tag:blogger.com,1999:blog-9622517597800586782024-03-13T09:51:04.675-07:00Natalia KamiaDaniele Balithttp://www.blogger.com/profile/07864577739624908666noreply@blogger.comBlogger31125tag:blogger.com,1999:blog-962251759780058678.post-35252219002157215082014-10-23T10:29:00.000-07:002014-10-24T03:15:30.350-07:00songs of apprenticeship, songs of the underground, now<br />
Apprenticeship. My Wiki Hegel.<br />
<br />
when a master finds a slave they become a team<br />
making him toil he treats him as a thing<br />
moulding him- the slave soft as wax<br />
planting doubt, self-doubt and fear<br />
to break stubbornness<br />
at the end of bondage the apprentice leaves<br />
taking some of his master's with him<br />
<br />
one day he will become independent<br />
and return to where he belongs <br />
as a subject<br />
not as a thing he was<br />
he will exist as himself for himself, not for us<br />
the wax has hardened, he will be on his own<br />
but kept on the chain and sworn<br />
<br />
only possible if the service is completed<br />
if it were interrupted because of his stubbornness<br />
or never terminated - made endless<br />
he would either sink into himself and his thing-ness<br />
or stay soft and shapeless, being moulded by others<br />
<br />
the master's interest will be gone and he will unchain<br />
his bondsman<br />
and broken, melted, remoulded without end<br />
he will never get home<br />
<br />
on his journey back<br />
carrying his lord on his shoulders<br />
he meets others and as the burden is heavy<br />
he wants to trade in order to keep going, actually<br />
it's the master pulling the chain<br />
rattling it to scare him and keep on the track<br />
of course, he is not going to shake off<br />
and simply drop on the road his load<br />
even if he is making bad deals<br />
with the people sent by his lord<br />
getting things that are of no use<br />
and of lesser and lesser value<br />
no way, he won't run back, he'll carry his cross merrily<br />
he is not confusing the road with destination<br />
<br />
<br />
the slave or master to be<br />
is rendering his service to others<br />
humbling himself as a thing-subject not yet<br />
not simply a thing like before as he gets as well<br />
the wax is now hard, it's his shield, he is unaffected<br />
his body's exhausted<br />
but something has happened- a break!<br />
he loses everything and he loses himself<br />
he's no longer here, where is he?<br />
he drinks from a fountain, what an abundance of colours!<br />
a tree!<br />
all what is lost is not lost and the tree is in bloom<br />
his belongings are his as they're his master's<br />
the master is here, it's him<br />
he's returning, he knows where he comes from<br />
<br />
<br />
Day and night<br />
<br />
tristan and isolde asleep with a sword between them<br />
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<br />
<br />
<br />
Global desiring-machine<br />
<br />
have a look at the global desiring-machine<br />
it's devouring its son<br />
biting, sucking out blood, tearing out organs, chewing, spitting out bones<br />
here they are, they will turn into dust<br />
each corn unique, nomadic, no identity, spreading diseases<br />
settle and lift like a cloud- it's a global return<br />
<br />
you're saying: we are in a desert<br />
this kind of return's not for us<br />
okay, let's check the machine, there it goes<br />
stomach ache, bad digestion? let's see<br />
it needs to go to a wc<br />
<br />
you're saying: we don't know the rules of this game<br />
we don't want to be manipulated into any returns<br />
we need some explanations: was that son<br />
sent by the mother with a clock and TV?<br />
no, that was his own idea, the mother...<br />
you've met in the desert<br />
it's coming, what's that ?<br />
it's young and it's strong, looking more like its son<br />
i see double and i see a mirage- an oasis?<br />
are you sure it's that global desiring-machine ?<br />
<br />
<br />
HARVEST MOON SONG<br />
<br />
i found my grail in the gypsy flag<br />
with that red wheel ever turning<br />
bringing waters down on earth<br />
earth to heaven in reverse<br />
<br />
but the wheel was from my heart blood<br />
bleeding heart and tears i cry<br />
i was mixing blood with tears<br />
for the things I left behind<br />
<br />
i am carrying too much<br />
and the storms tear down my tent<br />
and i can't read in the dark<br />
as the lamp in it stops burning<br />
<br />
i was begging in the streets<br />
sitting outside the temple<br />
i was stealing white wax candles<br />
when i got caught in the rain<br />
<br />
i was dancing i was singing<br />
then the sun was laughing at me<br />
when the sun was shining on me<br />
all the candles dropped in mud<br />
<br />
once i was begged- didn't give<br />
and she told me "you will bleed"<br />
bound by blessings of that curse<br />
i sail back to native shores<br />
<br />
on my road with no end<br />
i kept grinding never minding<br />
that the spokes got nearly broken<br />
brought my wagon to a halt<br />
<br />
should have sharpened all my tools<br />
with the spark of stones well used<br />
now my blood is thin as sighs<br />
but at least i learned to cry<br />
<br />
<br />
BEFORE NEXT SUN<br />
<br />
my sun is inside the earth<br />
as a citizen of lemuria<br />
i didn't want to be born<br />
i stamped with my feet and i screamed<br />
at her who gave me blue light<br />
<br />
about my father in case you wonder <br />
first he worked in mines<br />
then he was a rainbow in the skies<br />
<br />
there must be my light twin on the other side<br />
because there are no flights<br />
to the poles of the earth<br />
to fall down and meet in the middle at last<br />
we have to dig through the crust<br />
<br />
another method is to rot to the core<br />
that blue light has helped me before<br />
<br />
when the seed is corrupted by rot<br />
it's not like in seedless grapes<br />
we buy on the market and eat<br />
for the sake of their sweet taste<br />
<br />
a totally separate mystical commodity<br />
not an equivalent of value, neither usefulness<br />
neither a show of effort made public<br />
rotting is non-effort, digging sisyphean<br />
and sweat seedless grapes are non-significant<br />
<br />
when corrupted the seed's so not useful<br />
that it's almost a work of art<br />
and who can prove the impossibility of unity<br />
with the southern twin rotting miles apart?<br />
rotting, not growing downwards<br />
we'll burn together as one, close to my father sun<br />
<br />
<br />
<br />
Две песни из подземелья.<br />
<br />
Кровавая Луна.<br />
<br />
я нашла грааль в цыганском флаге<br />
с огненным колесом<br />
перекатывающим капли дождя<br />
с неба на землю и потом обратно на небо<br />
<br />
но это колесо<br />
было моим истекающим кровью сердцем<br />
когда я оплакивала где-то забытые вещи<br />
слезы с кровью смешались, я слишком много<br />
с собой взяла<br />
истрепало палатку ненастьем<br />
там темно, больше читать нельзя<br />
ведь лампа вот-вот погаснет<br />
<br />
я просила милостыню на улице<br />
мне подавали у дверей храма<br />
как-то раз я украла белых восковых свечей<br />
да дождь помешал когда я их зажигала<br />
<br />
я пела и танцевала<br />
пока солнце надо мной не насмеялось<br />
пока солнце на меня светило<br />
я все свечи в грязь побросала<br />
<br />
когда-то и у меня просили<br />
но я ничего не давала<br />
и благословляя проклятьем, она мне тогда сказала<br />
"чтоб кровью ты захлебнулась"<br />
<br />
возможно<br />
я бы домой вернулась<br />
все катилась<br />
по бесконечной дороге, колесо все крутилось<br />
только когда повозка остановилась<br />
заметила я<br />
что ось едва не переломилась<br />
<br />
надо было наточить инструменты<br />
высекая искры из камня умело<br />
сейчас моя кровь уже водяниста<br />
как вздохи<br />
зато плакать я научилась<br />
<br />
<br />
Скоро новое солнце<br />
<br />
мое солнце внутри земли<br />
гражданка лемурии<br />
я не должна была родиться<br />
я топала ногами, кричала<br />
на ту что мне синий свет показала<br />
об отце, если вам интересно<br />
под землей он работал<br />
и радугой стал в небесах<br />
<br />
где-то на противоположной стороне земли<br />
есть мой двойник<br />
вернее мы близнецы<br />
самолеты на полюс уже не летают<br />
не провалиться нам внутрь, чтоб встретиться наконец<br />
надо тоннель прорыть<br />
есть другой метод- до сердцевины гнить<br />
<br />
загнивающий плод, где семена пропали<br />
не как виноград без семечек<br />
что мы покупали<br />
я сразу ела, соблазн был велик<br />
тот виноград<br />
отделенный от нас волшебный товар<br />
ни мерка ценности, ни полезности<br />
ни демонстрация славной работы садовника<br />
сладость одна<br />
сгнить не работа, а рыть- для сизифа, сгнивая дотла<br />
плод бесполезным становится<br />
словно творенье художника, пусть мне поможет<br />
синий тот свет<br />
как доказать что союз близнецов невозможен<br />
надо истлеть до конца<br />
сгореть как единое целое, вместе у солнца-отца<br />
<br />
<br />
NOW<br />
<br />
it is actually happening now<br />
two women speaking romanian on the tram<br />
both look grimy, ikea bags, charity shop clothes, one of them's singing<br />
a primitive song without words na-na-na<br />
a peculiar kind- checkered pants, sits like a man<br />
she is making odd rhythms to it with her umbrella<br />
tapping her foot, laughing and swearing i think<br />
her singing is really amazing<br />
not performing and she is not begging<br />
the song is too bitter, too crude, too hot, too monotonous<br />
i wonder how she can sing just like that<br />
only a baby with its arms and legs can express life so naturally<br />
i can't be mistaken, it's her<br />
i am turning away to avoid meeting her eyes<br />
as mine may reveal dissolution, melancholy, amusement, recognition<br />
to be completely honest i am falling in love with the situation<br />
i have no rings in my ears, no nail varnish<br />
she has<br />
i am not celebrating<br />
she is<br />
she is joy, i am sorrow<br />
i don't want to get off<br />
i cannot cut myself away from the song<br />
i am compelled to look right in her eyes<br />
to see if she gets embarrassed- she doesn't care<br />
i cannot hide a smile and i'm nodding<br />
she is saying something to her friend<br />
maybe like<br />
this one is definitely enjoying, mamaye<br />
they are getting off, now the singer is angry and sad<br />
she is sorrow and i am joy, but i can't just run after them<br />
i cannot shrug myself off like an old coat to leave on the seat<br />
whatever, i am getting off anyway<br />
i am walking and my love light's too strong<br />
it feels like a gloria, what shall i do about that experience?<br />
i have never heard anything like that, and i'm sure it's her<br />
she is poor, i'm broke, i need new boots<br />
no, i 'm not buying boots- a one way ticket to a little town<br />
i am totally in that na-na-na gothenburg tram number 1 song<br />
i'm really not going anywhere and i'm on the bus now<br />
walking, my love light too strong, my umbrella, my boots not so water-proof<br />
sure that's her, i am hungry, she's eating now<br />
waiting for bus number 7, it's coming<br />
people get on, show their cards, getting on<br />
where are them words of excuse me, but i have no money?<br />
my card is not charged, the machine showing red, oops!sorry, now it's ok<br />
the driver conspiring- my love light 's too strong<br />
it's like a gloria, i'm singing that song<br />
<br />
<br />
Сейчас<br />
<br />
это в общем-то происходит сейчас<br />
две женщины говорят по-румынски в трамвае<br />
обе замызганные, мешки из икеи, куртки с чужого плеча<br />
одна из них что-то поет<br />
примитивную песню без слов на-на-на<br />
странная, в клетчатых брюках, сидит как мужик<br />
зонтиком такт в пять на шесть отбивает<br />
ногами притопывает, ругается думаю я<br />
смеется, пение просто прекрасное, не на публику и не за деньги<br />
слишком проста ее песня , груба, монотонна, горька, горяча<br />
я удивляюсь- как можно так петь?<br />
только младенец<br />
от избытка жизненных сил<br />
руками ногами такое выделывать может<br />
я не могу ошибиться, это она<br />
я отворачиваюсь, боюсь встретиться взглядом<br />
так как мои глаза изобличают тот факт, что я<br />
пытаюсь скрыть меланхолию, увлеченность происходящим, узнавание<br />
если честно, я без ума от самой ситуации<br />
у меня в ушах нет колец, ногти без лака<br />
у нее есть<br />
я не праздную<br />
она празднует<br />
она радость, я горе<br />
я не хочу выходить<br />
я не могу себя оторвать от песни<br />
я вынуждена ей смотреть прямо в глаза<br />
захотелось проверить не смутится ли - нет, ноль реакции<br />
мне не удается в себе подавить улыбку, киваю<br />
она что-то говорит подруге, может<br />
смотри вон той явно понравилось, эх мамае<br />
им пора выходить, певица расстроена чем-то и злится<br />
я радость, она горе<br />
я не могу за ними бежать<br />
я не могу стряхнуть себя на сиденье как старую шаль<br />
сейчас и мне выходить, не важно<br />
я иду и любовный мой свет так силен<br />
я его ощущаю как ореол<br />
что же мне делать? ничего особенного не произошло<br />
я никогда не слышала ничего подобного и я уверена что это она<br />
она бедна, я в безденежьи<br />
мое ботинки совсем никуда не годятся<br />
нет, я покупаю билет в один конец<br />
еду в маленький город<br />
без денег на обратный билет<br />
я вся в той трамвайной песне номер 1 в гетеборге<br />
в действительности я не еду<br />
гуляю под зонтиком, ботинки мои прохудились<br />
свет во мне по- прежнему очень силен<br />
я уже совсем уверена в том, что это она<br />
она ест, я голодна<br />
сейчас жду автобуса номер 7<br />
вот уже подъезжает, люди садятся, билеты показывают<br />
я тоже сажусь, у меня только старый билет<br />
где же слова извините, нет денег?<br />
водитель- да да, все в порядке- все как сговорились<br />
свет мой все так же силен<br />
как ореол, сижу я ту песню пою<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-72024401132979598462014-10-19T16:43:00.000-07:002014-10-23T11:06:34.213-07:00Unity has to be fabricated<br />
Unity is a missing part, it has to be fabricated and added to the rest. The idea comes from "Anti- Oedipus".<br />
<br />
Deleuze is considered a philosopher of multiplicity and immanence, concepts usually contrasted to unity and transcendence. However, if we look for transcendence on the plane of immanence, as something outside of consciousness, but still belonging to a human being, it is probably the unconscious. To abstract from individuals, it's the collective unconscious as an enormous reservoir of memory of the mankind, connecting us to nature and expressing itself through myths, the motives of which are similar across time and space, perpetuating the code of an archetype.<br />
<br />
There is an emptiness in nature. I am not referring to Hegel, but to what causes the eternal return, why repetition is repetition with a difference, or how dialectics of existence blocks concepts, theoretically designed to produce returns of the same or loops of general particularities. Deleuze, discussing singularities and how they disobey the rules of the general, points at some mysterious verticality in nature, the laws of which are superior. This verticality, obviously transcendent, is like an axis in the middle of a black hole, in proximity of which behaviours deviate.It is responsible for difference in repetition. Repetition itself expresses universality in singularity.<br />
<br />
This emptiness was called the fifth element or aether by the ancients. By pulling the 4 elements inside it produces quintessence that turns everything it touches to gold (the salt of the earth that doesn't burn, but can be volatilized into spiritual fire). Unity we are looking for,contemplating phenomena and numbers, is strongly suggested by the overall uniformity of everything- the stages of embryo development coinciding with the steps of Darwin's ladder and the Chain of Being, patterns in nature following the golden section etc. So we can conclude that multiplicity affirms unity, in the same way that becoming affirms being. However, as empty or a missing vital part, it can only be fabricated (this introduces an artist as a magician) and added to the partials,to complete the whole that extends itself, is animated with life, breathes. Deleuze is more interested in how it works:<br />
"A magical chain<br />
brings together plant life, pieces of organs, a shred of clothing, an<br />
image of daddy, formulas and words: we shall not ask what it means, but<br />
what kind of machine is assembled in this manner—what kind of flows<br />
and breaks in the flows, in relation to other breaks and other flows."<br />
