posted Jan 19, 2012, 4:59 PM by Alison Sirico   [ updated May 25, 2012, 1:14 PM by Robin Enrico ]



The hunt for space continues!

We are working hard on creating our infrastructure, which will govern the ways we  make decisions in the future. 


◊ Future curation 
◊ Configuring Paesthetics LCC
◊ Dictionary zines
◊ Viewing new properties
◊ discussing the feasibility of scouted locations 
◊ “Financing”
◊ Logos
◊ Milk crates & examinations

Read our minutes for more details: 


At the 1/9 Monday Meeting, we met at Stepguaard - Tristan Perich's and Lesley Flanigan's Manhatten loft where they throw music and art parties. They talked about their own curation experiences. We also received insight from Anton Perich- an experimental pioneer of photography, painting, film, and video - who was involved in Max's Kansas City, an incubation chamber for music, art, and film in the 1960s and 70s.  

On 1/16 we held our meeting at the beloved Brooklyn DIY venue Death by Audio - a show space, a rehearsal space, arcade, and pedal manufacturing center


Data analysis currently underway at The Clocktower Gallery

Attached are some of the search queries that might help bring you to our new Party Lab Data Analysis Center.

Please refer to the Operating Manual before beginning your Deep Listening Session

If you would like to work from your own laboratory abroad, please refer to the Lab Report Template, and then pick any tape from THE ARCHIVES and begin your session. Feel free to use extra Sound Event Log Sheets as necessary. You can send your findings to

Sign up to be a lab tech if you'd like to participate!
Lab Tech contact:

For more info on the Party Lab Project:


Need a translation?The New Silent Barn Dictionary dictated by Lucas Crane was emitted into the ether last week. Look out for our Zine.

Word of the Week: 

– The conditional recognition that certain aspects of a creative or social process will forever be out of ones control, and the peace of mind and creative potential of that realization. The anticipation of both the stagnant nature of the seemingly best scenarios and the unique creative potential of the blatantly worst moments. It stands for "pathetic aesthetics". Loosely it means "do it anyway you can with no resources" or "the artful solution is the most fun". Or more confusingly "do what with, with what you have." It is not a nod to the resulting appearance necessarily, but underscores a strategy of adaptability and feistiness that one needs to have to get things done in an environment where at any moment a hundred drunken party monsters can descend upon you and cover everything with joyous screeching and booty moves. the state of “scrappy glory”. The wave is coming, and you have to get this plastic playground slide out of here! It is most efficiently illustrated, I believe, with the phrase "Is that thing bothering you? Screw it to the wall. Boom." 

It also acknowledges what role "lack of control" can, or should, have over something big and complicated and social (such as a show in your house), but it also relates to having a subtle hand on things, a respect for "vibes," and an organic approach to life. Paesthetics comes out of practical need. When you ratchet the variables up and refuse to impinge upon even and asshole’s right to some kind of good time, Paesthetics will be your guide. its It’s like building a chair while being chased by a pack of wolves though a thrift store, after-hours. 


For Christmas my dad (Charlie Ahearn) gave me a bunch of videos he's shot of different projects I've done over the last year, including clips from VORTEX TECHNIQUE at The Silent Barn. Check out Grand Wizard Theodore in the kitchen, along with Sabisha Friedberg, Maria Chavez, and G Lucas Crane, as well as this manifesto on the technique I've dug up. ◊ Joe 



By G Lucas Crane

What are we to do with all this information? This swill that laps at our minds, covering us with the sap of the modern era?

There are a variety of normal reactions when faced with the glut of information in our current world. Anxiety is one. Psychosis is another. Ego exploded and the practiced art of getting over is a practical response. How do we steel ourselves against the tsunami of voices? The competing signals vie like fighting parents in your mind, step out the door and you are greeted by messages evolved over time to reach right in and shake your identity to the core. We are asked to process these signals all at once. Another proper response is the reflex to collage. Your neighbor’s dog speaks with the voice of the man at the deli, the song coming from the headphones next to you is layerd over thoughts of your last vacation while the panhandler shakes his cup at you on the train. All the billboards fight in your eyes and become a painting. 

The motivation to Remix is part of this world. Samples in music are now ubiquitous. This is the digital era, the ghost of any idea is ripped free from the mind and body and we can get whatever we want. Human expression is reduced to content and the streamlined signal is malignantly generated, thrown instantly into the digital wash. This modern sea of information has currents, eddies, and tides. Meme storms and culture Boomlets. This series posits that there is a vortex in the center of the information sea, and this is where the sample collage comes from. And this is where the collage ultimately goes. Into the Vortex.

For the remix artist of any stripe, the sample, the unit of human expression in some form, is caught, sluiced out of the information sea, processed through physical technique, and returned to the vortex, touched with the human hand, in an infinite cycle of remixing.

No matter the style, the techniques of musical sample recombination are a physical response to a need for expression. One can draw a line from Dada sound art to abstract turntablism to blown out noise music. Ever since the machine began to interpret us, to mirror our signal, we desired to touch the tape, to pet the wheel, to scratch the record, to break the signal. But the sound and style is bourn out of the learned technique. The physical presence of the media creates a human response. Now, digital manipulation gives free reign to the ego, the desire, the concept. WHAT WE ACHIEVE TOO EASILY WE ESTEEM TOO LIGHTLY. The development of Technique to manipulate samples carves musicality out of the vortex of information our modern lives are choked in. While it has a variety of stylistic expressions, the core idea is the same, 

The collage signal progresses Through the Prism of the human body, requiring the honing of a skill, the choice of personal tools, and the motivation to re-work reality….


Project Idea of the Week

I have made a lot of things out of milk crates in my life.  My studio is a modular set up of 10 milkcrates and two filing cabinets.  By having things on my milkcrate shelf they are already packed to go and I can move my whole set up in one well packed car load.  I have designs to build more than just shelves though.  Did you know that milkcrates are the same width as traditional filing cabinets?  Just add some hardware and you have a milkcrate filing cabinet.  I also have plans for milkcrate window boxes to plant in, milkcrate desks, walls, lighting fixtures, projector shelves and more.  I can also build large scale sculptures out of milkcrates like these:  So if the silent barn has any needs for milkcrate anything let me know!

Have YOU taken the BARN Exam yet??


Jefferson Vimana is a visual artist & musician known to most as "Jefferson Mayday Mayday" who instigated a still functioning house venue for over a decade in South Carolina called the Immaginarium

Jefferson's connections to the Silent Barn began with meeting former residents Jeremy Earl of WOODSIST records in 2005 & Skeletons in 2006 on their American tours. Jefferson did a few cassette tape covers for Earl's label, and Skeletons invited his band at the time Kurse Go Back to play a summer happening. Although Silent Barn had held a few shows prior, this was the first showcase to the public as a functioning venue. Jefferson has also had several close friends do mural work, such as Brian Blomerth, Jonathan Coward, and partner in crime & former Barn resident Adam Void. However, Mayday's involvement is perhaps most notable from his visual contribution to the Silent Barn's bathroom. 

In 2007, resident John Chavez contacted him in regards to mailing the venue art to completely cover the walls for a Silver Apples showcase, and then again to be updated in 2009. These days, Vimana has recently released his movie "Anthropocosmos" on purple VHS tape as well as his first 12 inch "G Threshold" . He currently resides with his wife in Sydney Australia sifting through the op shops for rare forgot about cartoons.

Have a vision? Email me at to design the next newsletter logo. 


The Wallet is another feel-good DIY space and great pile of people
We had our meetings here for a while. Check out the article Nat Roe wrote.