Ho. Turner (1948–2012) was a German artist who embraced
the European echoes of the hippie movement, psychedelic drugs,
Tibetan mysticism, shamanism, and the creative possibilities
that early 1980s consumer technology offered in image and
sound. His work consists of photographs, micro-edition Copy Art
magazines, mail-art letters and postcards, and electronic music,
which he used in audiovisual performances, or released in small
handmade cassette editions.
Turner bought a ‘professional’ synthesizer and a drum machine,
but also worked with small mono cassette recorders and multiple
Walkman players that he could take outside and record sounds
with. He was a member of the short-lived German art band NASA,
who had appeared on stage alongside the likes of Abwärts and
Einstürzende Neubauten in 1980 — using only portable cassette
recorders. Most of his audio work was produced in his tiny apart-
ment/lab space, by mixing together layers of sound via speakers
and re-recording them with a mono microphone. In performance,
he created densely collaged audiovisual spaces that played with
effects of pseudo-synchronicity.
Turner never owned a mixing desk, and his recording equipment
was rudimentary at best. All his sound works were produced from
around 1979 till 1990. At the end of this period he suffered from
increasing hearing loss. A hearing aid was found in the box which
contained his cassettes, but it seems to have not been used much.
Around 175 cassettes (from C5 to C90), many of them copies or
different mixes of similar material remain.
The Shrill is a complementary album to Systematic/Synergetic/
Synchronistic/Syntonized/Sensitized! (E169, 2014). Edited and
produced by Marc Behrens for Entr’acte, 2014.
Ho. Turner (E169)
Ho. Turner with a fly agaric, circa 1990