Articles

The Western

western1
1. Trees, field, forest. A drift by train. Crossing through the countryside the land is divided into a patchwork. The fields are all sizes and shapes but what unites them all is the fact that the trees, bushes and shrubbery almost always function as border-markers between fields. It is rare for a single tree, or clumps of singular trees, to have remained standing in the middle of a field. This semblance ##of order, of tidiness is initially pleasing. There is an almost industrial precision to the smooth green of the fields. Nothing seems to have been left to chance. Tractors and farm equipment are easily visualised as crossing the fields in a symmetrical and routine manner; each turn ergonomic and measured. There is nothing to obstruct this making the most of the land. No stray trees. [Read more →]

Let the Children Play 3

PREFACE TO “LASCIATE CHE I BIMBI. PEDOFILIA: PRETESTO PER LA CACCIA ALLE STREGHE”
[Let The Children… Pedophilia as a Pretext for a Witch Hunt] by Luther
Blissett, Castelvecchi Edizioni, Rome 1997
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Let the Children Play 1

From: tom9351@iperbole.bologna.it
Date: Fri, 20 Mar 1998 17:15:28 +0100 (MET) X-Sender: tom9351@pop.iperbole.bologna.it (Unverified) Mime-Version: 1.0
To: nettime-l@Desk.nl
Subject: the Blissett crackdown in Italy
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Post-media Operators

1.
The record industry is in the process of being outflanked by means of the very processes that it has come to rely upon. Since the 60’s its continual efforts to create new needs has meant that it nurtured an everchanging musical soundscape that is now mutating at such a pace that it cannot keep track long enough to harness these musical evolutions in the direction of profit. [Read more →]

Dark… Darker… Dirty: Taxi Tracks

taxi
Source Direct/Doppelgänger/Christoph de Babalon/Panacea/The Advocate/Twisted Anger

“There’s a force that comes out of clashing frequencies which is to do with all the extra hum and tape hiss and reverb that shouldn’t be there” Nico Sykes: No U-Turn

Whether we call it tech-step or not, the bottom line always seems to be that the ‘music’ which activates us contains tension, rhythmic intensity, aggression and foreboding. Relays between dirge-funk and timbral density, between unknown noise and known information. Darkness can be synonymous to an appeal to the imagination, a sensitivity to the presence of psychic territories that surface melodics and oversweet harmonics only superficially activate. You either face up to it, take risks or plump for the protection of ‘idealism’. [Read more →]

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