Sounds from a swimming pool, composition by Brion Gysin with unidentified musicians. Recorded by Brion Gysin in the late 1950s or early 1960s.
WSB cut-ups with Dutch Schultz’s last words and news texts, shortwave radio noise. Mid ’60s, London
What I find Exciting about this piece, is how Burroughs is in a way creating a soundscape layer for his won reading. Additionally, I think it is exciting to see how an author uses sounds to complete an idea originally meant to be read, not heard.
Tape made in early 1960s by Ian Sommerville and WSB, using the “drop-in” method.
I like the idea of altering recordings after the fact. I wonder if the mash-ups require all found material. I enjoy the fact that Burroughs and Sommerville treat their own material like found material. Is there a certain distance that must come between the artist and their own work to be able to teat it like found material.