1. Joseph Beuys - "Ja Ja Ja Ne Ne Ne", 1970, Mazzotta Editions, Milan, 33 rpm, 500 copies. (excerpt 2:00)  

2. Maurice Lemaître - "Lettre Rock", 1958. Interpreted by the author and Paul Thorel, accompanied by amateur jazz singers. "Maurice Lemaître Presents Le Lettrism", Columbia. (1:51)

3. Fillippo Tomasso Marinetti - "La Battaglia di Adrianopoli", 1926. Recorded by Marinetti in 1935, Voce del Padrone, Milano/EMI 1948-75, 33 rpm. (2:26)

4. Raoul Hausmann - "Poémes Phonetiques" (1919-1943) 45 rpm, Paris Ou Magazine, 25-26, 1966. (3:50)  

5. Antonio Russolo - "Corale", "Serenata", 1924, Musica Futurista, organized by Daniel Lombardi, Fonit Cetra. (2:31)  

6. Marcel Duchamp - Some texts from "A l'infinitif" (1912-20). Recorded by Aspen Magazine, November 1967, N.Y. (4:00)  

7. Kurt Schwitters - "Die Sonate in Urlauten" (1919-32). An Anna Blume - Die Sonate in Urlauten (1919-1932) 1958 Lords Gallery, London, 33 rpm, 100 copies. (excerpt 2:03)

8. Lawrence Weiner - "Having Been Done At / Having Been Done To, Essendo Stato Fatto A", 1973 Sperone-Fischer Edition, Roma 33 rpm. (excerpt 2:25)  

9. George Brecht - "Comb Music (Comb Event)" 1959-62. Performed by John Armleder August 23, 1988. Engineered by Brenda Hutchinson at Studio PASS, N.Y. (:05)  

10. Patrick Ireland - "Vowel Drawing", 1967. Recorded at Studio PASS, N.Y. Engineered by Connie Kieltyka, September, 1988. (1:07)  

11. Richard Huelsenbeck - "Four Poems from Phantastiche Gebete". 1916. Recorded by Aspen Magazine, November 1967, N.Y. (excerpt 2:00)  

12. Arrigo Lora-Totino and Fogliati - "Poesia Totale", 1968 Liquimoiono, Poesia Liquida, Scwettier, Milan (excerpt 1:34).  

13. Jean Dubuffet - "Musical Experiences", 1963, Atlantic Recording, NY 1973, 33 rpm. (excerpt 2:17)  

14. Mimmo Rotella - "Poemi Fonetici", 1949-75, Plura Edition, Milano, 1000 copies, 33 rpm. (excerpt :44)  

15. Joan Jonas - "The Anchor Stone", 1988. Engineered by Brenda Hutchinson at Studio PASS, N.Y. (2:30)  

16. Christian Boltanski - "Reconstruction de Chansons Qui Ont Et Chant" es Christian Boltanski (1944-46)", 1972 45 rpm. (excerpt 2:30)  

17. Ian Murray - "Keeping On Top of the Top Song", 1970, Performed by Arno Van Nieuwenhuise, 1984. A recording of the first ten seconds of the top 100 songs of the last ten years (1970). (excerpt 3:15)

19. Jonathan Borofsky - "The Standard Chant Pt. 2", 1983, recorded by J. Borofsky, Los Angeles, Ca. (1:33)  

20. Magdalena Abakanowicz - "Cough", 1986 Recorded by Magdalena Abakanowicz, Warsaw. Poland, (excerpt :35)  

21. Richard Prince with Bob Gober - "Tell Me Everything", 1988. Recorded May 18, 1988 at Studio PASS, N.Y. Engineered by Alex Gardner. (3:00)  

22. Martin Kippenberger - "Bang, Bang", 1987, POP IN. forum Stadtpark Graz. (3:11)

23. Jack Goldstein - "The Weep", 1978. (excerpt 2:21)

24. John Armleder - "16 Great Turn-Ons". 1988, performed and directed by Christian Marclay at Studio Pass, N. Y Engineered by B. Hutchinson. edited-by C. S Russell. (1:10)

25. Terry Allen - "Home On The Range", 1988, Terry Allen and the Panhandle Mystery Band, Greenshoes Publishers 1988. Vocal and piano: Terry Allen; acoustic guitar: Lloyd lvlaines; mandolin: Richard Bowden; percussion: Davis McLarty; harmony vocal: Joe Ely. Produced by Allen and Maines, recorded at Caldwell Studios, Lubbock, Texas. Engineered by Caldwell and Maines. (3:13)

26. Gretchen Bender - "Artificial Treatment" 1988, Recorded at Studio PASS, N.Y. by B. Hutchinson. (2:44)  

27. Y Pants - "Magnetic Attraction", 1980, Gail Vachon: ukulele; Barbara Ess: bass; Verge Piersol. drums, Vocals: all. (3:11)  

28. Ed Tomney - "Aquatic Chronicle", 1988, Spotless Music. (3:07)

29. Susan Hiller - "Magic Lantern", 1987, Edited by B. Hutchinson with Tim Guest at Studio PASS, N.Y. (Abridged version 5:03)  

30. Ian Murray - o.p. cit. (1: 12)

This issue of TELLUS explores audio work produced by visual artists from the Futurist Movement to the present. Luigi Russolo presented his theories on the use of noise in a musical context in 1913 with the "Art of Noise". Russolo destroyed the barrier which separated the works of precise harmonic sounds from that of indeterminate noise. With this manifesto, he proclaimed: "Ancient life was all silence. In the 19th century, with the invention of machines, Noise was born." His Futurist Orchestra of "families of noises" argued that the voice and sounds such as rumbles, explosions, whistles, snorts, screams, laughs and machines were to be regarded as musical instruments. With this in mind, I have touched on subsequent movements or events, defined by artists: Dada, Letterism, Art Brut, Fluxus, Conceptual Art and artists working with media appropriation that have been instrumental to audio and its history The two faces of this tape document different approaches to audio recording - sound and phonetic poetry, music concrete, storytelling, electronics, artists' bands and the sequential repetition of a sound, noise or word(s). With eighty-eight years of audio history passing through sixty minutes of time, TELLUS #21 accounts for less than one second of work produced by artists in this century.