This is slide show of photos documenting the transformation of a 1971 Shasta Compact into the “MOTHERSHIP” or “M.A.R.C.” (Mobile Artist Residency Camper”) as well as photos documenting the travels of a corresponding “mobile artist residency” between May and August of 2012.
music by THIT
Musical assistance by Eric Kocher and Steve Snell
an exhibition by Lou Joseph and Mark Rice
421 N. Howard St. Baltimore, MD
August 4 to 19, 2012
opening reception Aug 4, 6-9pm
closing reception Aug 17, 6-9pm
The work in this show addresses the cycles and dead ends of history, exploring cultural redundancy, political shame, apocalypse predictions and conspiracy theories. To this end, Rice and Joseph use reenactments, cover songs, footage of dangerous pursuits, and catalogs of the initially meaningless, but ultimately important.
Mark Rice’s homemade games employ elements of intentional repetition, loss, and optimistic redundancy. In these videos, advertising lures viewers and promotes the games, but the works are also wrung though alternative theories of living and changed by the repeated process of telling and retelling.
Lou Joseph uses a variety of processes to reproduce online images of fracking sites, contrails and fortune-tellers of doom. Signs of decline are presented in a frank, non-narrative, non-persuasive fashion, leaving open the question of mass response or (lack of response) to events that expand beyond the control of their witnesses.
This show presents equipment from Mark’s “Spray the Hooray” games, as well as video documents of the games in play. Lou shows three new series of drawings, paintings and prints. A collection of projects that the artists have collaborated on over the last ten years is also included.
All non-circular posters by Pete Shreiner. Thanks, Pete!
A message from Goatmother Industrial:
“THIT is the label attached to all sound projects of a solo nature. This includes works in electronic, pop, concept, and field recording.
The gravitational pull of musical collaboration is a strong and unrelenting force, creating a spiderweb of new, frightful, and compatible pairings creating disparate sounds that pan and scan the universe of classification.
THIT was formed in Providence for an art exhibit in the Gelman Gallery at the Rhode Island School of Design in the fall of 2009. The piece put forth by the newest audio arm of Goatmother Industrial included a musical performance, a record release, and a “merch wall.” The musical performance included a melody of unfinished songs written and recorded during the previous months. These songs were performed with a drum set, two guitars and a bass tuned to work as percussion, a ukulele, a tape deck, and vocals. The album entitled Cream was released during this show along with other merchandise ( including t-shirts and autographed posters) on the Merch Wall. The Merch Wall worked as a wonderful display for the products (created by Voyage Corps Gifts), served to obscure the performer, and was useful as a music stand to help remember lyrics and musical changes. The remnants of these three aspects of the piece worked together to form an installation that remained in the gallery for the rest of the exhibition as documentation. Here are some photos from that performance and subsequent installation:
What follows is a chronological list of releases by THIT. (click album title to link)
All releases are available streaming at:
This is the first album by THIT. Originally released as 17 one-of-a-kind singles, this album is a compilation of recordings made between 2006 and 2009. Guest musicians such as Chris Barth, Mikey Kapinus, ZURI, and G.K. round out this lo-fi section of demo recordings. This is a piece made of pieces. All songs are unfinished, excluding THIT 13, which is a cover of a song by The Donkeys (aka California’s Royal Jewel).
This sophomore effort by THIT seems to offer a transitional state between sounds and song. Written as a concept EP for the future faith that is Fantum Limb Fanamatronix, this 5-song ode offers a post-apocalyptic glimpse into the origins of FLF. Each song is written to accompany a 6 inch square copper engraving. The combination of these prints and songs lead the viewer/listener through a short origin story of an all-male epoch with a fear of skin, a common enemy, and a desire for immortality.
The 3rd release by THIT is a series of five album singles exploring “drones” and “emphasis” in the keys of C, D, E, G, and B. This self-described “cycle” leads the listener through each key, easing in slow, revving up, and cooling down, each album contains one “song” and if played in order up the piano, these albums form a meditative arc, that is unmistakable. The psychical album is an experiment in packaging (or possibly “over-packaging”) offering five separately packaged CDs in silkscreened, hand-printed, and spray painted album artwork. Each album includes linear notes and an 11 in x 17 in five layer silkscreened poster. All are bound together in a silkscreened cardboard wrap in a limited edition of 25.