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Disjunctive synthesis is another paradox of the same kind. I remember a scene in a Bertolucci film, I think it was "The tragedy of a ridiculous man", where one of the characters, working at the cheese factory, is literally assisting the flows of coagulated mass to be cut into and dropped down as separate cheeses.Initially they were liquid- milk, the living mass of primal matter. Cheese was the owner's gold, made capital, the flow and consummation of which was crucial in the film, as he had to get his kidnapped son back. The son was gone, but he returned. Magical 9, he lived, as the seer in the film predicted. In the picture below (it has nothing to do with the film), the sum is always 9:<br />
4+5, 3+6, 2+7, 1+8, 0+9, -1+ 10 (horse shoe counting)<br />
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<br />
Production, consumption,consummation was like a desiring machine coupled with a body without organs. Work often looks repulsive, but it brings money. I don't mean we can't survive without ( not discussing lack as the basis of desire, neither is missing that unity as emptiness a lack, but rather a yearning), it's just that production has to go on in one way or another and the products are consumed all the time. This consumption and consummation are important for the process to start anew.<br />
<br />
I really don't like pragmatists very much- they use and are being used, why can't we do things out of this yearning and simply to keep moving? Sometimes it's looping (habits, automated responses and ways of production), but it can become moving, if we discover potentialities of the emptiness. The path to it lies through ego destruction, as only an egoless body without organs can make itself fluid and indifferent, plastic enough for becomings, but it has to be coupled with desiring machines. Without application in real life it is a closure in the imaginary- "Better to flee to the body without organs<br />
and hide out there, closing himself up in it." Here an ego loss means schizophrenia, but real sickness is in our split culture and closed minds.<br />
<br />
An ego will always speak in terms of lack, envy, possessiveness (will cling to the results), self-preservation. Another condition allowing for intensive flows is that of a full body, in which opposing principles are in balance. It draws partials to itself and the axis around which becomings occur is a magic fetish- independence of familial reproductions from social production and reproduction provide "a transcendent detached object that crushes their polyvocal character; the detached object (phallus) must perform a kind of folding operation", not in a mode of oppressive triangulation of Oedipus- "3+1 (the four corners of the field folded into three, like a tablecloth, plus<br />
the transcendent term that performs the folding operation"), but as 4+n, far beyond, reaching the ancestors. In primitive cultures all members of society undergo initiation into real life to be integrated in the group, not isolated egos. They are not conditioned by any grand signifier without signified- Father, not merely collective archetypal patterns either, but by real functions and intensities of filial structures.<br />
<br />
The second synthesis, connected with the past or the virtual, leads to the third- the static synthesis of pain and bliss, opening to the future. Virtual as an undifferentiated flow of forces, that take shape and start making sense (becoming structured and thus coherent) and after breaking into parts, their consummation in emptiness, return. Indifference of a well-balanced body is not a cancellation of passion, but will to power, the way it is understood by Nietzsche- willing it so much that you want its return and for that being ready to go under.<br />
<br />
"- We shall speak of an absolute limit every time the schizo-flows<br />
pass through the wall, scramble all the codes, and deterritorialize the<br />
socius: the body without organs is the deterritorialized socius, the<br />
wilderness where the decoded flows run free, the end of the world, the<br />
apocalypse."<br />
<br />
I'm afraid I am making a mistake, described in "Anti- Oedipus":<br />
<br />
"The three errors concerning desire are called lack, law, and<br />
signifier.<br />
And it is futile to interpret these notions<br />
in terms of a combinative apparatus (line combinatoire) that makes of<br />
lack an empty position and no longer a deprivation, that turns the law<br />
into a rule of the game and no longer a commandment, and the signifier<br />
into a distributor and no longer a meaning, for these notions cannot be<br />
prevented from dragging their theological cortege behind—insufficiency<br />
of being, guilt, signification."<br />
<br />
But I see the cure in polyvocal applications, not playing a global game, having fun (what's fun means nothing). So here is my advice (to myself to start with): move your Plato to your heart and live your ideals of harmony, (don't forget Aristotle, he provides tools), seize the now- that ever escaping present - and never let it go, stay open and keep loving your life.<br />
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<br />
<br />
I round up with a beautiful poem (in Swedish) by Bruno K. Öijer- "Tätt Intill" from "Svart Som Silver".<br />
SSS, try to decode it! Everything is expressed there and so much better.<br />
<br />
dom viktiga åren<br />
<br />
och hela mitt förflutna<br />
<br />
verkar så avlägset<br />
<br />
men ligger ändå nära tätt intill<br />
<br />
håller armen om mej när jag sover<br />
<br />
och får allt tungt och värdelöst<br />
<br />
att släppa taget<br />
<br />
lossa sitt grepp om mej<br />
<br />
en natt som den här är jag fri<br />
<br />
fri att tänka mej hur långt bort som helst<br />
<br />
och varför ljuga<br />
<br />
jag väger mindre och mindre<br />
<br />
svävar nästan till över marken<br />
<br />
glider undan från tillvaron<br />
<br />
som om jag<br />
<br />
brutit en fjäder ur den dödas dräkt<br />
<br />
och förstått<br />
<br />
hållit den länge i handen<br />
<br />
och lärt mej använda den<br />
<br />
lärt mej till slut vad allt gåt ut på<br />
<br />
<br />
<br />
<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-32734256611513583972014-09-10T00:25:00.000-07:002014-09-10T00:25:20.740-07:00primordial unity in becoming<br />
When a weaker force, performing a certain function in the body of a primordial unity, is destroyed in power struggles, inherent in the system, that function collapses, threatening the existence of the system. It has to be immediately replaced so that the unity can continue as one- this is the expression of the dynamics of conflict, suffering and strife that perpetuates becoming, in case when this dynamics is not affirmed by all parts.<br />
<br />
Nietzsche describes life as a "multiplicity of forces, connected by a common mode of nutrition". A new existential interpretation of the great philosopher, presented by Vinod Acharya in "Nietzsche's meta-existentialism" (Monographien und Texte zur Nietzsche- Forschung), explains the idea as follows: " A multiplicity of forces forms a relative unity through organization and co-operation when a single dominant drive or force comes to subjugate other forces, which also have the lust to rule. The ruling force interprets the subjugated forces by forming a political structure, by setting up an "order of rank and division of labor as the conditions that make possible the whole and its parts"(KSA 11, 40/21/). Nietzsche calls this political structure, "body (Körper),"which has its own "perspective" as a "complex form of specificity"(KSA 13, 14/186/). Each perspective or view-point - whether described as subjective or objective- "strives to become master over all space and extend its force" (KSA 13, 14/186/). In cases where a dominating force is unable to subjugate a drive to obey the command of its regime, it could leave this drive out of its unit, in order to continue preserving the relative stability of the unit. In other scenarios, where it can transform the weaker force into its functionary without destroying the latter, it seeks to form a new alliance (KSA 12, 9 /98/). Or, when there is another equally strong force that is also seeking to control the regime, the currently dominating force seeks to "conspire together (with the other force) for power", therefore forming a new sort of union (KSA 13, 14 /186/).<br />
<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-20776675882009665652014-03-23T01:18:00.000-07:002014-03-23T01:34:57.995-07:00ANIMANS liVe at the Air Force Museum in Linkoping, Sweden<br />
At Singh Thai, Norrköping, on 10th March, 19.20 CET<br />
<br />
- Kosta is coming, Yvonne is coming, Antoine is also coming.<br />
<br />
- Antoine? Who is Antoine?<br />
<br />
- The guy from Animans who is playing with me. I think I'll recognize him when he enters the room. Googled.<br />
<br />
- So you never met?<br />
<br />
- No.<br />
<br />
- Wow....and you are playing live tomorrow!<br />
<br />
- Yes. That's pretty exciting. He is bringing his tape-recorder.<br />
<br />
- Bonsoir!<br />
<br />
- Yeah, it's him! Bonsoir!<br />
<br />
- Bonsoir!<br />
<br />
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<br />
11th March, Flygvapenmuseum, Linköping.<br />
<a href="http://www.flygvapenmuseum.se/">http://www.flygvapenmuseum.se/</a><br />
Animans are in the program at around 14.00 CET, among the presentations by Vision Forum participants and guests <a href="http://vision-forum.blogspot.se/2014/02/vision-forum-spring-meeting-2014-march.html">http://vision-forum.blogspot.se/2014/02/vision-forum-spring-meeting-2014-march.html</a><br />
<br />
Now that the jam is over, I am trying to look back. We had a lot of different ideas about the project: the concept, the message, the medium, the venue. Hard to evaluate the results. It could be better, it could be worse. Reading through our email conversations, I see a chain of key -words, all of them having something to do with "air" and "force". I know that they will never compensate for the failure with the radio stations- we didn't manage to build a chain of them, but to a certain degree they trace the trajectory of our work:<br />
<br />
FREE AIR WAVES<br />
<br />
AIR........................................FORCE<br />
AIR WAVE...................................................POWER<br />
BIRDS...........................................................DEMOCRACY<br />
FLY........................................FREEDOM<br />
FLIGHT.........................................................REBELLION<br />
LINE.........................................................TARGET<br />
AIRCRAFT....................................................DEVASTATION<br />
WIFI.....................................................BARRIERS<br />
INTERNET................................TRANSMISSIONS<br />
ETHER............................................................NOISE<br />
RADIO.............................................COMMUNICATIONS<br />
TECHNOLOGY..............................................PIRACY<br />
STREAM..................................................INSTITUTION<br />
MEDIUM.........................................................MESSAGE<br />
PERFORMANCE.....................................AUDIENCE<br />
ART............................................................MORALITY<br />
JAM.......................................COOPERATION<br />
BROADCAST...............................................MONITOR<br />
CHAOS......................................................CONTROL<br />
RANDOMNESS...............................................ORDER<br />
POETRY...........................................................WORDS<br />
SOUNDS..........................................FREQUENCIES<br />
TIME.................................................................SPACE<br />
DIY.........................................MUSEUM<br />
LINK.....................................................CHAIN<br />
CONNECT.......................................................TRANSFORM<br />
RECORD...................................................DEFORM<br />
LIVE.....................REMOTE<br />
ON AIR............................................................SECRET<br />
FLOW......................................................................INTERSECT<br />
SMOOTH............................................STRIATED<br />
REAL TIME...............................................................LATENCY<br />
PHONES................................................INARTICULATE<br />
LISTEN.....................................................................DECODE<br />
UNDERGROUND...........................MILITARY<br />
<br />
As planned, we were showing a remote jam (two on stage, the third of Animans, Maggie, over the internet, the fourth remaining totally in the background)-crossbroadcasting and even receiving a broadcast or rather a re-broadcast by DJ Soulard from Spiritplants radio (<a href="http://www.spiritplantsradio.com/">www.spiritplantsradio.com</a>), reading his poetry, all the sounds returning in a different rendition. One of the streams were hidden in a DIY "transmitter box" (a cardboard box with a plastic cup, connected to another one with a thread, passing through to the outside, a recorder, an iPhone and a mascot inside, the sound travelling through the thread, more often than not unsuccesfully). The audience could access it on their smart phones. Those who used them, brought the hidden sounds into the room, and they got picked up by the microphone, creating a continuous loop back into the flow. You can listen to some snippets from it here:<a href="http://soundcloud.com/kamikuma/animans-confessing-publicly">http://soundcloud.com/kamikuma/animans-confessing-publicly</a><br />
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<br />
<br />
I was reciting a fable, written especially for the occasion- "Penguin and Chicken at Flygarns Haga"- the result of some brainstorming via emails. I even made a collage with it (can be heard on soundcloud-<br />
<br />
<a href="http://soundcloud.com/jucumari/penguin-and-chicken-at">http://soundcloud.com/jucumari/penguin-and-chicken-at</a><br />
<br />
Here is the text:<br />
<br />
Penguin and Chicken at Flygarns Haga.<br />
<br />
- What kind of bird are you that cannot fly?<br />
<br />
- A navy bird, I can swim.<br />
And what kind of bird are YOU, little chicken?<br />
You cannot fly either.<br />
<br />
- Oh, mr Penguin, I could before- I mean my ancestors could.<br />
I am what has become of me.<br />
<br />
- That's not your fault. Beware, those who walk on two legs...<br />
<br />
- Like you, mr Penguin?<br />
<br />
- No, those non-birds, who walk on two legs and can fly, they'll see to it that you get in a soup.<br />
<br />
- Ay! No no no, I don't want to be in a soup.<br />
<br />
- We are in a soup already.<br />
<br />
***<br />
<br />
AIRMAN'S DEFOLIATING SOUP<br />
<br />
Ingredients:<br />
<br />
Monsanto Agent Orange (2,4- D and 2,4, 5-T) 1 tbs<br />
<br />
PCB's 1 cup<br />
<br />
Dioxin 5 tbs<br />
<br />
Genetically engineered soybeans 1/2 cups ( from Dupont or Dow)<br />
<br />
Genetically engineered corn 1/3 cups (from Syngenta)<br />
<br />
Baking soda 10 tbs<br />
<br />
<br />
Pre-cook soybeans and corn, mix well with the rest of the ingredients and pour into a plastic bag. Shake vigorously.<br />
<br />
PFFFKT! PFFF! SHKTTT!.........AY! .....NGM GN GN......HRSSSS!......AY GNMN Ggn pkht pk<br />
<br />
<br />
(silence)<br />
<br />
<br />
Ikarus<br />
<br />
He was a butterfly<br />
The sunlight was a great attraction<br />
It was a spectacular death<br />
Not a postmodern performance<br />
<br />
There was a lot of pathos in his wish<br />
To shine with a stolen brilliance<br />
What was forbidden for a creature of land<br />
Only spurred Ikarus, but wasn't his goal<br />
<br />
Alight on his wings- of wax was it<br />
Competing in the air as wings usually do<br />
The right congealed, the left close to a melting degree<br />
He made a casimi and under the rays of sun<br />
<br />
And the sun, that radiant solar bird<br />
With a beak, sharp like a laser beam<br />
Ripped apart those belligerent wings<br />
And the toxic wax rain fell on the ground<br />
<br />
You think Ikarus fell too<br />
But that's a horrible mistake<br />
He died, but<br />
He learned to fly without wings<br />
<br />
***<br />
<br />
- Ah, mr Penguin, you scare me.<br />
But I don't understand how he learned it.<br />
<br />
- The same moment you forgot how to do it, he remembered it.<br />
<br />
- How?<br />
<br />
- He made a flying machine...<br />
<br />
- Wait, wasn't he dead?<br />
<br />
- Yes, he was. He was dead in his heart- it got scorched by the sun.<br />
But please, don't interrupt me.<br />
So, he made a flying machine with wings just like yours and a brain inside a pilot much smarter than yours.<br />
<br />
- That's an insult, mr Penguin. You think that if you wear a smoking, you are as smart as them, the two-legged non-birds.<br />
<br />
- No, I am smarter and I have to hurry before all ice melts away.<br />
<br />
<br />
<br />
Penguin the Butcher Bird as Ikarus.<br />
<br />
He was launched into atmosphere<br />
On an airraft of ice<br />
Illuminating the dark skies like a nova<br />
