Good episode with several things that could be discussed.
Good to see Filth & Violence being mentioned in positive light and the importance of label noted.
Discussion about the "industrial culture", how there are many people who sort of live for it could be worth further observations. I know there is a lot of people who get by with whatever job, and their passion is all circulating around things related to "industrial culture". Not just the sound, but overall fringe culture. Be it books, films, lifestyles, etc. Not even meaning just things people often consider destructive or negative, as I don't think that is what "industrial culture" is all about. Like Oskar says, it feels sometimes little pompous or pretentious to talk about industrial culture at this day and age, so far from times where it maybe (at least seemingly) meant more. In my experience, a lot of people don't really follow the "expectations" nor really do it to fit in, but it is some sort of rule of gravitation. That funny thing that guy from small town texas, small town Finland and rural Norway and bleak British city just suddenly gravitated towards each other based on... something that pulled them together. This is also quite different from a lot of other genres. Like if you got local heavy metal guy or punk, what comes out of that is quite different.
Oskar mentions about how noise would be seen in history, if it would be somehow written in art books and university thesis etc. It is curious thing, as for example just about anyone who knows even a little about art, knows existence of modern art, and most likely knows dadaism. Original dada really lasted merely decade, if that. There were other art movements, that are significantly less known. It appears that Vorticism isn't that know either.
It is curious to think what all we would know of Russian avant-garde is there wasn't George Costakis. Tons of pieces that had no place of Stalin era soviet regime had basically disappeared. In the 40's Costakis discovered by accident this art form and became obsessed by collecting all he could, that may have survived from oppression.
"He was so struck by the powerful visual effect of the strong colour and bold geometric design which spoke directly to the senses, that he was determined to rediscover the Suprematist and Constructivist art which had been lost and forgotten in the attics, studios and basements of Moscow and Leningrad."
It could be very much possible, a lot of things one takes as granted, that is part of the globally praised art history, would have been lost and forgotten, thrown into garbage, with no value seen in them. Unless there was this one man, who went into obsessive ride of trying to find, collect and preserve and eventually make it all public for world to see. Without this one guy, who knows what we would know from this revolutionary era.
There are theories why dada became big and known by everybody, and not some other modern art movement or group that issued manifestos and created formerly unseen things around same time. Like in mentioned in that topic about Frans De Waard interview where they talked about importance of the noise books he is doing, that there is nobody to document this movement - so we got to do it ourselves. Some of these art movements existed in time when there was journalists, critics, authors etc that were curious. There is none of that left really. Everything remotely alternative is pushed so far on the fringes that it either survives by itself, or withers away. I would assume.