This album features the soundtrack to the kite exhibition and movie of the same name, SPF 2010. This exhibition took place on September 14, 2010 on Horseneck Beach, MA and was curated by Lauren Pakradooni and Mark Rice.
All music written and performed by PAKTHIT except the final track, written by David Vandervelde.This is the first musical collaboration between PAK and THIT.
To see the entire movie visit: www.youtube.com/watch?v=hSFbGgeZF74
This album consists of one song that was performed live at the Fletcher Building Room 207 at the Rhode Island School of Design on November 14, 2010 by PAK and THIT. Instrumentation was shared and included, electric guitars, drum set, no-input mixer, loop tapes, keyboards, and vocals. The entirety of the song was performed behind a false paper wall.
“Aboard the ship, you can feel the speed in your body. and you can feel it when it slows down, speeds up, or stops”
This is the only public statement made about this album. Fans have speculated that a similarity is present to the drones that are audible during a long trip in a car with the radio off. Hypnotic. Hypnotic. Rinse and repeat.
SUPERPOSITION is Ian Quate and THIT.
This is the single for the song “Block Island.”
WE PUT THE SCIENCE BACK IN CONSCIENCE.
released 01 June 2011
Recorded in Room 207, Providence, RI
Lyrics and Vox by Ian Quate
Produced by THIT and Superposition
“Perspectives” Soundtrack – Art Loeb and the Trailers
This album is the first proper collaboration between Mark Rice and Eric Kocher. It takes the form of a soundtrack for the series of short videos by artist Steve Snell, called “Perspectives.”
The album was released in August of 2011, as the soundtrack for the videos, but was never properly released as an album until December 2011. All music composed and performed by Eric Kocher and Mark Rice.
The videos are performed by Kari Jackson, Eric Kocher, Mark Rice, and Steve Snell
The videos by Steve Snell can be viewed at the following links,
just click on the name of the person to view their perspective:
for more video and artwork by artist Steve Snell, visit his website at:
Z398 – (pre) THIT
Roughly twelve years after its creation, this small sampling of songs is all that remains from many late nights hunched over a beautiful synth in the Music Library at Indiana University. This alum was recorded in Digital Performer using one of the many Kurzweil synthesizers in the midi lab, where the Introduction to MIDI Music class was taught. call number Z398. Many songs were lost over the years due to misplacement, rerecording, and/or evolution of recording format (zip, min-disc, etc.) This selection was poorly transferred to a small tape deck in 1999, then recently digitized. (Pardon the hiss.)This album was released on the 24th of December in 2011.
- Recorded in Indiana University’s Music Library,
- late at night,
- under the influence in 1999.
- Total Recaller
- The album is a section of field recordings/interviews collected between December 2009 and January 2012. Each recording is a solicited interview, asking the interviewees to recall the plot of the same sci-fi movie (undisclosed).
- TOTALL RECALL IS A COLLECTION OF
OF THE PLOT SYNOPSIS OF A MOVIE
THAT WAS RELEASED IN 1990
AND TAKES PLACE IN THE YEAR 2083.
- Released February 1st, 2012
ONE OF THREE DEVICES:
A ZOOM MICROPHONE, A RADIO SHACK
OR MY SAMSUNG CELLUAR PHONE.
It is focused on the appropriation and manufacturing of redesigned
leisure sports. This Compact Disc gathers together the efforts of THIT,
Goatmother’s audio department, in this selection of eleven songs.
These songs were composed, performed and recorded by THIT
in Spartanburg, South Carolina between August 2011 and January 2012.
Each song was commissioned as part of the advertising campaign for
the eleven different items that comprise the SPRAY THE HOORAY
Choreographed by Carlos Agudelo.
This ballet was performed at the Chapman Cultural Center in Spartanburg, South Carolina by the Spartan Arts Ballet Company on March 29th, 2012 at 7pm.
Long Arms Little Dad is Eric Kocher.
THIT is Mark Rice.
Mulch! is Mark Rice and Eric Kocher.
All songs written, performed, and recorded by Mark Rice
“Grollis-Hon” utilizes the melody from “Allison” by the Pixies and was recorded with the help of Jonathan Cargill.
“Mr. Peace” is by Bob D.
Thit (Soundage) is an entity that swirls with the twirl of artist Mark Rice’s all-encompassing Goatmother Industrial umbrella. Throughout the catalog, that rotation often, and sometimes drastically, switches direction. In that sense, New Happy Baby is no departure, but in that sense only.