And leaving meteorologists at a loss<br />
<br />
He turned clouds upside down<br />
Over the corn fields of the world<br />
Like buckets of Chemtrail soup<br />
To feed the hungry GMO sprouts<br />
<br />
When all the foliage went grey<br />
The temperatures stopped disobeying<br />
Global warming ran out of steam<br />
And ice was winning huge areas<br />
<br />
On a kamikaze mission<br />
Penguin the Butcher Bird<br />
Self-butchered to join Laika<br />
As the forces of gravity died<br />
(Some ice splinters are still visible in the extinguished earth's telescopes)<br />
<br />
<br />
I asked the audience right after the concert to try to imagine space as smooth and sounds from afar meeting no barriers on their way. Then we, who are playing together, while being located in different parts of the world, are not like separate dots, connected with lines, but lines or separate flows of intensities, intersecting at some points during the performance. Even today I cannot see us as individual perfomers, only as Animans generating conjunction points in a seemingly chaotic flow of transmitted information.<br />
For broadcasting we used a popular streaming platform- Mixlr- but rather unconventionally. We were both streaming and monitoring each other at the same time.<br />
<br />
I put our streams together, not trying to correct the latency. It comes rather close to what I remember from my perspective:<br />
<a href="http://www.iradeo.com/kamikuma/player/117190">http://www.iradeo.com/kamikuma/player/117190</a><br />
<br />
Who are Animans?<br />
<br />
<a href="http://soundcloud.com/xxxxxxxxxxxxxx">http://soundcloud.com/xxxxxxxxxxxxxx</a><br />
<br />
<a href="http://soundcloud.com/half-digested-taco">http://soundcloud.com/half-digested-taco</a><br />
<br />
<a href="http://soundcloud.com/maggieledes">http://soundcloud.com/maggieledes</a><br />
<br />
<a href="http://soundcloud.com/kamikuma">http://soundcloud.com/kamikuma</a><br />
<br />
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-56861427514407045302014-02-03T03:15:00.000-08:002014-02-12T14:21:58.948-08:00<br />
<iframe frameborder="no" height="180px" marginheight="0" marginwidth="0" scrolling="no" src="https://mixlr.com/kamikuma/embed?autoplay=true" width="100%"></iframe><small><a href="http://mixlr.com/kamikuma" style="color: #1a1a1a; font-family: Helvetica, sans-serif; font-size: 11px; text-align: left;">kamikuma is on Mixlr</a></small><br />
<br />
Will be broadcasting here soon- Animans live in Sweden, at Flygvapenmuseet, on 11th March, around 14.00.<br />
<br />
Created an internet radio station so far, where you can hear songs from our recent albums.<br />
<br />
<br />
<a href="http://www.iradeo.com/kamikuma/player/114980">http://www.iradeo.com/kamikuma/player/114980</a><br />
<br />
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<a href="http://www.streamfinder.com/"><img align="absmiddle" alt="streamfinder streaming radio list" border="0" src="http://streamfinder.com/images/streamfinder-icon.gif" /></a><br />
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<div>
<br /></div>
<br />
Animans is a remote collaboration between four people in different parts of the world, making nofi, noisy, primitivistic anti-music.<br />
<br />
Imagine a choir of monads. They cannot hear each other, but still there is a kind of harmony or accord between them, leading the listener through half-pains to pleasures. Not total pain, I hope.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-10481400462388764632013-09-29T04:18:00.000-07:002013-09-29T11:47:56.939-07:00Four merge into one, one splits into itself and the the void<br />
<a href="http://3.bp.blogspot.com/-SPgIX5Zp6eM/UkgCyYav1II/AAAAAAAAAjI/_dTaI4LSsfs/s1600/ABS.jpg" imageanchor="1" ><img border="0" src="http://3.bp.blogspot.com/-SPgIX5Zp6eM/UkgCyYav1II/AAAAAAAAAjI/_dTaI4LSsfs/s400/ABS.jpg" /></a><br />
<br />
<a href="http://ratordog.blogspot.com/2013/09/no-fi-antimusic-16.html">http://ratordog.blogspot.com/2013/09/no-fi-antimusic-16.html</a><br />
<br />
<a href="http://3.bp.blogspot.com/-59tpibiwYhk/UkgBi7upjFI/AAAAAAAAAi4/uZileq83hHE/s1600/ABS04.jpg" imageanchor="1" ><img border="0" src="http://3.bp.blogspot.com/-59tpibiwYhk/UkgBi7upjFI/AAAAAAAAAi4/uZileq83hHE/s640/ABS04.jpg" /></a><br />
<br />
Trying to get an aerial view of our project, I asked myself: What are the real properties of "Base"?<br />
If we take it out of the box of identities, conditioning our perception- context, image of the author, name, gender, background, producer/consumer networks on Soundcloud, behaviour patterns, levels of activity and presence on Soundcloud as a social platform- what remains is pure sound, and then nothing is real except feeling. We can never disengage from narrativity, which is independent of tellability, but once again, with sound, as with non-objective art, the signifier/signified relationship works on the level of feeling rather than representation. We hear what everyone hears and we think what no-one has thought within the frame of the narrative. " It's amazing how sine tones, just before they turn into alarms, transform and dissolve into the whole. Drifting away, being washed away. A sweeping movement in sound-space. A feeling of pain followed by relief, spiced with melancholy." ( A listener's comment, my translation. Made after the title "Black Square" was added in the description.)<br />
<br />
<a href="http://soundcloud.com/btt-rod/btt-base">http://soundcloud.com/btt-rod/btt-base</a><br />
<br />
<a href="http://4.bp.blogspot.com/-ufs8OJgQSHc/Ukf_fTkrvKI/AAAAAAAAAis/GVkRTjQDdCI/s1600/ABS05.jpg" imageanchor="1" ><img border="0" src="http://4.bp.blogspot.com/-ufs8OJgQSHc/Ukf_fTkrvKI/AAAAAAAAAis/GVkRTjQDdCI/s400/ABS05.jpg" /></a><br />
<br />
<a href="http://soundcloud.com/kamikuma/kamikuma-base">http://soundcloud.com/kamikuma/kamikuma-base</a><br />
<br />
<a href="http://4.bp.blogspot.com/-B8AkmhntfIw/Ukf-foYB5jI/AAAAAAAAAig/2P1k07wVOYg/s1600/ABS03.jpg" imageanchor="1" ><img border="0" src="http://4.bp.blogspot.com/-B8AkmhntfIw/Ukf-foYB5jI/AAAAAAAAAig/2P1k07wVOYg/s400/ABS03.jpg" /></a><br />
<br />
<a href="http://soundcloud.com/half-digested-taco/base">http://soundcloud.com/half-digested-taco/base</a><br />
<br />
<a href="http://2.bp.blogspot.com/-9mYOIrxVUUE/Ukf9t2iVNiI/AAAAAAAAAiY/tXDJArLY88c/s1600/ABS02.jpg" imageanchor="1" ><img border="0" src="http://2.bp.blogspot.com/-9mYOIrxVUUE/Ukf9t2iVNiI/AAAAAAAAAiY/tXDJArLY88c/s400/ABS02.jpg" /></a><br />
<br />
<a href="http://soundcloud.com/maggieledes/mergfrommemphis-base">http://soundcloud.com/maggieledes/mergfrommemphis-base</a><br />
<br />
<a href="http://3.bp.blogspot.com/-XteLGHYWPoo/Ukf8kat8RlI/AAAAAAAAAiQ/rokT3Azxx2I/s1600/ABS01.jpg" imageanchor="1" ><img border="0" src="http://3.bp.blogspot.com/-XteLGHYWPoo/Ukf8kat8RlI/AAAAAAAAAiQ/rokT3Azxx2I/s400/ABS01.jpg" /></a><br />
<br />
When authorship is ambiguous like in our case- it is four different people who claim it- each individual self gets obscured and each participant's ego demands become threatened by doubts of the listener and by frailty and transience of the work: literally so, the track was making its four days' transit over our Soundcloud accounts, remaining hidden for the following four days. Like that rogue planet Melancholia in Lars von Trier's film, hidden behind the Sun and then blocking Antares from view on a collision course with Earth, the track made the four corners of the black square fall upon its empty centre. I am referring to Animans and the four of us, not so much to the title with its associations with the iconic painting of Malevich.<br />
<br />
"I arrived at where I started from: nothing. Nothingness is too much for you, Jack",- says the main female character of the film to her employer, harassing her on her wedding party about an unfinished tagline. <br />
When nothingness becomes too much, we start longing back to our identity box, that threatens to swallow us under the pretext of branding- positioning on the market in a unique and different way with help of logo, name, slogan, character, mascot- anything that creates positive associations in potential customers' minds. Instead of crawling back, we can choose to re-design the box and turn it into a black box. Blackboxxx is in the cloud, connectivity of our networks is provided by a seamless flow, and opaqueness allows us to be ourselves. Who is the author of the track is going to remain a mystery.<br />
<br />
Black square is not a denial of everything good and pure, it is not a dark prophecy of trouble to come, not a fear of the future, but a rejection of the secure past. We don't profit from yesterday's growth and we celebrate our victory over the Sun for a future world without objects, in which considerations of fame and prosperity are less relevant. <br />
<br />
<br />
<a href="http://1.bp.blogspot.com/-h4hMd4zZOfY/Ukf7VDR5BOI/AAAAAAAAAiE/t0s3Q5RYf9k/s1600/o.JPG" imageanchor="1" ><img border="0" src="http://1.bp.blogspot.com/-h4hMd4zZOfY/Ukf7VDR5BOI/AAAAAAAAAiE/t0s3Q5RYf9k/s400/o.JPG" /></a><br />
<br />
<br />
Melancholia 1<br />
<br />
I'm dying at the bottom of a pit in the blazing sun<br />
<br />
in Wild World with a female octopus named Marina<br />
<br />
The small plane is normally not used for people <br />
<br />
to float freely and experience weightlessness<br />
<br />
Mystery horror woman who visited Cedar Sinai Hospital in 1972<br />
<br />
Embrace Despair for free<br />
<br />
A Living Stream in the Desert! <br />
<br />
How the Christian faith will be a subversive<br />
<br />
—and liberating—influence <br />
<br />
away from her<br />
....<br />
<br />
(The universe went through an episode dominated by a different form of dark )<br />
<br />
<br />
Melancholia 2<br />
<br />
Somebody somewhere must be tolling a bell...<br />
<br />
Octopuses have a relatively short life expectancy <br />
<br />
and some species live for as little as six months<br />
<br />
The wings of a fixed-wing aircraft are not necessarily rigid<br />
<br />
A woman in white gown shows up <br />
<br />
Objects not in contact with other objects "float" freely<br />
<br />
The only problem is that she was soaked in blood.<br />
<br />
...<br />
<br />
We must embrace our awesome freedom<br />
<br />
The decision, abandonment in making it alone, and despair when it backfires<br />
<br />
Turn to it daily, tune out the clamor of living!<br />
<br />
Gravitational attraction pulls galaxies towards each other to form groups<br />
<br />
Stars burn out, stars cease to be created, and the universe goes dark...<br />
<br />
<br />
<br />
Melancholia 3<br />
<br />
The last thing I see is my heart. Still beating<br />
<br />
The white lady grabbed the neck of one of the boys<br />
<br />
There are no muscles in fingers and thumbs<br />
<br />
Note that! Because the object is floating<br />
<br />
Larger species, such as the giant pacific octopus<br />
<br />
(if she finds that only its sides have been stained with blood<br />
<br />
since all of us share the same situation)<br />
<br />
do a good turn daily. <br />
<br />
This is the slogan of the Boy Scouts<br />
<br />
Communities usually avoid each other and are aggressive towards outsiders<br />
<br />
Humans are an exception in that we form a variety of social group patterns<br />
<br />
Is it true that all the stars we can see in the sky are so far away that they are all actually burned out <br />
<br />
and that we are just seeing their glow? <br />
<br />
<br />
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-962251759780058678.post-55039013670371400692013-06-30T08:59:00.001-07:002013-07-01T00:33:33.398-07:00 Irreducible Two<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-57UzR-Vf-f0/UdBNwswa3AI/AAAAAAAAAe0/UZveVYuTYEU/s1600/AnimanS.6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-57UzR-Vf-f0/UdBNwswa3AI/AAAAAAAAAe0/UZveVYuTYEU/s400/AnimanS.6.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-6k_WDK-Z7B0/UdBMjA-Jg0I/AAAAAAAAAeo/GAMaWAzt49U/s1600/ANIMANS2A.jpg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-6k_WDK-Z7B0/UdBMjA-Jg0I/AAAAAAAAAeo/GAMaWAzt49U/s400/ANIMANS2A.jpg.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-QfHThYxqXoc/UdBLmsyvjqI/AAAAAAAAAeY/zx_MXMSMtFo/s1600/ANIMANS2B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-QfHThYxqXoc/UdBLmsyvjqI/AAAAAAAAAeY/zx_MXMSMtFo/s400/ANIMANS2B.jpg" /></a></div><br />
Irreducible two.<br />
<br />
1. Kamikuma plays Animans, Initiation, while watching videos with Zizek and Dolar.<br />
<br />
<a href="https://archive.org/details/Btt31-Animans-InitiationFakeDemocracy...neverMindTheBlocks12">https://archive.org/details/Btt31-Animans-InitiationFakeDemocracy...neverMindTheBlocks12</a><br />
<br />
<a href="http://www.ici-berlin.org/docu/one-divides-into-two/?tx_bddbflvvideogallery_pi1%5Bvideo%5D=14">http://www.ici-berlin.org/docu/one-divides-into-two/?tx_bddbflvvideogallery_pi1%5Bvideo%5D=14</a><br />
<br />
"One divides into two, two doesn't merge into one" is an old maoist slogan not many people recognize today. Antagonism between the classes, inherent in the capitalist system , unavoidably leads to class struggle and cannot be reconciled within the existing system. The reconciliation is only possible in a new order, in a synthesis different from the initial One. <br />
Why I am referring to that slogan, which is also the topic of the conference I am watching, when my intention is to discuss the album, is understandable: I think the album is a celebration of the split.<br />
<br />
01- Bubotu Cotumbo-A March Song of The Furniture Army<br />
02 & 03- Bubotu Cotumbo- A March Song of The Furniture Army & Maggie Ledes- And Away They Went with Their Senses<br />
<br />
2. Kamikuma discovers God, but he doesn't exist.<br />
<br />
Hegelian triad of thesis-antithesis- synthesis, summing up what I said so far, can be replaced by " being- nothingness- becoming" , nothingness or the void as the source of movement. When things are pushed closer to the void or virtuality, a becoming is about to take place. Very incorrect to use Deleusian terminology here, as his concept of virtuality never leaves the material plane, while Hegel being an idealist reaches out to God in his statement that the universe is incomplete, but somehow I feel that it's legitimate, as I imagine that universal force called God as feminine, it is not a father-figure, a master, but a mother hiding somewhere among the ordinary things. Nature as mother or Mother-nature...The umbilical cord is severed, but we need a re-link (religio). Nature comes first as Hegel himself would certainly agree.<br />
<br />
How two bodies can become one is a mystery that belongs to God. I heard about it at a wedding ceremony in the orthodox church. God doesn't exist, but he rules. By analogy, how two elements are united in perfect harmony in a work of art is a mystery that belongs to the artist. The author of the album I am discussing here withdraws into a role of consumer, granting the priviledge of judgement and acting upon it to the users and the listeners. It will become clear, if you take a closer look. I cannot find a better expression of it than that of Boris Groys: "The artist's insight has become 'disembodied' and all-consuming: it is an insight that can always be 'embodied' again, as often as anyone has the desire to reconstruct the processes that the artist has revealed". ( From the essay The Artist as Consumer)<br />
<br />
The gap is in the substance, there is an unrest or disquiet in all being, expressing itself as potentiality of war or madness. Hegel is often criticised for negativity, but actually his negations ( and the album is full of them: anti-music, anti-rhythm) lead to a new positivity by pushing the limits of the thing negated. Anti-music is not the same as not music. And anti- is not only a marker of the alternative, standing ouside of the music market, of DIY aesthetics and cooperative spirit of punk, noise, no-fi, discordant sound. It is also an affirmation of music that misbehaves, acting like a clinamen, a singularity of space. <br />
<br />
04&05- Bubotu Cotumbo- The Walkaboots & Maggie Ledes- And Away They Went with Their Senses<br />
<br />
3. Kamikuma gets lobotomised.<br />
<br />
The problems I experienced with some tracks of Initiation ( which made it a very traumatic passage) were not on the level of time-form, but on that of a musical gesture. It just didn't make sense to me what the combined tracks were doing there in relation to each other- I found none, and when the mind in its attempt of finding a relation fails, it runs into irreducibility of the two . It's Lacanian antinomy of One that splits into itself and the void or the Other ( One already posterior to a split). This is exactly how the songs of Initiation are made- each splits into itself and the x, then a new cut is made and again a split into itself and the x, occupied by the Other. They don't merge into one, but remain two separate lego pieces: so the gap is maintained and I had to find an abstract midpoint in my mind, creating an oscillation between the tracks and finally a new parallax mode of listening.<br />
