Zero: The Empty Frame

Robert Horton: Founded the Appliances, part of SF's first wave of punk bands in 1979. Played at the inaugural mayoral ball for Jello Biafra. ISM also in 79 was one of the first SF noise bands playing a series of house shows. Robert formed Plateau Ensemble in 1983, a tribal noise drone group who played in the Bay Area until 1987 drawing members from the Jon Hassell Group, ROVA, KU KU KU, Glorious Din, Eternal Glands of Secretion, Gamelan Seka Jaya, etc. Through out the 80's and 90's Robert participated in the cassette revolution releasing tapes in Japan, Italy, Belgium, Britain, and the USA. During the mid 90s to 2004 Robert's time was mostly in doing Anti- Racism Educational groups called the UNtraining. He continued to record but hoarded it all for himself. Lately the dam has broken with releases on Foxglove, JYRK, 267-lattajjaa, Celebrate Psi Phenomena, New American Folk Hero, Barl Fire, Spanish Magic and Outa. Robert records under his own name, Egghatcher, and Future Ears. He is currently a member of Kyrgyz, Beautiful Friend, Infinite Article, Broken Mask, and the duo with Tom Carter.

Cfr. nn. Arch. 183.22, 184.25 ZERO is a limited edition collection of one-minute soundworks by international sound artists, experimental composers, noise makers and other audio creators. Contributors were invited to create an original recording of one-minute duration for the CD on the theme of ZERO – whether through their stripped-down, low-tech aesthetic or a focus on themes of absence, abstraction, distortion or a sense of thereshold between one state and another. The CD contains a broad variety of one-minute soundworks and presents the results of artists working thematically in chance juxtaposition. By bringing together this calibre and range of contributions, ZETRO aims to stimulate further interest in the artist work and practice, debate and dialogue surrounding sound art. The artists on ZERO range from well known world figures, to individuals and groups making their first wirks in this field. ZERO was commisioned by the Foundation for Art & Creative Technology (FACT) and was published with the support from Liverpool Art School.