The carefully crafted shrapnel of previous work remains embedded here, but this time around the protruding edges emerge just as sharp, but less jagged. With a few cables unplugged, a few knobs turned down, this release pours out some songwriting that has been held in a wonderfully disorienting check by lots of ketchup, and mustard, and buzzes for a long while.
New Happy Baby wipes some of the snot and lemon juice off of the gazing ball with the welcomed addition of rattled but relatable singing. Thit’s mix of idea splices and experiential collection parks itself here like a vehicle with an unexpired license plate.
All that being said, this recording doesn’t skip on Rice’s ability to touch and repurpose every instrument in the shop. From melted air organ to pressed guitars, to methed-up banjo style bass trips…and sometimes the drums go “boom, bang, boomer, click, lick, bang, boom.”
The feel: Selected admissions similar to how we skip work sometimes for no real reason, except that we don’t want to go.
There are references. Find them yourself, if that’s important to you. You may find your new favorite song.
-Tyco Riley (2013)
Spray the Hooray Non-Athletic Games is a series of interactive sculptures that are documented through music, photo, and video . In this series, I construct a game by appropriating and redesigning traditional leisure sports. Next, I create a marketing campaign by producing a video commercial and a soundtrack as a response and document of these products. In my former 2-D work, I explored the roots of printmaking by incorporating the reproductive technique of engraving. Spray the Hooray is a continuation of this research into the power and art of documentation.
In this project, the marketing campaign of each product acts as a modernized stand-in for its reproductive engraving or documentary photograph. These commercials and subsequent soundtracks advertise a distorted existence of these products as engravings once did for paintings and sculpture. Although within this distortion, the ability for embellishment, exaggeration, and creativity is supreme. Spray the Hooray is a continuation of this research into the power of reproduction as well as the art of documentation.
I have chosen the subject of leisure sports for many reasons. The existence of leisure sports is based on a miniaturized and simplified version of a more interactive athletic sport. Overtime, leisure sports develop their own rules and diverse culture, separate from the sport from which they were based. I use this as a symbol of visual culture and an optimistic view of the state of artistic freedom in the digital age.
With increased access to art of all cultures and time periods, a fresh artistic perspective is becoming more difficult to achieve or may only be held by those who practice self-restraint with their creative research. This project is about the process of thinking and responding. Spray the Hooray is about the inherent entropic qualities of documentation and the infinite possibilities in a “reproduction.” It is a reaffirmation to the importance of “artistic exercise” without fear of redundancy.
For a link to the album on bandcamp:
SPRAY THE HOORAY CD
Click the links for the Spray the Hooray commercials on Youtube:
Collaboration with other artists is a critical and mind-expanding tradition for Goatmother Industrial, creating new avenues of exploration in audio and visual engagement.
Here is a selection of collaborations with different artists.
Pictured below are works or events created with:
Grayson Cox, Jeremy Kennedy, Lou Joseph, Crab Jackson, J Shelley Harrison, Jocelyn Prince, Aaron Drew, Amy Noblitt, Eric Kocher, and Andrew Maxson.
At the bottom, there is a video of the performance for Jocelyn Prince’s collaborative glass work.
SPF 2010 was a group show of hand sewn and hand-printed kites curated by Mark Rice and Lauren Pakradooni. The exhibition took place on September 14th, 2010 from 12 pm to 4 pm in the sky above the beautiful Horseneck Beach in Westport, Massachusetts. All the kites for the exhibition were designed by a selected group of artists living and working in the area of Providence, Rhode Island.
Hae Min Choi, Emilia Edwards, Luke O’Sullivan, Stefan Gunn, Lauren Pakradooni, Alee Peoples, Patrick Egger, Mark Rice, and Duhirwe, Rushemeza.
A short video and accompanying soundtrack were made of the exhibition.
The SPF 2010 Soundtrack by PAKTHIT can be found here
TALL is a short film about the career of an artist. The main character experiences initial youthful inspiration and graduates from each successive performance, building momentum and speed until reality and gravity create friction against the growth of his heighthening aspirations.
The film was written by Mark Rice
Shot and edited by William Winchestor Claytor in 2009.
Soundtrack by Mark Rice and Amy Noblitt.
Red jumpsuit by Amy Karr.
The film is split into parts one and two.