<br />
06 & 07- Maggie Ledes- And Away They Went with Their Senses & Kamikuma- Knas VH<br />
08 & 09- Kamikuma- Knas VH & Half Digested Taco- HV Sank<br />
10 & 11- Bubotu Cotumbo- A March Song of The Furniture Army & Kamikuma- Knas VH<br />
<br />
4. Kamikuma's new theory of gender.<br />
<br />
I find the support and explanation of my reaction in Lacan's classical "il n'y a pas de rapport sexuel- there is no sexual relationship,...the woman doesn't exist", provoking the anger of feminists, but none the less making me believe in love and in Lacan as well as Hegel as philosophers of love ( It was Zizek who pointed at that), because through the experience of love you have to meet the otherness in yourself - it is something that shatters you out of your own existence. Probably in a woman that otherness occupies the first place, I understand it as universality in relation to a masculine particularity, the conflict of the opposites as a conflict between the universal and the particular within the self, and identity emerging in the gap, depending on where the split takes place.<br />
<br />
12 & 13- Bubotu Cotumbo- A March Song of The Furniture Army & Half Digested Taco- A Wind Song of The Furniture Army.<br />
14 & 15- Bubotu Cotumbo- A Shepherding Process & Half Digested Taco- A Wind Song of The Furniture Army.<br />
<br />
5. Kamikuma gets tired of transcendence and asks Deleuze to come and rescue her. ***<br />
<br />
Speaking about the mysterious unity we experience through art, it's difficult to avoid mentioning Kandinsky. There is an indirect reference to his black and white in one song- Deaf White Blind Black. The axiom of 'two doesn't merge into one' or impossibilty of returning to one after the cut is made- that irreducibility of the two- works extremely well in art as we saw it, because art is as obscure as the unconscious and in art an opening to a spiritual dimension allows for transcendence of the experience, it takes the viewer to a higher level , where a synthesis makes sense. Now Beuys has to be mentioned as well. I am more comfortable with immanence, so I would prefer calling it connecting to a flow of forces and intensities .( The same mistake again.)<br />
<br />
Kandinsky elaborates a system of correspondences between colour and geometrical shape in his theoretical work 'On Spiritual in Art- it serves as a trampoline, allowing him to make a jump into unknown, and relying on his model, he starts eliminating all the hinders. His "Blue Rider", marking a gradual shift to abstract painting is already a patchwork of colour the viewer can enter and then synthesise. In his later works, he separates colour and shape , opening up even more, and in the black and white paintings he only relies on shape, bringing things to their closure or death or silence of a body, which is the meaning of his black. White is all colour, only unmanifested. Colours entering those black and whites in a viewer's perception seem to come from nowhere, it's ephemere like music. <br />
<br />
16 & 17- Maggie Ledes- Societal Resistance & Half Digested Taco- A Wind Song of The Furniture Army<br />
18 & 19- Kamikuma- Yes Happy & Half Digested Taco- A Wind Song of The Furniture Army<br />
20 & 21- Kamikuma- Yes Happy & Bubotu Cotumbo- Deaf White Blind Black<br />
<br />
6. Chalk and butter.<br />
<br />
What I am describing is a process of initiation with its stages of separation, transition and incorporation in a new order. In other terms it can be called a becoming, like in 'becoming animal' . I already mentioned Beuys and his famous performance. The very first link is in the title: Animans -the word animan (animal-human). In his 'I Like America and America Likes me' he symbolically re-enacts his life experience during the war, when his plane was shot down over the Crimea and he was saved by nomads who smeared his body with wax and fat and wrapped in felt. Beuys gets transported to the place of the performance in the ambulance, covered in grey felt (grey felt is also a depression), and spends several days sharing the room with a wild coyote, using the felt as the only protection. Through this encounter with the other he comes to terms with his past trauma and undergoes a shamanic transformation.<br />
A wound cannot be healed through reconciliation of the opposites by simply patching up the gap, only through acknowledging it and letting the ever changing force of nature nurture you. The symbolic value of organic materials like butter and fat as life-saving substances is that of a healing power of nature Beuys strongly believed in. In another work, Wirtschaftswerte ('Economic Values'), he used a block of plaster that had been in his studio for a long time and was full of 'scars'. To correct them he put butter on it and then it got slowly absorbed by the chalk. <br />
<br />
22 & 23- Kamikuma- Yes Happy & Maggie Ledes- In Accordance With the Prophecy<br />
24 & 25- Half Digested Taco- Maybe (Bogo 1000 Remix) & Maggie Ledes- In Accordance With the Prophecy<br />
26 & 27-Half Digested Taco- Maybe (Bogo 1000 Remix) & Kamikuma- Dry Wheat <br />
<br />
7. The Unconscious is structured like the language.<br />
<br />
Animan ( animal/ human) looks like a slip of the tongue. ( There was another one, more Freudian, forniture, corrected in the final version). Usually it's the unconscious breaking in through the cracks in the language manifesting as slips and other distortions. It was one of the reasons of bringing Lacan here.<br />
Sound and language intersect in the split, I am both listening and reading the album and the art work as a text. The concept of the project or a model on which it is build is programmed for deviation. As a cooperative effort it is not vaccinated against mishaps and glitches: it could go wrong -Hegelian totality that includes failure. <br />
<br />
28 & 29- Bubotu Cotumbo- A Matchmantra for The Animansarmy & Kamikuma- Dry Wheat<br />
30- Bubotu Cotumbo- A Matchmantra for the Animansarmy<br />
<br />
The maker of the project is a (sound) painter, calling himself Bubotu Cotumbo, located not far from the town of Trieste, but not very close either( ya or nay on the same continent) playing (junk, broken instruments,...) with amazing presence and sensitivity located on a totally different from us continent or not located there due to summer re-location, called Maggie Ledes (MergFromMemphis), with amazing presence somewhere in France, Half Digested Taco and sensitivity, a (sound)painter- maybe not always of France, playing kamikuma of the North (of north-eastern ghettos of Gothenburg playing sound or not playing).<br />
<br />
More about the participants:<br />
<br />
<a href="http://soundcloud.com/s-na-mi-na">http://soundcloud.com/s-na-mi-na</a><br />
<br />
<a href="http://soundcloud.com/half-digested-taco">http://soundcloud.com/half-digested-taco</a><br />
<br />
<a href="http://soundcloud.com/maggieledes">http://soundcloud.com/maggieledes</a><br />
<br />
<a href="http://soundcloud.com/kamikuma">http://soundcloud.com/kamikuma</a><br />
<br />
***<br />
Deleusian (Foucauldian) fold of ANIMANS's album- new kind of subjectivity (exterior made interior) produced as the result of a collective practice:<br />
figure 1, figure 2<br />
<br />
1 HDT.............K; 2 LISTENER X..........LISTENER Y<br />
<br />
<br />
<br />
<br />
<br />
ML..............BC; LISTENER Z..........BC (HDT, K, ML)<br />
<br />
figure 1- a double fold of a square (horizontal - HDT to ML, K to BC+ vertical - HDT to K, ML to BC; diagonal left - HDT to BC+ diagonal right - K to ML); figure 2- a new double fold.<br />
Can be continued ad infinitum, new listeners/users in the corners, contributing or not contributing with own material.<br />
No doubts are left to whose art work this is.<br />
<br />
<br />
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-962251759780058678.post-78085432729988639812013-03-20T12:14:00.000-07:002013-03-22T05:19:08.093-07:00Spiritual Telegraph presentation <br />
<br />
<a href="http://3.bp.blogspot.com/-SYoZGRMSCmQ/UUwqyi7ThJI/AAAAAAAAAc0/KhRxi844qvk/s1600/DSC02806.jpg" imageanchor="1" ><img border="0" src="http://3.bp.blogspot.com/-SYoZGRMSCmQ/UUwqyi7ThJI/AAAAAAAAAc0/KhRxi844qvk/s320/DSC02806.jpg" /></a><br />
<br />
<br />
<a href="http://3.bp.blogspot.com/-pOlnmqRHY88/UUoIbeoaaFI/AAAAAAAAAcE/p6bz4tDdGSM/s1600/DSC02826.jpg" imageanchor="1" ><img border="0" src="http://3.bp.blogspot.com/-pOlnmqRHY88/UUoIbeoaaFI/AAAAAAAAAcE/p6bz4tDdGSM/s320/DSC02826.jpg" /></a><br />
<br />
The project Spiritual Telegraph was presented at RESONANS 2013,<br />
a mini festival for sound art and electro-acoustic music, arranged by Kluster in collaboration with musikhögskolan i Piteå, Ljudkonst/Ljuddesignkursen, och Kraftcentrum för ny musik.<br />
<br />
<br />
More about the festival and the sound art/ sound design course here:<br />
<br />
<a href="http://www.kluster.nu/">http://www.kluster.nu/</a><br />
<br />
<a href="http://www.ltu.se/edu/course/S00/S0029F">http://www.ltu.se/edu/course/S00/S0029F</a><br />
<br />
<br />
<a href="http://2.bp.blogspot.com/-FsXeDM55zKw/UUoH0ctM0UI/AAAAAAAAAb8/UVL64XfNK68/s1600/DSC02799.jpg" imageanchor="1" ><img border="0" src="http://2.bp.blogspot.com/-FsXeDM55zKw/UUoH0ctM0UI/AAAAAAAAAb8/UVL64XfNK68/s320/DSC02799.jpg" /></a><br />
<br />
<br />
<a href="http://1.bp.blogspot.com/-GHFisZXtTmU/UUoJERjXVTI/AAAAAAAAAcM/xg4E3p56784/s1600/DSC02817.jpg" imageanchor="1" ><img border="0" src="http://1.bp.blogspot.com/-GHFisZXtTmU/UUoJERjXVTI/AAAAAAAAAcM/xg4E3p56784/s320/DSC02817.jpg" /></a><br />
<br />
<br />
<a href="http://2.bp.blogspot.com/-Z9105MLy-f8/UUoJhqlaxtI/AAAAAAAAAcU/2RNpNZRWim0/s1600/DSC02834.jpg" imageanchor="1" ><img border="0" src="http://2.bp.blogspot.com/-Z9105MLy-f8/UUoJhqlaxtI/AAAAAAAAAcU/2RNpNZRWim0/s320/DSC02834.jpg" /></a><br />
<br />
<br />
The final version of the video <br />
<a href="http://www.youtube.com/watch?v=54wJf9Xga0w&feature=youtu.be">http://www.youtube.com/watch?v=54wJf9Xga0w&feature=youtu.be</a><br />
was playing along with a tape recorded during the skype session at the Amateur Theatre in Sollefteå on 24th February.<br />
<a href="http://www.youtube.com/watch?v=Bger520EElY">http://www.youtube.com/watch?v=Bger520EElY</a><br />
<br />
<br />
<br />
<a href="http://1.bp.blogspot.com/-555MiPB1DXY/UUwrFMh_0uI/AAAAAAAAAc8/dXfRY_v5ftI/s1600/DSC02779.jpg" imageanchor="1" ><img border="0" src="http://1.bp.blogspot.com/-555MiPB1DXY/UUwrFMh_0uI/AAAAAAAAAc8/dXfRY_v5ftI/s320/DSC02779.jpg" /></a><br />
<br />
<br />
<br />
<br />
<br />
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-55107904832665574142013-03-09T23:10:00.000-08:002013-03-20T12:14:48.333-07:00spiritual telegraph part 4The presentation of the current project, Spiritual Telegraph, is coming up soon at Kluster, Pitea, in a mini festival for experimental, contemporary music and sound art, Resonans :<br />
<br />
<a href=" http://klusterpress.wordpress.com/2013/03/06/resonans-2013/"> http://klusterpress.wordpress.com/2013/03/06/resonans-2013/</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-50469434994116700212013-02-24T06:42:00.000-08:002013-03-20T12:15:12.473-07:00spiritual telegraph part 3<br />
<a href="http://4.bp.blogspot.com/-kTblj4FQ7c0/UTMU4ejKSnI/AAAAAAAAAa0/9Pmv-2gZ1aA/s1600/vasen,+kniven.jpg" imageanchor="1" ><img border="0" src="http://4.bp.blogspot.com/-kTblj4FQ7c0/UTMU4ejKSnI/AAAAAAAAAa0/9Pmv-2gZ1aA/s320/vasen,+kniven.jpg" /></a><a href="http://3.bp.blogspot.com/-nHJYJLR_oik/UTMUq-iVOUI/AAAAAAAAAas/GtHJaRPUqL4/s1600/paret.jpg" imageanchor="1" ><img border="0" src="http://3.bp.blogspot.com/-nHJYJLR_oik/UTMUq-iVOUI/AAAAAAAAAas/GtHJaRPUqL4/s320/paret.jpg" /></a><br />
<br />
<a href="http://1.bp.blogspot.com/-lUphx4V5bhA/USoiiyvhCZI/AAAAAAAAAaY/SpsGlK6v_Bs/s1600/white+noise.jpg" imageanchor="1" ><img border="0" src="http://1.bp.blogspot.com/-lUphx4V5bhA/USoiiyvhCZI/AAAAAAAAAaY/SpsGlK6v_Bs/s320/white+noise.jpg" /></a><br />
<br />
<br />
<a href="http://www.youtube.com/watch?v=54wJf9Xga0w&feature=youtu.be">http://www.youtube.com/watch?v=54wJf9Xga0w&feature=youtu.be</a><br />
<br />
The video contains a new section with images from the mirror lounge at the theatre. The sound is processed material from the analogue recordings during the skype session. Something like morze messages can be heard there- I attempted a translation :<br />
<br />
-.-./...-./.-.--/-/.-../.-/../--../--/-./.-./...-/<br />
-/.-.-.-./-./...-./-..<br />
<br />
TTH N A H ? N C ? ? T L A I Z M N R V T ? N ? D<br />
<br />
Making no sense and I probably gave up too soon.<br />
<br />
<br />
<br />
Colours of noise.<br />
<br />
White noise is like white light, all the colours are there. Pure , uncontaminated white noise, where all frequencies are given equal power, is rarely found. In the same way, pure randomness hardly exists.<br />
<br />
<br />
<a href="http://soundcloud.com/h-h-7/boje-suma-6-kanala-stisani">http://soundcloud.com/h-h-7/boje-suma-6-kanala-stisani</a><br />
<br />
Translation key:<br />
<br />
1 white, 2 pink, 3 red, 4 blue, 5 purple and 6 gray noise.<br />
<br />
1 bijela, 2 ružičasta, 3 crvena, 4 plava, 5 ljubičasta i 6 siva.<br />
<br />
White noise is a random signal with a flat (constant) power spectral density. In other words, a signal that contains equal power within any frequency band with a fixed width.<br />
White noise draws its name from white light, which is commonly (if incorrectly) assumed to have a flat power spectral density over the visible band.<br />
The term is sometimes used in non technical contexts, in the metaphoric sense of "random talk without meaningful contents".<br />
<br />
The use of an FM radio tuned to unused frequencies ("static") is a simpler and more cost-effective source of white noise. However, white noise generated from a common commercial radio receiver tuned to an unused frequency is extremely vulnerable to being contaminated with spurious signals, such as adjacent radio stations, harmonics from non-adjacent radio stations, electrical equipment in the vicinity of the receiving antenna causing interference, or even atmospheric events such as solar flares and especially lightning.<br />
<br />
Pink noise or 1/f noise (sometimes also called flicker noise) is a signal or process with a frequency spectrum such that the power spectral density (energy or power per Hz) is inversely proportional to the frequency. In pink noise, each octave carries an equal amount of noise power. The name arises from the pink appearance of visible light with this power spectrum.<br />
<br />
<br />
In science, Brownian noise, also known as Brown noise or red noise, is the kind of signal noise produced by Brownian motion, hence its alternative name of random walk noise. The term "Brown noise" comes not from the color, but after Robert Brown, the discoverer of Brownian motion.<br />
The graphic representation of the sound signal mimics a Brownian pattern. Its spectral density is inversely proportional to f², meaning it has more energy at lower frequencies, even more so than pink noise. It decreases in power by 6 dB per octave (20 dB per decade) and, when heard, has a "damped" or "soft" quality compared to white and pink noise. The sound is a low roar resembling a waterfall or heavy rainfall. See also purple noise, which is a 6 dB increase per octave.<br />
<br />
<br />
Violet noise<br />
Violet spectrum (+6 dB/octave) <br />
Violet noise is also called purple noise. Violet noise's power density increases 6 dB per octave with increasing frequency(density proportional to f 2) over a finite frequency range. It is also known as differentiated white noise, due to its being the result of the differentiation of a white noise signal<br />
<br />
<br />
Grey noise<br />
Grey spectrum <br />
Grey noise is random white noise subjected to a psychoacoustic equal loudness curve (such as an inverted A-weighting curve) over a given range of frequencies, giving the listener the perception that it is equally loud at all frequencies. This is in contrast to standard white noise which has equal strength over a linear scale of frequencies but is not perceived as being equally loud due to biases in the human equal-loudness contour.<br />
<br />
(Wikipedia article)<br />
<br />
I was unable to travel to the site of the project Spiritual Telegraph in Sollefteå. Instead, in the early hours of 24th February a skype session was carried out- Björn Eriksson was recording there. After the presentation and contact request a carrier wave was emitted from an analogue signal generator and radio between the stations. The same kind of sounds as in the previous, digital recordings registered. I have no access to the tape yet, but just got a digitalisation to listen through on headphones.<br />
<br />
<br />
<br />
