staged a prank against a concert by composer Karlheinz Stockhausen in Brighton by announcing its intention to levitate

1053-552: The means of distributing their own work, but rather as an exercise in propaganda and psychic warfare aimed at smashing the entire art world rather than just the gallery system. The Art Strike campaign caused something of a rumpus in the contemporary London art world (Home got to talk about the Art Strike at venues such as the Institute of Contemporary Art and Victoria and Albert Museum , as well as on national BBC Radio arts programmes and London area television arts programmes), but

1092-717: The name Hank & Slim) (Caciocavallo, 2000) Transgenic CD (Solo album released under the name Transgenic) (Soleilmoon, 2000) Bleeding Images (1982) The Foetal Grave of Progress (1983) The Three Trials – Adventures in Psychotica (Randy Greif dir.) www.thethreetrials.com Online references: [12] Beyond Logic Beyond Belief - retrieved 28 July 2020 Nigel Ayers His sound art collaborations includes work with Bourbonese Qualk , C.C.C.C. , Andrew Liles , Lustmord , Randy Greif , Robin Storey , Expose Your Eyes, Stewart Home , Z'EV , and Zoviet France . In 1980, he founded

1131-478: The novelist Stewart Home . The project was initiated in Derbyshire in the late 1970s by Nigel Ayers (b. 1957), a former art student who, during the period, lived in London, together with collaborators Danny Ayers (b. 1964) and Caroline K (1957–2008). Since 1984 Nocturnal Emissions has continued mainly as Nigel Ayers' solo project. In 1979 , Nocturnal Emissions founded Sterile Records. Sterile Records’ approach

1170-459: The possibilities of digital remixes in both time and space, using everyday equipment such as multiple CD boomboxes. Stewart Home Kevin Llewellyn Callan (born 24 March 1962), better known as Stewart Home , is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. His novels include the non-narrative 69 Things to Do with a Dead Princess (2002), and

1209-635: The re-imagining of the 1960s in Tainted Love (2005). Earlier parodistic pulp fictions work includes Pure Mania , Red London , No Pity , Cunt , and Defiant Pose which pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit-prop , and historical references to punk rock and avant-garde art. Home was born in Wimbledon , (then in Surrey ) South London . His mother, Julia Callan-Thompson,

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1248-644: The record label Sterile Records , releasing the first records by John Balance , Maurizio Bianchi and Lustmord , among many others. In 1987 he formed the Earthly Delights (record label) . In the early 1990s, he performed live soundtracks for the Butoh performances of Poppo & the Go Go Boys. His visual art has been exhibited in the Tate , ICA , and worn by the soccer legend Diego Maradona . Ayers' sound art work

1287-505: The same year, is a collection of fictional interviews, reviews and essays. A third 1999 publication, the pamphlet Repetitions: A Collection of Proletarian Pleasures Ranging from Rodent Worship to Ethical Relativism Appended with a Critique of Unicursal Reason , consists of letters, prefaces and introductions. Alex Kervey of T-ough Press , publishers of the Russian edition of Come Before Christ and Murder Love has reported repression of

1326-483: Was a combination of the experiments of musique concrète and Fluxus combined with the critical eye of conceptual art and the spontaneity and energy of punk rock . The dark humour of industrial music and the incomprehensible nonsense of various ultra-leftist political fractions were an essential part of the mix. Sterile Records used both commercial and non-commercial media to deliver anti-capitalist messages, multi-coloured noise and information overload . The label

1365-555: Was a model who was associated with the radical arts scene in Notting Hill Gate . In the 1980s and 1990s, he exhibited art and also wrote a number of non-fiction pamphlets , magazines, and books, and edited anthologies . They chiefly reflected the politics of the radical left, punk culture , the occult, the history and influence of the Situationists – of whom he is a severe critic – and other radical left-wing 20th century anti-art avant-garde movements. In Home's earlier work,

1404-697: Was effectively dissolved in 1986 , when Ayers founded Earthly Delights. In 1990–92, Nocturnal Emissions collaborated on Butoh dance performances in Europe and the United States, with the Japanese choreographer Poppo Shiraishi . Around this time Nocturnal Emissions' Situationist -influenced practice became increasingly informed by magick , stone circles , techno – shamanism , neo-paganism , animism and Fortean research. There were many collaborations on animated films by Charlotte Bill (filmmaker and musician) . Bill

1443-793: Was involved in a series of collective installations including "Ruins of Glamour" (Chisenhale Studios, London 1986), "Desire in Ruins" (Transmission Gallery, Glasgow 1987), "Refuse" (Galleriet Läderfabriken, Malmö 1988) and "Anon" (33 Arts Centre, Luton 1989) which generated serious art world interest and art publication reviews and even coverage in British newspapers such as "The Observer" and "Independent". Those Home worked closely with on these shows included Hannah Vowles and Glyn Banks (collectively known as Art in Ruins ), Ed Baxter and Stefan Szczelkun. Following on from this and drawing on 1980s American appropriation art , Home's concept of plagiarism soon developed into

1482-754: Was more seriously discussed in subcultural art networks, especially in Mail Art . Consequently, mail artists made up a reasonable proportion of the participants at the Festivals of Plagiarism , and Mail Art publications disseminated the Art Strike campaign. In the 1980s Home was also a regular contributor to the anarcho-punk /cultural magazine VAGUE . In 1993 Home officially resurfaced, having meanwhile gained an influence and reputation in American counter-culture comparable to writers like Hakim Bey and Kathy Acker . Aside from reassessments of his earlier engagement with Neoism,

1521-716: Was never an official member of Nocturnal Emissions but admits to being one of the legion of members of The Fall Nocturnal Emissions were later to be associated with the Kernow section of the Association of Autonomous Astronauts Oedipus Brain Foil 3xCD (with Randy Greif and Robin Storey) (Soleilmoon, 1998) Mesmeric Enabling Device CD (with John S. Everall and Mick Harris) (Soleilmoon, 1999) The World Turned Gingham CD (with Robin Story, released under

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