‘From this perspective the rhizome of the noisy continuum appears as a contagion (we should not be surprised, then, that dub has been described as just that), a force blossoming at so many ruptures, not as a motor of action but something to be invoked, channeled in one form or another, and injected into the relays of cultural, political, and musical networks. That it becomes enfolded, at so many junctures, into commodity-form is countered by the fact that it appears to be perpetually pushing onward, evading capture by changing its mold despite the encompassing of differences across the terrain of the market, driven by its own delirious rhizomatics. The image of the rhizome has come to stand in for infinite circuits of communication in an ever-expanding space. Such language is precisely that of Empire, with its drive not own towards limitless commodification but also connectability. The rhizomatics of the noise contagion, by contrast, is a negative force that jams communication, impedes signals, and the markets the environment for which it intervenes for a simultaneous destruction and evolution. Hence the presence of the affective registers of dread and opening: dissolution and recomposition are precisely the reasons noise is invoked.’
We have become so accustomed to violence through entertainment that transgression itself has become merely another capitalist performance. How then do we elevate art, how can it be a reaction to the Other instead of its medium? How must we act when yesterday’s transgressions are today’s commodities? – Andreas BurckhardtiSound
When we consider the topic of noise, as an aesthetic mode aligned with moments bound up in the emergence or production of new subjective processes, we are taking into consideration an assemblage built from two primary parts. The first of these is the questions of the vibrational infrastructure of the noise itself: how is the noise produced, with what intensity or solemnity, how audible is the noise, how is it directed, from what distance is the noise traveling, how does the architecture impact the noise, how do the bodies in the proximity of the noise, be it those…
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and there is proof!
i know it’s a pretty paltry number, but the vast majority of these downloads (~80 or so) have come in the wake of ceaselessly e-mailing peeps and posting on various electronic audio forums during the past few weeks. so it feels good. we also did a small batch of zines (50) and have passed along around 40 of those. add this to the distributing to friends and we’ve gotten the sample-pack n essay to somewhere around 200 folks!
i am currently working on finishing the second volume of the ‘Microblocks’ sample-pack series and hoping to finish it by the end of October. It will be focused on chant recordings from demonstrations/riots/protests/etc.
Justin Hogg on cover songs as a way of thinking and rethinking the world
This annotated playlist comes from Justin Hogg — a DJ, writer, activist, student, and basketball enthusiast living in Santa Cruz, California.
“Those crazy kids what will they do? They’re not a bit like me and you, with that crypto-punky psychobilly beat. They took your sacred rock ‘n’ roll, they stripped it down and they left a hole, then they filled it up with anger from the street. Hey hey hey hey, mutant beat freaks.” — Cleaners From Venus, “Summer in a Small Town”
I was playing basketball the other day inside my local recreation center’s gym when I noticed I was being watched from the bleachers by an old white man. As I sank jumper after jumper I ducked inside for a lay-up. I made that too, but the decrepit onlooker chose to scowl at me and said in a scratchy voice, “You shouldn’t shoot like that…
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Arran James on the molecularisation of control
The psychotropic body is a body modeled “from the inside,” no longer passing through the per-spectival space of representation, of the mirror, and of discourse. A silent, mental, already molecular (and no longer specular) body, a body metabolized directly, without the mediation of the act or the gaze, an immanent body, without alterity without a mise en scéne, without transcendence, a body consecrated to the implosive metabolism of cerebral, endocrinal flows, a sensory, but not sensible, body because it is connected only to its internal terminals, and not to objects of perception (the reason why one can enclose it in a “white,” blank sensoriality – disconnecting it from its own sensorial extremities, without touching the world that surrounds it, suffices), a body already homogeneous, at this stage of plastic tactility, of mental malleability, of psychotropism at every level, already close to nuclear and genetic manipulation, that is to say to…
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Real interesting piece here on the need to think more carefully on the relation between politics and poetry.
‘We fear the displacement of political antagonisms into the sphere of the literary and the cultural has a long history of helping to aestheticize, derail, and defuse past social movements significantly more skeptical about the relationship between culture and politics, or culture and power. Huey Newton’s 1968 assertion “that culture itself will not liberate us,” for example, is almost unimaginable today— politicians and police help to organize speakouts and poetry slams to prevent disruptive protests, riots, and rebellions from erupting in the streets. Empty rituals of cultural recognition and endless stage-managed “dialogue” are continually offered as substitutes for even minimal reforms to state policy, laws, and the economy.’
‘There are years, days, hours, minutes, weeks, moments, and other measures of time spent in the production of “not writing.” Not writing is working, and when not working at paid work working at unpaid work like caring for others, and when not at unpaid work like caring, caring also for a human body, and when not caring for a human body many hours, weeks, years, and other measures of time spent caring for the mind in a way like reading or learning and when not reading and learning also making things (like garments, food, plants, artworks, decorative items) and when not reading and learning and working and making and caring and worrying also politics, and when not politics also the kind of medication which is consumption, of sex mostly or drunkenness, cigarettes, drugs, passionate love affairs, cultural products, the internet also, then time spent staring into space that is not a screen, also all the time spent driving, particularly here where it is very long to get anywhere, and then to work and back, to take her to school and back, too.’