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-73476060422092089602013-01-03T09:32:00.000-08:002013-01-03T09:57:21.290-08:00micro nasties12 seconds is enough for making a decision- here comes a collaboration album, the starting point of which was a temporal constraint. Micro gestures, both individual and joined, coming from the sound artists with different styles (Kamikuma's naive, simplistic punk baroque, on annoyingly distorted piano, and Bubotu Cotumbo's organic primitivism, noisey, but subliminally beautiful,making me think of Derek Bailey), are put together with a help of a poetic narrative. Their order is not always musically logical and definitely non-narrative, desperately seeking unity and failing every time.<br />
To fully perceive the split i recommend headphones, it is a two channel mix.<br />
<br />
<a href="http://soundcloud.com/an-im-an-s1/sets/kamikuma-bubotu-cotumbo-nano/
">http://soundcloud.com/an-im-an-s1/sets/kamikuma-bubotu-cotumbo-nano/<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-4LdcJiWvDzk/UOXCP3916EI/AAAAAAAAAZo/r6m5i7PfiEg/s1600/K.T.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="320" width="319" src="http://4.bp.blogspot.com/-4LdcJiWvDzk/UOXCP3916EI/AAAAAAAAAZo/r6m5i7PfiEg/s320/K.T.jpg" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-lD0ylF3MZuI/UOXCaMEPS3I/AAAAAAAAAZ0/_r4sM9mzCCg/s1600/K.T.Split.jpg" imageanchor="1" style="clear:right; float:right; margin-left:1em; margin-bottom:1em"><img border="0" height="200" width="200" src="http://3.bp.blogspot.com/-lD0ylF3MZuI/UOXCaMEPS3I/AAAAAAAAAZ0/_r4sM9mzCCg/s200/K.T.Split.jpg" /></a></div><br />
<br />
</a><br />
More sounds from BBT here :<br />
<a href="http://ratordog.blogspot.com/2012/12/no-fi-antimusic-14.html">http://ratordog.blogspot.com/2012/12/no-fi-antimusic-14.html</a><br />
<br />
Please, take time to visit dogs can read your mind blog, where the album is published as well <a href="http://dogscanreadyourmind.blogspot.se/2013/01/kamikumabubotu-cotumbo.html">http://dogscanreadyourmind.blogspot.se/2013/01/kamikumabubotu-cotumbo.html</a><br />
<br />
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-28986597882595168102012-12-03T12:59:00.000-08:002013-02-23T04:30:54.105-08:00SPIRITUAL TELEGRAPH part 2<b><b>SOUND ARCHEOLOGY.</b><br />
</b><br />
<b>1. Sender- channel- receiver. Noise. <br />
2. Media and the uncanny. Vampyroteutis. The vampire was not count Dracula.</b><br />
<br />
"As if to resusciate eccentric notions such as Charles Babbage's Victorian-era theory that the air is a vast library, inscribed with the sonic impressions of every sound ever uttered, or Guglielmo Marconi's conviction that sounds enjoy eternal if ever-diminishing life in the earth's atmosphere, a growing number of academic studies adress the problem of sonic history through detective work, a verbal reconstruction by auscultation of the lost sound embedded within a wide variety of sources."<br />
<br />
"Virginia Woolf...was half convinced that this problem of the vanished auditory past would be resolved in time, by a technological invention of even greater sensitivity than the phonograph. "Instead of remembering there a scene and there a sound", she wrote, "I shall fit a plug into the wall and listen in to the past. I shall turn up August 1890. I feel that strong emotion must leave its trace..." *<br />
<br />
I keep this in mind thinking about the house in Sollefteå (Amatörteatern), where I am planning my hauntological research for the project "Spiritual Telegraph". The idea was born during the hours I spent there in July 2012, getting ready for a concert on Svanö at Cisternen. It was the sound I heard, the source of which I was unable to identify. I cannot find better words to describe the feeling : "Out of deep dreamless sleep I was woken, startled by a hollow resonance, a sudden impact of wood on wood. Was the sound an isolated auditory event within my consciousness- a moment of dream without narrative or duration- or was it a real sound of the physical world?" From Sinister Resonance...by David Tool<br />
<br />
Later on I realised that it was the rocking chair in the left corner of the room. Nobody was sitting on it. What was the cause of its movement I don't know.<br />
<br />
I talked about the house with Björn Eriksson, the sound artist and lecturer at Piteå musikhögskolan who lives there on the second floor, and he told me of its reputation of being haunted. It was a recreation centre for young soldiers (soldathem), doing their military service in the area. The activities were supervised by the church, to keep the youths protected from immorality of gambling, drinking and sex- the fact suggestive of the institutional control of the bodies through the panopticon of the church, the object of my investigation possibly an audiovisual archive of transgressions and discourses of power and control in which it was embedded. <br />
<br />
I am referring to Foucauldian vocabulary and methodology to make a point that something got recorded in the walls of the house: that something is the object of knowledge, no matter how badly it fits into the frame of existing disciplines ( it could be totally discarded as nonsense.) <br />
<br />
According to Stone Tape Theory ghosts are nothing but an activated playback of the energies recorded in the environment due to some traumatic and highly emotionally charged event .It works by the principle of resonance- if an emotionally distressed and unbalanced person is present in the room it may start the playback. The same approach I found in Haunted Media by Jeffrey Sconce: the whole environment is seen as a recording medium. The implication of it is that sounds don't disappear, they slowly dissolve and get absorbed into materials of the place that once hosted them. <br />
<br />
The initial recording of the energies is a monument, as any archive is monumental. I would like to excavate some sounds of it, using Foucault's method of descent, not much digging into textual archives of the library and interviewing people as going down to the deep layers of sound in a very materialistic way: trying to activate a playback and making a recording. I was playing some music composed especially for the occasion in the room where the final recording is going to take place in order to evoke some activity. My next step would be playing some high frequency tones (outside of the audible range) on the tone generator from the 70s. I hope it works.<br />
<br />
I wish there was a kind of device Edison dreamt of, giving the energetic entities of the past more refined methods of communication than ouija boards. One day it may be created- maybe a kind of plug to fulfil the prophetia of Virginia Wolf, and the seeds of that future device can be found in technologies of the past. That is one of my motives of recording on tape. The other one is the fact that an analogue recording is not selective, it captures the voice of the real with all disturbing noises and interferences. Besides, I see a strong parallelism with time itself, both linear and circular, unwinding with the events burnt on its surface.<br />
<br />
Going down to the real from the higher levels of the symbolic and imaginary is a kind of fall from the Babylonian tower of the primacy of language to the grounds of what it is to be human or a descent from software to hardware , the virtual communication model of Vampyroteutis of Vilem Flusser to Friedrich Kittler's media materiality and logics of the machine .On one side Flusser, called the philosopher of the surface, due to his arguments for the code coming to us through the channels of communication, presented in his image of Vampyroteutis infernalis, a phantasmagoric mollusc changing the colour of its skin as means of communication, and on the other side Kittler with his famous "there is no software" and the logics of the machine we can see by getting inside it. <br />
<br />
I am not taking sides, as in my project I am trying to capture the voices and images of the phantoms (the otherworldly as something of this world). They don't have to be meaningful, it may be silence, the very silence that infuses fear in people, it may be nothing but audiovisual noise, but while monitoring the material I will surely start detecting meaningful patterns in the movement of the pixels and textures. I already identified some in the preliminary tests. <br />
<br />
<br />
Here is an extract from The Art of the Vampyroteutis by Anne Popiel. <br />
<br />
Artists should now seek to overcome the disadvantages of their traditional media and create immaterial art that can be more directly transmitted to the brains of receivers. Analogous to the color-changing glands on the skin of the Vampyroteuthis, we can now communicate our life experiences via the color code of pixels on a television or computer screen. <br />
<br />
This art can be manipulated by artists not physically as in the case of sculpture, painting or even computer hardware, but immaterially in the form of programs or software. “In this context,” Flusser reminds us, “ „soft‟ unquestionably refers to mollusks.” <br />
His deliberately chosen zoological analogy affords an implied comparison between two methods of information transmission: the color code of pixels or chromatophores and the inherited genetic code. Flusser sexualizes the animal‟s glandular form of communication, describing Vampyroteuthian skin-art as the seduction and rape of the receiver of information by the sender. <br />
<br />
There is a mystic practice in Tibet called tulpa- a ghostly manifestation of a thought- form produced by the mind. The same can be said about fictional characters- William S. Burroughs considered his tulpas, that is characters existing apart from the book. Fictions living their own life are called hyperstitions by Reza Negarestani, and the mind producing monstrous creatures that start populating real worlds is there in Flusser/Bec dialogue, which resulted in a hybridized fictional -scientific- philosophical text Vampyroteuthis, described by Louis Bec as "la concretion cephaopodique d'un dialogue".<br />
<br />
First published in German in 1987, it was originally written in French and presented to Bec with a request for illustrations. <br />
<br />
Il apparaît que le Vampyrotheutis Infernalis comme tous les autres Vampyromorpha d'ailleurs, est<br />
une chimérisation émergeant des dessous troublants de l'amitié.<br />
Qu'il est la concrétion céphalopodique d'un dialogue.<br />
Qu'il est une chimérisation, non de l'assemblage ou du collage occasionnel, mais d'un bien curieux<br />
clonage.<br />
La présence de trois coeurs caractéristiques de cet organisme, ainsi que la ruse par laquelle il a su avaler<br />
sa coquille au cours des siècles, pour passer de l'obscurité à la transparence, en donne la preuve.<br />
<br />
The world of Vampyrotheuthis is a model of communication in the age of television and digital images- the information being passed by means of a colour code of pixels- the function of the glands of that creature always changing the colour of its skin. <br />
<br />
Flusser proposes the world of the Vampyroteuthis as a model for human communication in the age of television, film, and digital images- a vision of material immateriality of new technologies.<br />
<br />
<br />
Kittler creates his own portrait of a vampire as a bureaucrat in the essay "Arvet efter Dracula" (I was reading it in a Swedish translation)- a spy, interfacing the East and the West:<br />
"Dracula, intill sin sista stund i ett dubbelansikte mellan öst och väst, var aldrig vampyren Dracula....Den som först satte likhetstecken mellan den despotiske territorialfursten och folktrons vampyr var en ungersk orientalist vars eget namn står att finna just före ordet "vampyr" i gamla uppslagsverk. Det är ingen tillfällighet...av "Bamberger", det efternamn som hans från Tyskland invandrade judiske farfar burit, blev "Vambery", en signifikantlek med vampyren. <br />
Och äventyraren och professorn från Budapest...var faktiskt ett slags vampyr...en användbar spion åt imperiet....Arminius Vambery hade gjort vampyren Dracula möjlig."<br />
<br />
Behind the myth created by an imperialistic tourist on an eavesdropping mission in Transsylvania in Bram Stoker's famous novel is a context of the cholera epidemic and the bloody history of crusades. Dracula in the novel operates like a kind of software, the existence of which Kittler denies on the level of the Real ( mjukvara kan bara härbargeras av systemet). That is why he casts no shadow.<br />
<br />
("När betydelser reduceras till satser, satser till ord och ord till bokstäver, finns det inte heller någon mjukvara"). <br />
His model of non-programmable machines within a complex network resembling the organic structure of all nature works without any interface- it's a direct sender-receiver system of the kind Claude E. Shannon constructed. Software is a veil to obscure what is going on inside the machine or a puritan camouflage for an innocent user who imagines to have a control over it. <br />
<br />
The message has to be captured, not only received, that's the most important thing and the strategies of the future, according to Kittler may concentrate on maximizing the connections within a system instead of making the channels transparent and facilitating the passage of information. ( Om icke programmerbara system och deras maximala kopplingsmöjligheter: Till följd av deras globala växelverkan kan sådana system, vare sig det är vågor eller levande väsen, visa prov på polynoma tillväxttal i fråga om sin komplexitet. Därför kan de bara beräknas av maskiner som själva inte behöver betala programmerbarhetens pris. Utan tvekan vore denna hypotetiska men bara alltför nödvändiga typ av maskin den rena hårdvaran: en apparat som arbetar bland idel fysiska apparater, hänvisad till samma begränsade resurser.Mjukvara i den vanliga bemärkelsen, det vill säga som en ständigt möjlig abstraktion, skulle inte längre finnas. Rutinerna i en sådan maskin måste, även om de fortfarande vore tillgängliga för algoritmisk nedskrivning, huvudsakligen arbeta på ett materiellt substrat, vars kopplingsmöjligheter tillät omstrutureringar av dess celler....En minimering av allt det brus som omöjligen kan elimineras är just det pris som datorindustrin får betala för strukturellt programmerbara maskiner. Den omvända strategin- det vill säga att maximera bruset- skulle inte blott leda tillbaka från IBM till Shannon, utan vore troligen också den enda vägen till den korpus av reella tal som tidigare kallades kaos. <br />
s.278 Det finns ingen mjukvara ur Friedrich Kittler, Maskinskrifter, Essäer om Medier och Litteratur. <br />
<br />
<b>2. Inscription machines.<br />
</b><br />
I already made some digital recordings of the room tone without/with my own voice reciting the alphabet- a game of spiritual telegraph ( analogue recordings are better, as they don't cut off frequencies, which is the point: to record everything, beyond the meaningful) . When I listened to my recordings afterwards (playback and interpretation are important) I could register response to letters FHP. It suggests to me "fritidshem" and "prästgård", swedish words meaning youth recreation center and presbytery,rectory,parsonage <br />
The link to the recording on soundcloud: <a href="http://soundcloud.com/w-h-kumi-maru/fhp-spiritual-tel
">http://soundcloud.com/w-h-kumi-maru/fhp-spiritual-tel<br />
</a><br />
When Jeffrey Sconce discusses the appearance of new telecommunication technologies of the 19th century in his book Haunted Media, he emphasizes the spookiness of the experience of hearing a human voice for the first time without seeing the person talking- it's what he calls a disembodied presence. He defines three main entry points into the fantastic that ironically comes to us through rational modernity: 1) disembodiment and leaving the body; 2) teleportation, or the electronic elsewhere; and 3) anthropomorphization of media technology. He goes even further, to the possibility of at least symbolic communication channel with the other side, suggested by electronic media, if there is something to be called the other side we normally cannot perceive by our senses, but can think of as a part of reality. His conclusion is that media by their nature are ghostly, they are the carriers of phantoms. Flusser was talking about a binary code coming to meet the viewer of a digital image, it functioning not as a stand-in for the place it is representing by direct reference, but through pixels,- to me it is suggestive of a phantom or a mirage). <br />
<br />
Sounds lack the structure of reference, they are not signifiers or media for expression of a semantic context, and they are not bound to the sources that caused them. The link is severed and trying to make sense of what we hear, we have to leave the space and place ourselves in time, which is a shamanic technique. David Tool directly assigns the quality of mediumship to a listener: "Listening, as if to the dead, like a medium who deals only in history and what is lost, the ear attunes itself to distant signals, eavesdropping on ghosts and their chatter. Unable to write a solid history the listener accedes to the slippage of time.<br />
...<br />
Sound is a present absence; silence is an absent present. Or perhaps the reverse is better: sound is an absent presence; silence is a present absence? In this sense, sound is a sinister resonance- an association with irrationality and inexplicability, that which we both desire and dread. Listening, then, is a specimen of mediumship, a question of discerning and engaging with what lies beyond the world of forms...Silence is there to be broken, a caesura, a tensile, fragile state ..."<br />
<br />
There are some people who already investigated the house and can account for some paranormal visual phenomena even captured in photographs- a girl and a soldier with a gun. I filmed there in November and I can definitely see a girl, both in stills and moving images- I made a rough sketch of the girl ( what I see is however my own experience, other people see different things there, but obviously some kind of activity going on)<br />
and captured some sounds as well- the rocking chair I mentioned before. I was also dreaming about three young children I found in the house and carried out to leave to their mother. <br />
<br />
To define the goal of the project and sum it all up... I'm on an archeological agenda, borrowing some of the working methods from Jussi Parrika's book What is Media Archeology? There is a chapter in it called Imaginary Media: Mapping Weird Objects. It is a departure from Foucault's Archeology of Knowledge and his understanding of an archive, with a focus on the object of knowledge- that something is recorded . "Media archeologies interested in the imaginary are interested in the actual as they are in the impossible.....The materiality of the archive is part of regulated, discursive serialisation that puts objects and statements into inseparable proximity. Yet, archeological analysis is able to map things that do not seem to have a material presence but that are for Foucault...always bound up with an institution that is not necessarily spatio-temporally localizable. Deleuze...referred to FoucauIt's methodology of archeology as the audiovisual archive because it articulates how the sayable and the visible are expressed and made possible " Imaginary media (outdated technology used today gains the status of imaginary media) are time-machines, allowing a travel through the networks of past discourses in which they are embedded.<br />
<br />
Outdated media are also epistomological/inscription machines. To be extremely materialistic I choose tape. To record on tape is to perform an act parallel to inscription or the French for it "enregistrement"-I am referring to Deleuze and Guattari, using the term in a psychoanalytical context to explain the mechanisms of re-enactment of trauma- of some energies upon the body of the house. Recording itself is a disjunctive synthesis at work, Deleuzian terminology once again,- I was thinking of his flows of forces as the very foundation of possibility of making a contact with the deep layers of sonic history- taking discrete sonic events out of the flux they got dissolved into, like waves into the ocean.<br />
<br />
If we leave phenomenology behind ,taking a strictly materialistic approach, then a recording can be understood as storage of patterns. " For Kittler (1999), this ability to record outside meaning- recording that does not record only meaningful language but all the noises of the body, all the quirks, slips, hesitations, sighs, grunts- is the ability furnished by the technical media of photography and, in the regime of voices, the phonograph. Technical media such as the phonograph records the Real, not the Symbolic, or even the Imaginary, as Kittler translates the Lacanian ideas of the tripartite structure of the psyche as part of media history. The persistent interest in the bodies of psychotics, or ghosts, is actually about technical media showing how they work as inscription-machines with the human body being merely a relay point for a wider discourse network, as Kittler argues. In such a material version, then, the weird bodies of modernity- insane and otherworldly- are less hallucinations than part of the material logic of discourse networks." (p 57, what is Media archeology?)<br />
<br />
"...such media materialists as Kittler...have continuously emphasized the double bind between ghosts and technical media where, by making "speech immortal"..., the voices of the dead also become immortal, zombies. ...Talking about media zombies, in his fiction novel Locus Solus (1914) Raymond Roussel...conjures further, more imaginary media in the fabulation of Danton's revitalised head, which works as phonograph, uttering the voice of the dead man through powers of animal magnetism.<br />
<br />
<br />
<b>3. EVP<br />
a) definition, history, EVP pioneers<br />
b) recording<br />
</b><br />
Electroacoustic phenomena we perceive can be explained by both the brain's capacity to make patterns in case of very focused listening, but also by what is called EVP: electronic voice phenomena. EVP are "spirit voices" that are said to manifest themselves on audio recordings. If there are personalities in another existence who wish to communicate, they are more comfortable expressing themselves through sound, manipulating white, chaotic noise to some order than they would have moving, for example, an upside-down glass around.<br />
<br />
Perhaps the first time anyone reported hearing anomalous voices in an electronic recording was in June 1959. Friedrich Jurgenson (1903–1987), after playing back a recording of birdsong in the Swedish countryside, is said to have noticed the presence of a faint Norwegian voice talking about "birds at night". Jurgenson assumed this must have been a stray radiobroadcast, although there was no radio receiver at the remote location where the recording had been made. Whatever the cause, it prompted Jurgenson to make further recordings in his home. <br />
According to Jurgenson, voices that were not present during the recording continued to be heard on playback. They were said to refer to him (and his dog) by their names and nicknames, predict an incoming telephone call (and name the caller, Jurgenson's wife), and respond to questions and comment on the people and conversation physically present and accountable for in the room.<br />
<br />
<br />
Read more: <a href="http://www.monstropedia.org/index.php?title=Electronic_voice_phenomenon#ixzz2CqK4WXPS
">http://www.monstropedia.org/index.php?title=Electronic_voice_phenomenon#ixzz2CqK4WXPS<br />
</a><br />
Ingmar Bergman said once that images can travel through the air, maybe sounds can as well, and across the borders of time and space, even the ultimate border of life and death.<br />
<br />
EVP is a subcategory of Instrumental transcommunication (ITC), a broader term for certain controversial means of communication with the afterlife; investigating communication through ordinary electronic devices such as telephones, television sets, radios, and computers. In the case of telephones; many people report to have received strange phone calls by someone claiming to be a relative or a colleague that has died. The voices can also manifest over the white noise between untuned stations on a radio.<br />
<br />
Read more: <a href="http://www.monstropedia.org/index.php?title=Electronic_voice_phenomenon#ixzz2CqLOPjDV
">http://www.monstropedia.org/index.php?title=Electronic_voice_phenomenon#ixzz2CqLOPjDV<br />
</a><br />
From Leonard Lander's book Beyond the Dial :<br />
<br />
"Since the groundbreaking research work well-conducted by the early pioneers of EVP such as Jurgenson and Raudive, advances in recording technology has enmanifested a myriad of new approaches and ever more sophisticated techniques. Analogue recording is better as it records every possible emission, while the digital cuts out certain frequencies. It has been shown that the discarnate entities often use higher frequencies of the audio spectrum to form into their speech.<br />
<br />
Recording EVP<br />
The quality, volume and durations of recordings are said to be increased by using a sound source placed within audible distance of the microphone during recording. Typically this would be a radio tuned to between stations so only white noise is audible; the theory being that this provides an acoustic basis for the voices to be constructed from, similar to vocoder technology. This need for background noise fits the alternative explanation that the white noise provides random sounds that may be interpreted as voices by people who expect or want to hear voices. This explanation is consistent with the theory that the entire "phenomenon" is an example of pareidolia, in which a vague or random stimulus is mistakenly perceived as recognizable (see the skeptic section). Voices are said to be known for being rapid, faint, and often spoken in grammatically unusual and simplified language—or even multiple languages during the same sentence. The interpretation of such recordings is often highly subjective and may differ from listener to listener; some listeners may hear nothing at all, while others report hearing specific phrases or sentences.<br />
<br />
<br />
Read more: <a href="http://www.monstropedia.org/index.php?title=Electronic_voice_phenomenon#ixzz2CqT9myMQ
">http://www.monstropedia.org/index.php?title=Electronic_voice_phenomenon#ixzz2CqT9myMQ<br />
<br />
</a><br />
<b>The basic recording method:<br />
</b><br />
1 Banish oneself, the location of the experiment, and the equipment. Then pray for God's blessing, help and protection.<br />
<br />
2 Set up the tape-recorder and microphone in a quiet place.<br />
<br />
3 Tune the radio to a frequency either a) between two adjacent stations, resulting in static noise; b) close to, but not exactly on the centre frequency of a station; c) of a station transmitting in a language you do not speak or understand or d) tune (rapidly or slowly across the full frequency band from one end of the dial to the other during the experiment.<br />
<br />
4 Set the recording level on the tape-recorder halfway between the lowest possible setting and the start of the red peak-scale.<br />
<br />
....<br />
The amplifier of the tape-recorder used should not run on mains-fed 210-240 v, but the battery-powered, and with a high impedance input. This greatly inscreases the audibility of the communications, as there is no microphone connected to this equipment.<br />
<br />
It has been found out that if high frequencies are broadcast inside the recording room from an 1950s-era signal generator or oscillator at levels above the range of normal human hearing (20-20.000 Hz cycles-per-second) during EVP experiments, this can increase greatly the probability of entity contact....<br />
<br />
Playback is even more important, a good amplifier is crucial. So is listening and interpretation.<br />
<br />
People who are skeptical of paranormal phenomena insist that there are more plausible explanations for EVP. The Skeptic's Dictionary summarises a number of common observations on the subject: "While it is impossible to prove that all EVPs are due to natural phenomena, skeptics maintain that they are probably due to such things as interference from a nearby CB operator or cross modulation. Some of the 'voices' are most likely people creating meaning out of random noise, a kind of auditory pareidolia or apophenia.<br />
<br />
Read more: <a href="http://www.monstropedia.org/index.php?title=Electronic_voice_phenomenon#ixzz2CqU2gNlD
">http://www.monstropedia.org/index.php?title=Electronic_voice_phenomenon#ixzz2CqU2gNlD<br />
</a><br />
When using language, humans are constantly sorting out noise, recognizing speech patterns and so on, all unconsciously. This highly specialized training can also make us pick up words that are not even there, just as it can make people hear something other than what was said. <br />
Skeptics claim that these are the more plausible explanation, and that as long as it remains a possibility, we have no need to turn to speculation such as spirits, astral beings or psychokinesis. Many of the characteristics noted by EVP proponents themselves (such as Raudive, see below) fit the pareidolia hypothesis, namely that the voices speak fast, in a mixture of languages, with non-standard grammar, telegram-style sentences and are often inventing new words. This suggests that the words picked up by attentive listeners are in fact random and whatever meaning and order they seem to have is constructed by them (such as judging something to be meaningful neologism rather than nonsense). Another argument is that if other entities could change and properly arrange small magnetic charges in our computers and tapes, they would have no problem entering our chat rooms or sending us email. Such alterations would presumably be easier and the absence of such messages count against the premise behind EVP, that supernatural entities exist which affect our world through electromagnetism.<br />
<br />
<br />
Read more: <a href="http://www.monstropedia.org/index.php?title=Electronic_voice_phenomenon#ixzz2CqV2vwHE
">http://www.monstropedia.org/index.php?title=Electronic_voice_phenomenon#ixzz2CqV2vwHE<br />
</a><br />
<b>4. "Tape my head and mike my brain, stick that needle in my vein",... (sången från Thomas Pynchons Gravitationens regnbåge)<br />
</b>"Way back in the 1970s when wild boy author William S. Burroughs was using a three-radio Triangle-of-Evocation system to obtain voice messages from other dimensions for his special reports on manual typewriter, the sets which could pick up anything blasting out of different SW channels into his gunshot holes-in-the wall Tangiers hotel room (he says that shortwave is "the most interesting sound in the broadcast")<br />
<br />
I found some peculiar and surprisingly beautiful tracks through a soundcloud friend - it was his late brother with the artist name Random Krel recording voices in his head (he was diagnozed with schizophrenia) or his head guests as he referred to them, remixed and rearranged by James- both of them are talented musicians. They reminded me of Burroughs tapes by Dj Spooky and he was actually "taping his head". <br />
<br />
We discussed some strange audiovisual manifestations accounted for in Lander's Beyond the Dial and fictions living a life of their own and here is some of his thoughts I find very interesting and inspiring:<br />
Someone once suggested to me, that the universe is such a vast and unfathomable place, that anything any human being can imagine, however horrendous or sublime, will exist at some time and place. I think it's akin to the notion that 'every thought is a prayer'. We're at such a point in history, that it's like skipping reincarnation as, speaking from experience, it's as though we live many lives in the course of a single lifespan. So I don't know; maybe fiction can't exsist without reality, and maybe ghosts wonder about their own exsistence, if they remember being alive as humans? <br />
<br />
The same friend, from Lovecraft on hidden reality :<br />
For some reason, I feel compelled to share a passage from a story called 'From Beyond', by H.P.Lovecraft. "What do we know, of the world and the universe about us? Our means of receiving impressions are absurdly few, and our notions of surrounding objects infinitely narrow. We see things only as we are constructed to see them, and can gain no idea of their absolute nature. With five feeble senses we pretend to comprehend the boundless complex cosmos, yet other beings with a wider, stronger, or different range of senses might not only see very differently the things we see, but might see and study whole worlds of matter, energy, and life which lie close at hand yet can never be detected with the senses we have."<br />
<br />
<b>5.Between the known world and the other.<br />
</b> Back to what is already done for the project and what is planned.The video I made so far is full of reflections. Reflection is a projection in space and time. So I see myself reflected in a window, located in another time-and-space, more ethereal, and can, by sympathy, contact beings and informations on that same dimension. I placed myself in their domain. I was also passing by, on the way back to Gothenburg from the village of Docksta- it's like staying between the stations of the radio, "the inbetweeness state between the known world and the other symbolised in real time". I know there is a sender ...<br />
<br />
The audio (rhythmic patterns) is going to be translated with Morse code ( it's the frequencies of the letters that determine the combinations of short and long signals). Here are some useful links <a href="http://i.imgur.com/vvEsG.jpg">http://i.imgur.com/vvEsG.jpg</a>, <br />
<a href="http://morsecode.scphillips.com/jtranslator.html ">http://morsecode.scphillips.com/jtranslator.html </a>The material I got so far is the result of filtering, it sounds like muted speech, but the signals are not relevant for Morse. The only thing that can be done is transcribing rhythmic patterns of unprocessed recordings using a tabulated code.<br />
<br />
I would like to present the project in a gallery space as a sound installation with visual elements: the tape played at a low volume in the darkness and videos projected on a half-transparent textile, sculpted into a shape, hanging from the ceiling; muted sounds and dim lights. The tape is not working in replay mode, the casette has to be turned-so some active participation is need. I also have some ideas about Morse translation in connection with what is going on in the installation space, as well as using Slinky- it's my friend's idea. I find it brilliant. Quoting James aka Bela Buttock:<br />
I'm thinking about a Slinky. Do you know what I'm speaking of? It's "The Original Walking Spring Toy"<br />
Anyway, my thought is to spread the Slinky across a room with each end clung unto a heavy magnet, like from the back of a couple old speakers, probably be that much better if the cones are intact. It would require a bigger room than I have here, and I'd be inclined to align it to the magnetic poles of the Earth, and suspend it from ceiling beams by smaller coil springs. If possible, I would use three identical microphones in a triangular pattern so each end as well as the center areas of the Slinky would be represented in the recording of whatever vibes or sounds may be picked-up accoustically, or elctro-acoustically. A haunted building like where you've worked would be ideal. <br />
<br />
<b>Some tracks made for the project: <br />
</b>the sound of the rocking chair <a href="http://soundcloud.com/w-h-kumi-maru/ic-c-005-5
">http://soundcloud.com/w-h-kumi-maru/ic-c-005-5<br />
</a>room tone recordings filtered and mixed with electronic sounds<br />
<a href="http://soundcloud.com/w-h-kumi-maru/evp-tv
">http://soundcloud.com/w-h-kumi-maru/evp-tv<br />
<br />
</a><b>And the video</b>:<a href="http://www.youtube.com/watch?v=TBQZvJgZAhw&list=UUygf-IoiQT5ME9FuqXU3rVw&index=2&feature=plcp
">http://www.youtube.com/watch?v=TBQZvJgZAhw&list=UUygf-IoiQT5ME9FuqXU3rVw&index=2&feature=plcp<br />
<br />
</a>"In the 1940s Shannon presented a formal model of technical communication that also involved the formalization of the components of a communicative system: sender, receiver and channel, as well as noise. Communication systems are noisy systems by definition...Even though noise is seen as coming from the outside and invading the mediating powers of a communicative act, it is still diagrammed as a integral part of the system....In this sense, conceptually, noise is a modality of modern communication systems that by definition deal with signals, not with signifying, meaningful signs...Technical media machines and channels transport, first of all, signals, which then for us humans are signs that can be interpreted, talked about, and debated."<br />
<br />
Artists have always tried to reimagine the archive through the marginal and neglected by giving it a value... Noise is that kind of element, an unwanted intruder into communication channels. ("...the idea of an archive that does not so much collects facts as reveal conditions for their discovery, an archive whose peripheral objects become visible or audible to the extent that they conform to the archive's own protocol" (Spieker, quoted by Jussi Parikka in What is Media Architecture?)Foucault expanded the concept from the concrete physical places of storage of cultural data to the discourses that govern modes of thinking, acting and expression. Archives are modes of inscription of information and culture.<br />
<br />
"As technologies took over and automated cultural activities and daily routines, they were increasingly imagined as living entities. The technological medium, the literal in-between, was acquiring qualities that porteayed it as uncanny and alive. Perhaps this was a reflection of how the new technologies had been seen since the mid nineteenth century; the communication systems were constructed as if autonomous, self-sustaining organisms, networks, and the technical principles governing the fast movement of messages were hidden from the human eye."<br />
From What is Media Archeology? by Jussi Parikka.<br />
<br />
Media as vehicles between our world and the world of the unseen and white noise as the breeding ground for strange voices confirm the idea that our world is analog ( the proofs being the assymetries found in elementary particles)and thus continuous, chaotic and profoundly mysterious. The arguments of quantum physicians for it being pointillistic, pixelated are valid on the phenomenological level, the way I understand them, the brain breaking everything into patterns as its cognition function.I was discussing the topic quite a lot with people who share my interest for/ love of mystery and white noise. Thomas Fauland ( his backround is both sound engineering and electronic music as well as some musicology studies) describes white noise as a material necessary for the existence of strange audio phenomena due to its acoustic properties:<br />
<br />
"White Noise (in acoustics) is often used to tame other sounds. When thinking of tape recordings (which already contain a certain amount of Noise, Hiss and Hum) which were added external White Noise (via Microphone) I can imagine that the awareness of the listener could be increased and tightened because of the feeling that something could be hidden within all that noise.<br />
Another explanation could be that the high frequency phenomenas are using the White Noise`s broad frequency spectrum to do something like modulation. Maybe those voices are all around us, all the time, but we can`t hear it because they are occuring in a too high frequency band for us to hear. White Noise / Noise could be the breeding ground on which the voices are able to "crawl" down to audible spectra.<br />
<br />
White noise is special because it includes the whole frequency spectrum and ideally every frequency has the same amplitude which means every frequency is equal in volume. The human hearing focuses on the midrange spectrum where most of our voices are at home so I think listening to white noise can do tricks on you. Emphasizing those midrange frequencies keeps you off from hearing the lows and highs correctly which can maybe lead to some sort of movement. Which further maybe acts like a circle : You realize some sort of movement and focus your hearing on the lows or highs and then you are "caught" in the white noise. I am no expert in this, just thoughts.<br />
We have bandpass filters in our ears which get more broadband with increasing frequency which is the reason why white noise sounds emphasized in the higher frequencies."<br />
<br />
Colors of noise : <a href="http://soundcloud.com/h-h-7/boje-suma-6-kanala-stisani
">http://soundcloud.com/h-h-7/boje-suma-6-kanala-stisani<br />
</a><br />
translation key : 1 white, 2 pink, 3 red, 4 blue,<br />
5 purple and 6 gray noise.<br />
<br />
<br />
1 Bijela, 2 Ružičasta, 3 Crvena, 4 Plava, 5 Ljubičasta i 6 Siva.<br />
<br />
<br />
<b>My inspiration. <br />
</b><br />
<b>Sounds:<br />
</b><br />
Robin Rimbaud aka Scanner <a href="http://soundcloud.com/scanner/colofon-compendium-redux">http://soundcloud.com/scanner/colofon-compendium-redux</a><br />
<br />
Chris Sharp..........aka Concretism <a href="http://soundcloud.com/concretism/night-terrors">http://soundcloud.com/concretism/night-terrors</a><br />
hauntology hauntological retro analog analogue archive tape cassette film vhs betamax cold war civil defence old public information films britain british uk 1960s 1970s 1980s noise crackle grays thurrock essex england great britain uk<br />
varispeed tape bouncing, field recording and self-sampling<br />
Stone Tape Recordings, The Owl Service <a href="http://soundcloud.com/stonetaperecordings/the-owl-service-the-gardener
">http://soundcloud.com/stonetaperecordings/the-owl-service-the-gardener<br />
</a><br />
Martin Schlachter and Thomas Fauler- sm & tone fail <a href="http://soundcloud.com/sm_tonefail/sets/revelation-tude-the-series/">http://soundcloud.com/sm_tonefail/sets/revelation-tude-the-series/</a><br />
<br />
THE END Re-Cycling, Archeological activity, DNACOLLECTIVE netlabel, 44-86292<br />
Field recordings, Chitarra, Manipolazione Sonora, Voce- Piaro Giocattola, Suoni, Disturbo<br />
<br />
<a href="http://soundcloud.com/losdiscosenfantasmes/jefre-cantu-ledesma-speaking
">http://soundcloud.com/losdiscosenfantasmes/jefre-cantu-ledesma-speaking<br />
</a><br />
Random Krel, Secrets of Life <br />
<a href="http://www.soundclick.com/bands/page_songInfo.cfm?bandID=1212933&songID=11840069&showPlayer=true
">http://www.soundclick.com/bands/page_songInfo.cfm?bandID=1212933&songID=11840069&showPlayer=true<br />
<br />
</a>BUBO TUCO TUMBO <a href="http://archive.org/stream/R.o.d.-H.c/ROD-HC#page/n21/mode/2up
">http://archive.org/stream/R.o.d.-H.c/ROD-HC#page/n21/mode/2up<br />
<br />
</a><a href="http://boingboing.net/2012/10/12/hauntologists-mine-the-past-fo.html
">http://boingboing.net/2012/10/12/hauntologists-mine-the-past-fo.html<br />
</a><br />
<br />
<b>Books and essays:<br />
</b><br />
<a href="http://issuu.com/consciousdancer/docs/issue20/49">http://issuu.com/consciousdancer/docs/issue20/49</a> Kim Cascone, Subtle Listening.<br />
<br />
David Toop. Sinister Resonance: The Mediumship of the Listener.<br />
<br />
<a href="http://vf-readingart.blogspot.se/2012/02/junichiro-tanizaki-in-praise-of-shadows.html
">http://vf-readingart.blogspot.se/2012/02/junichiro-tanizaki-in-praise-of-shadows.html<br />
</a><br />
<a href="http://www.okok.org.uk/MISC/BeyondTheDial_Screen.pdf">http://www.okok.org.uk/MISC/BeyondTheDial_Screen.pdf</a><br />
<br />
<a href="http://www.monstropedia.org/index.php?title=Electronic_voice_phenomenon">http://www.monstropedia.org/index.php?title=Electronic_voice_phenomenon</a><br />
<br />
Raymond Roussel. Locus Solus.<br />
<br />
<a href="http://www.lacan.com/zizhowto.html">http://www.lacan.com/zizhowto.html</a><br />
<br />
Friedrich Kittler. Maskinskrifter. Essäer om medier och litteratur.<br />
<br />
Jussi Parikka. What is Media Archeology?<br />
<br />
Jussi Parikka. Insect Media.<br />
<br />
Jeffrey Sconce. Haunted Media.<br />
<br />
<br />
<br />
<br />
<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-42201760443169448602012-12-03T12:47:00.000-08:002012-12-03T22:46:20.105-08:00SPIRITUAL TELEGRAPH part 1Spiritual telegraph, hauntological research project. <br />
<br />
Some reflections as theoretical background to recording sessions at Amateur Theatre in Solleftea, Sweden, a place brought to attention of a parapsychological society by its reputation of being haunted. <br />
<br />
Mike Kelley, planning a hauntological project he accounts for in his essay An Academic Cut-Up, said that he was tired of phenomenological gaze, intending to bring representation and signification back to sonic experience, tying together myth, history and sound. The project was about recordings at historical places in Paris which could potentially be containers of inscribed energies. According to Stone Tape Theory the whole environment is a recording medium and ghosts are nothing but a result of an activated playback. From other hauntological projects he refers to (Fredrich Jurgenson's and Konstantin Raudive's tapes), we know that the path can lead to strictly materialist results- it is the tape hiss, white noise, that becomes the main meaning bearing component. Sonic flux is composed of two dimensions: a virtual dimension that I term ‘noise’ and an actual dimension that consists of contractions of this virtual continuum: for example, music and speech (Christoph Cox, Sound Art and the sonic Unconscious) <br />
<br />
As Friedrich Kittler points out " the phonograph does not hear as do ears that have been trained immediately to filter voices, words, and sounds out of noise; it registers acoustic events as such. Articulateness becomes a second-order exception in a spectrum of noise." The process of recording on tape where an electronic device is applied instead of a medium for communication with the other side, is a physical process, contracting the flows of matter across the barriers of space and time, and through a disembodied experience it provides, inspiring a thought of being able to surpass the ultimate barrier between life and death. What we perceive as voices of the dead may be some electroacoustic phenomena we interpret symbolically, but taking the sounds as they are involves an interpretation on a different, non-linguistic level, the way Nietzsche uses the word- he extends it to cover all natural processes, and probably thinking of forces that move them, make them explode, not so much of what the voices say ( this one was from Deleuze). <br />
<br />
Sound resists discourse. Not because it is too abstract, but because it is too concrete. For many sound artists it is a material substance external to signification.The quality that made Schopenhauer commit his Kantian mistake of placing music in the metaphysical domain, the world of will or noumena or things in themselves as opposed to the world of apperances or phenomena. The intelligibiltiy of sound is suggestive of a transcendental quality (in Deleuzian understanding of it as an aspect of virtuality), as the listener gets transported into another realm, oblivious of the passage of time, and actually it is the result of being immersed in the flux of forces or experience of duration- of sounds not as distinct events, but as a continuum, a field, what Bergson describes as the soul being lulled into self- forgetfulness and Nietzsche as dissolution of the boundaries of the individual and fusion with the Dionysian, the plane of immanence of nature itself. That is where Nietzsche corrects Shopenhauer's mistake of putting music outside and says that it is immanent in nature, present as the flow of forces and intensities. His name for that flux is will to power manifesting in ceaseless becoming and dissolution to a pre-existent state. To interprete sound from the inside seems the only option as sound as a medium is direct, not requiring a distance of a gaze as image or text, and thus going beyond the dualism of subject/object relations- to the world of "this will to power and nothing besides!", a creative force of nature. Sound being external to the actual is placed in the virtual, as intensities that give rise to empirical forces- conditions for possibility for the appearances, but not cognitive or conceptual . ( Somehow it makes me think of cymatics with its biblical implications of "in the beginning was the sound"). The artist is the one that coalesces with the flux according to Nietzsche or as Deleuze expresses it " a musician is someone who appropriates something from this flow". <br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-GIkx8rreiL0/UL0krfWW0mI/AAAAAAAAAYM/hzR3P26YwiA/s1600/DSC01243.jpg" imageanchor="1" style="clear:right; float:right; margin-left:1em; margin-bottom:1em"><img border="0" height="200" width="150" src="http://3.bp.blogspot.com/-GIkx8rreiL0/UL0krfWW0mI/AAAAAAAAAYM/hzR3P26YwiA/s200/DSC01243.jpg" /></a></div><br />
And finally a quote from Christoph Cox "Beyond Representation and Signification: Toward a Sonic Materialism" : Sound is not a world apart, a unique domain of non-signification and non-representation. Rather, sound and the sonic arts are firmly rooted in the material world and the powers, forces, intensities, and becomings of which it is composed. If we proceed from sound, we will be less inclined to think in terms of representation and signification, and to draw distinctions between culture and nature, human and nonhuman, mind and matter, the symbolic and the real, the textual and the physical, the meaningful and the meaningless. Instead, we might begin to treat artistic productions not as complexes of signs or representations but complexes of forces materially inflected by other forces and force-complexes. Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-17795112858054017262012-10-23T13:26:00.000-07:002012-12-06T02:34:25.650-08:00disquiet junto I recently joined disquiet junto on soundcloud. It's a group like no other- every week we get an assignment to create a track starting out with a set of constraints- yes, it's musical oulipo! Before I was only a listener,always finding something interesting and unique, but now I can't wait for Thursdays.I may not post everything I do, but I just do it. There is no other way. Feeling honoured that Marc Weidenbaum, the person located in San Fransisco who makes it all happen- he is teaching at the Academy of Arts and writing a book on Aphex Twin among many other things- highlighted some of my work on the page. There you can read more - very exciting projects! <a href="http://disquiet.com/2012/10/03/natalia-kamia/">http://disquiet.com/2012/10/03/natalia-kamia/</a> I am looking forward to the activities coming up- exhibition events and publications and to the book <a href="http://disquiet.com/2012/08/31/saw2for33third/ ">http://disquiet.com/2012/08/31/saw2for33third/ </a> Found a wonderful passage on timelessness and time- how an ambient track incorporates a pulse " to create an illusion of time or illuminate time as illusion". I am writing this while navigating the page- one last thing- a post on the current exhibition at Bonniers Konsthall, More Than Sound! With works by Michael von Hausswolff, Scanner and many other artists I admire, the question of sound and arts occupying my mind ever since I started making projects. <a href="http://disquiet.com/2012/10/21/scanner-hiss-concrete/ ">http://disquiet.com/2012/10/21/scanner-hiss-concrete/ </a> Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-44498556010257438012012-07-22T03:40:00.001-07:002012-12-06T02:41:28.680-08:00The 41 track album "Pulses from 1960" out now SEE DESCRIPTION<a href="http://soundcloud.com/runemartinsen/invitation-to-a-collab-read?utm_source=soundcloud&utm_campaign=share&utm_medium=blogger&utm_content=http://soundcloud.com/runemartinsen/invitation-to-a-collab-read">The 41 track album "Pulses from 1960" out now SEE DESCRIPTION</a><br />
<br />
Kamikuma track 14 <a href="http://archive.org/details/PETROGLYPH_03_COMP">http://archive.org/details/PETROGLYPH_03_COMP</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-84693650401946130712012-07-20T07:43:00.001-07:002012-12-06T03:11:42.770-08:00Black putrid gold (live jam rec remixed)<a href="http://soundcloud.com/jucumari/black-putrid-gold-live-jam-rec?utm_source=soundcloud&utm_campaign=share&utm_medium=blogger&utm_content=http://soundcloud.com/jucumari/black-putrid-gold-live-jam-rec">Black putrid gold (live jam rec remixed)</a><br />
<br />
Still heavily influenced by Negarestani, it may be a chronic state...<br />
Brother jucumari is remixing the Cistern recordings from 17th July.<br />
On the wrong blog page, realizing now! Wanted to discuss Spike Hawkins and Roberto Boleno as well.<br />
<br />
Another remix, jucumari sabotage, is coming up soon on Fag Ash Records, a new netlabel, run globally by soundcloud friends. <a href="http://soundcloud.com/groups/fag-ash-records">http://soundcloud.com/groups/fag-ash-records</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-69445746498868826852012-07-02T14:13:00.000-07:002012-12-06T03:00:22.066-08:00oil tank ( I mean cistern)<a href="http://kulturterrorismus.de/"></a>Oil cistern recording material (Björn Eriksson, Daniel Wedin, Natalia Kamia) in compositions by N.Kamia <a href="http://soundcloud.com/kamikuma/sets/oil-tank/">http://soundcloud.com/kamikuma/sets/oil-tank/</a> and coming up as a physical release on a German netlabel for ambient, industrial, experimental music. <a href="http://kulturterrorismus.de/">http://kulturterrorismus.de/<div class="separator"
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-27kq8xbBTeg/UL2pjIpKC-I/AAAAAAAAAYs/PMKeMY3XNaU/s1600/Kamikuma_OilTank_Booklet_L2_7.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="244" width="400" src="http://2.bp.blogspot.com/-27kq8xbBTeg/UL2pjIpKC-I/AAAAAAAAAYs/PMKeMY3XNaU/s400/Kamikuma_OilTank_Booklet_L2_7.jpg" /></a></div><br />
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-962251759780058678.post-82111716320481792542012-07-01T09:16:00.001-07:002012-07-01T09:16:12.147-07:00Void of course<a href="http://soundcloud.com/kamikuma/void-of-course-fragment?utm_source=soundcloud&utm_campaign=share&utm_medium=blogger&utm_content=http://soundcloud.com/kamikuma/void-of-course-fragment">Void of course</a><br />
<br />
Övar inför Nordingråfestivalen. Hemmaversion.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-55413167344959857892012-07-01T05:23:00.000-07:002012-12-06T03:14:02.267-08:00Live performance, video. Nordingråfestivalen.Några dagar kvar till Nordingråfestivalen! Mitt bidrag är live performance och video. Som vanligt är jag fokuserad på övergångar mellan olika medier. Videon är ett slags kollage, som ljud använder jag delar av en inspelning i oljecisternen på Svanö- improvisation tillsammans med Björn Eriksson och Daniel Wedin. Kollagetekniken bryter logiska sammanhang och ljudet, tycker jag, gör så att man aldrig lyckas med att återställa helheten, dvs man blir kvar i ett tillstånd mellan fantasi och verklighet. Live electronica performance (laptop)jag tänker visa går ut på att jag spelar genom att rita i ett grafiskt program, som skickar meddelande till ett ljudprogram, och koppla ihop olika objekt jag förberett innan (egna ljud).Jag låter datorn improvisera, dock inte fritt. Hittills när jag övat har det inte låtit likadant, men på ett sätt jag vill att det ska låta. <a href="http://www.nordingråfestivalen.se">http://www.nordingråfestivalen.se</a>/<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-1_oMB-lewqk/T_BBO9qA1kI/AAAAAAAAAWo/J73SqKGRBTA/s1600/DSC01044.jpg" imageanchor="1" style="clear:left; float:left;margin-right:1em; margin-bottom:1em"><img border="0" height="320" width="240" src="http://2.bp.blogspot.com/-1_oMB-lewqk/T_BBO9qA1kI/AAAAAAAAAWo/J73SqKGRBTA/s320/DSC01044.jpg" /></a></div><a href="http://http://www.volym.info/nya_volym/Arkiv/Reportage/2012/Nordingr%C3%A5%20Konstn%C3%A4rsverkstad/Nordingr%C3%A5%20Konstn%C3%A4rsverkstad.html ">http://www.volym.info/nya_volym/Arkiv/Reportage/2012/Nordingr%C3%A5%20Konstn%C3%A4rsverkstad/Nordingr%C3%A5%20Konstn%C3%A4rsverkstad.html </a><a href="http://www.jarnstakultur.se/jarnsta2012.html">http://www.jarnstakultur.se/jarnsta2012.html</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-30177017237862552802012-05-10T00:46:00.004-07:002012-12-06T00:44:42.397-08:00Learn survival in a zombie apocalypseZombie-based learning. <a href="http://boingboing.net/2012/05/09/using-zombies-to-teach-kids-ge.html?utm_source=dlvr.it&utm_medium=twitter ">http://boingboing.net/2012/05/09/using-zombies-to-teach-kids-ge.html?utm_source=dlvr.it&utm_medium=twitter </a>Very Negarestani.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-52642832958483864422012-05-02T00:08:00.002-07:002012-12-06T00:45:29.045-08:00Jucumari's Record Union release on Juno, iTunes and Spotify. Talk about hyperstitions! Called Largas tiras del papel matamosca. And Juno has a cool player I decided to test right away and asked it to play leftfield: <object width="400" height="130"><param name="movie" value="http://www.junostatic.com/ultraplayer/09/MicroPlayer.swf" /><param name="AllowScriptAccess" value="always" /><param name="FlashVars" value="branding=download&playlist_url=http%3A%2F%2Fwww.junodownload.com%2Fplaylists%2Fdynamic%2Fgenre%2Fgenre_d41d8cd98f00b204e9800998ecf8427e%2Fnewest%2F20.xspf&tracks_only=1&change_player_url=&volume=80&insert_type=insert&isRelease=false&play_now=true&hash=117fd19133a1f734b4395bd76bb98cc2" /><embed src="http://www.junostatic.com/ultraplayer/09/MicroPlayer.swf" FlashVars="branding=download&playlist_url=http%3A%2F%2Fwww.junodownload.com%2Fplaylists%2Fdynamic%2Fgenre%2Fgenre_d41d8cd98f00b204e9800998ecf8427e%2Fnewest%2F20.xspf&tracks_only=1&change_player_url=&volume=80&insert_type=insert&isRelease=false&play_now=true&hash=117fd19133a1f734b4395bd76bb98cc2" width="400" height="130" allowscriptaccess="always" type="application/x-shockwave-flash" /></object>
<a href="http://www.junodownload.com/design-your-juno-player/"><img border="0" src="http://www.junostatic.com/flash/ultra_micro/shared/jd_b_12.gif"/ width=82 height=25></a><a href="http://www.junodownload.com"><img border="0" src="http://www.junostatic.com/flash/ultra_micro/shared/jd_b_22.gif" width=318 height=25></a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-11021332237978434082012-03-14T01:11:00.008-07:002012-12-06T00:48:41.272-08:00zombier i audiomolnCage har lärt oss att lyssna och upptäcka tystlåtenhet i ljudet som en länk till hjärtat. Nu vet vi att tystnaden som ljudets organ inte är tom, att det skapas spöktoner i örat som är högt individuella.Ljud some genereras i örat är som fripassagerare ombord på musikaliska fartyg. Ett försök att upptäcka dem placerar en i gränszonen mellan yttre och inre och just i den positionen kan man beskriva ljudets specifika fenomenalitet, enligt filosofen Marcia Sa Cavalcante Schuback:" Att tala om inre röst och om yttre ljud är som att tala om en trappa som bara går upp och en annan som bara går ner, om en dörr som bara kan öppnas och en annan som bara kan stängas. Ljudet är lyssnande och omvänt. I musiken som lyssnandets konst är allt både inre och yttre..." <br />
<br />
Hon talar om civilisatorisk autism och knyter till Baudelaires beskrivning av det moderna jaget som en ensam varelse som snubblar på trottoaren och förlorar fotfästet. Teknologin snarare bidrar till blockeringen än tvärtom- man tar med sig Spotify och Soundcloud i mobilen och lever till en soundtrack. Det är nog det Artaud försökte bryta igenom i sin manifest för att åter bli uppmärksam på det fysiska och ärliga.<br />
<br />
Avslutar med ett stycke Tranströmer:<br />
<br />
Musikens stumma hälft är här, som doften<br />
av kåda står kring åskskadade granar.<br />
En underjordisk sommar hos var man.<br />
Där lösgör sig, vid korsvägen, en skugga<br />
<br />
<br />
och spränger bort i bachtrumpetens riktning.<br />
Av nåd ges plötsligt tillförsikt. Att lämna<br />
sin jagförklädnad kvar på denna strand,<br />
där vågen slår och sjunker undan, slår<br />
och sjunker undan.<br />
<br />
<br />
<a href="www.twistedtreeline.co.uk">www.twistedtreeline.co.uk</a><br />
<br />
<a href="http://www.youtube.com/watch?v=qshHYscbw3A<object"><a href="http://www.youtube.com/watch?v=qshHYscbw3A">http://www.youtube.com/watch?v=qshHYscbw3A</a><object</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-7044062721042462282012-02-21T01:34:00.007-08:002012-12-06T00:53:01.401-08:00link between ears and feet- let the sound guide youCats and bats navigate with the help of sound. People follow blindly the call of desire and nothing is more zombiefying than a pair of high heels.Who cares if they hurt if they look gorgeous and if they don't hurt they don't work... A state of being in love turns you into a zombie wandering in erotic trance and since PDX Cacophony Stumptown Lodge-Portland section of Cacophony society, a random network of free dada spirits, converted Valentine into V-Day Zombie Pub Crawl (Z-day), it is only right thinking of a zombie as a romantic creature. Halfways between life and death, as an enamoured bride, and unresponsive to what the Germans call weltschmerz or pain caused by being in the world, my ballet zombie is shuffling and staggering towards the source of music, never leaving the flow of sound, because leaving it means awareness, letting the sound go from your ears to your brain, which we are trying to avoid in the current project(we let it go to your feet). Not very difficult, by the way, as both the harmony and timbre are simple,travelling easily to the core of emotion. In this way the dancer is invited to die for one kind of pain and wake up to another in her sonic presence. And as we have built-in trumpets inside our ears that play differently in response to music, the phenomenon called otoacoustic emissions (OAEs),the experience of sound will be different. The question is now if the clashes on the floor and the prescribed ear-to-ear contact will cross the line between the self and the other through sharing of something unique, comparable to finger prints, even if the tones can be difficult to detect, or only make you believe you are dancing/walking to your own tune.<br />
<br />
Some useful links on OAEs:<br />
<br />
<a href="http://asha.org/public/hearing/Otoacoustic-Emissions/
">http://asha.org/public/hearing/Otoacoustic-Emissions/<br />
</a><a href="http://www.dizziness-and-balance.com/testing/hearing/OAE.htm
">http://www.dizziness-and-balance.com/testing/hearing/OAE.htm<br />
</a><br />
On cochlea as an imaging system and recording otoacoustic emissions:<br />
<a href="http://bmb.oxfordjournals.org/content/63/1/223.full">http://bmb.oxfordjournals.org/content/63/1/223.full</a><br />
<br />
OAEs for biometric identification:<br />
<a href="http://www.idg.se/2.1085/1.224640/glom-pinkoden--orat-glommer-du-inte
">http://www.idg.se/2.1085/1.224640/glom-pinkoden--orat-glommer-du-inte<br />
</a><br />
<br />
<a href="www.twistedtreeline.co.uk">www.twistedtreeline.co.uk</a><br />
<br />
<a href="http://www.youtube.com/watch?v=qshHYscbw3A">http://www.youtube.com/watch?v=qshHYscbw3A</a><objectUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-61132670986809076302012-02-16T22:57:00.008-08:002012-12-06T00:55:22.516-08:00I live in Docksta now, then I'm a dockstader<a href="http://1.bp.blogspot.com/-cHJ3DfFXkUI/Tz4DIOygGBI/AAAAAAAAAWc/JYx6CR-q4Hg/s1600/berg.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 240px; height: 320px;" src="http://1.bp.blogspot.com/-cHJ3DfFXkUI/Tz4DIOygGBI/AAAAAAAAAWc/JYx6CR-q4Hg/s320/berg.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5710004817496119314" /></a><br />
<a href="http://3.bp.blogspot.com/-mWc9ZT5EuUc/Tz4DAJxm7hI/AAAAAAAAAWQ/17hItKxXDbo/s1600/ner%2Bfr%25C3%25A5n%2Bs%25C3%25A4tra.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 240px; height: 320px;" src="http://3.bp.blogspot.com/-mWc9ZT5EuUc/Tz4DAJxm7hI/AAAAAAAAAWQ/17hItKxXDbo/s320/ner%2Bfr%25C3%25A5n%2Bs%25C3%25A4tra.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5710004678711242258" /></a><br />
<a href="http://1.bp.blogspot.com/--Gw6Y0XBH_Y/Tz4C1HFYZII/AAAAAAAAAWE/vrr1e_Qw73U/s1600/full%2Bmoon.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 243px; height: 320px;" src="http://1.bp.blogspot.com/--Gw6Y0XBH_Y/Tz4C1HFYZII/AAAAAAAAAWE/vrr1e_Qw73U/s320/full%2Bmoon.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5710004489010308226" /></a><br />
<a href="http://2.bp.blogspot.com/-9wvdrxxD4CA/Tz4Cs7Ma9-I/AAAAAAAAAV4/ikYjCcnCCNk/s1600/DSC00123.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 240px; height: 320px;" src="http://2.bp.blogspot.com/-9wvdrxxD4CA/Tz4Cs7Ma9-I/AAAAAAAAAV4/ikYjCcnCCNk/s320/DSC00123.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5710004348379658210" /></a><br />
<br />
<br />
<a href="http://www.youtube.com/watch?v=Q5LeWjAVmmw&feature=BFa&list=AVGxdCwVVULXew_2_f-dk70jQxlaSWsIfq&lf=list_related
">http://www.youtube.com/watch?v=Q5LeWjAVmmw&feature=BFa&list=AVGxdCwVVULXew_2_f-dk70jQxlaSWsIfq&lf=list_related<br />
</a><br />
Sergey Maklakov aka jucumari (my second digital persona along with Sabine Schmuts) relocates in Docksta, an alpine village by the sea in High Coast area of Sweden, to bring the idea of customized spacetime closer to the level of experience.<br />
<br />
It is still unresearched whether there is any link between Dockstader ( with his origin in Minnesota) and Docksta, neither if the relocation means optimal living environment as is promised by the stars. Anyway, I hope that something of the beauty of the two will rub off on me.<br />
<br />
Every single day, before I got my internet connection, I was wandering in the snow and taking pictures of the birch-tree outside my window. My room is facing the bay that is frosen now and white as everything else, only the surface betrays that it is the sea. Much more skies and stars here, Orion hanging over E4 road.The birch is dead on her left side and alive on her right, which makes her a Negarestani birch. The tenants of the house want her out of the view, but the owner can do nothing about it- she stands on someone else's land. So, she is enjoying the protectedness of a diplomat while being an untouchable and outcast, and persisting in her survival . If I see some young leaves on her when spring is coming to our severe "neider", everything will be OK.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-962251759780058678.post-48076888844946347452011-12-29T00:53:00.001-08:002012-12-06T00:58:14.772-08:00"blind, deaf, mute,somnabulistic,memoryless" (zombiefication continued)I am quoting from Borges, "Funes, the Memorious". After falling from the horse Funes started remembering everything he perceived and every single time he perceived things. It was difficult for him to sleep and think in general ideas, as both is to abstract from the world and abstract from the difference. Before the accident he was in a normal state of being in the world, suggested by the title. For the dance project I am calling it a zombiefied state and will try to thwart the viewer's habit of abstraction from what is going on by splitting the perception planes and reversing them. The act of hearing is going to be presented visually without any access to what is actually heard inside the dancers' ears.Music should be played at low volumes - it is possible to hear the sounds generated inside in a quiet place, which is not going to be the case there, but conceptually possible and empirically proved. The idea of real individual additional ghost tones has to be idiomatic in the performance to encourage listening in search and recollection of perceptions linked to the place of action without trying to generalize- it is not the kind of music,dance,video,scenery you think it is (one thing is presented as something else, if dance is a language you have to understand, there it is going to be from the wrong book, and if you fall into a trap of figuring out, it will only make things worse..)<br />
<br />
<br />
<a href="www.twistedtreeline.co.uk
">www.twistedtreeline.co.uk<br />
</a><br />
<a href="http://www.youtube.com/watch?v=qshHYscbw3A<object">http://www.youtube.com/watch?v=qshHYscbw3A<object</a>Unknownnoreply@blogger.com0