Articles

“I am an alien (wo)man . . . I beheld the Life and the Life beheld me.”

In his book, The Gnostic Religion, Hans Jonas unravels the enigmatic instability which lies at the heart of alienation:
“The alien is that which stems from elsewhere and does not belong here. To those who belong here it is thus the strange, the unfamiliar and incomprehensible; but their world on its part is just as incomprehensible to the alien that comes to dwell here, and like a foreign land where it is far from home. Then it suffers the lot of the stranger who is lonely, unprotected, uncomprehended, and uncomprehending in a situation full of danger. [Read more →]

Lab Rats a go-go

You have only one question to ask yourself: do I give good data-set?

lab-rats-a-go-go

Even automatic doors don’t notice us

The security camera is slotted into the space left by an omniscient god. But this is a deity that’s had to downgrade its ambitions and if god is love, this one has a corner of a shopping centre as the object of its unrelenting devotion. Surveillance is the maintenance of the mundane, of business as usual: of flow control and correct deportment. [Read more →]

Teknival – Summer Thunder

summer-thunder

A Paris based record shop & distribution company called Techno Import have ‘officially’ registered the name Teknival as their own using the cover name of Cyborg Productions. This shameless act of plagiarism follows a mysterious CD deal with Network 23 (another french based company formerly dealing with their own label and other small independents). The highly controversial CD has been heavily advertised on TV as Spiral Tribe – The Sound of Teknival. They initially also the registered the name Spiral Tribe but relinquished it after a short and intense battle [Read more →]

ALL WAS MUSIC. On Walter Marchetti.

Walter Marchetti on the cover of the CD "De musicorum infelicitate" (Alga Marghen, 2000)

Walter Marchetti on the cover of the CD “De musicorum infelicitate” (Alga Marghen, 2000)

“…naturally music had surrounded me ever since infancy as an unquestionable and indisputable element of life, but nothing had impelled me to distinguish it from the rest of my experience”

(Franz Kafka: Investigations Of A Dog)

1. Shadowing Conceptual Art and Fluxus, Walter Marchetti is perhaps one of those many involutionary figures who have stealthily stepped only at the edges of an institutional recognition. Having been at Darmstadt in the mid 50s and with John Cage during his 1959 sojourn in Italy, Marchetti embarked upon an exploration of music that began with composing for small acoustic ensembles in a way that, using space as a rhythm, allowed for a clash of timbres and an acoustic diffusion of sound to become prominent. The concert at the Rotunda del Pelligrini, where his music was played alongside that of Juan Hidalgo, John Cage, Morton Feldman and Leopoldo La Rosa, marks a brief moment of conjunction between [Read more →]

Submission Soundtracking

Electronica as a scene has coagulated primarily as a media concern – in that the media itself needed to bolster it’s role as both a guidebook for ‘innovation’ and a touchstone for transmitting the codes of each particular scene. However, electronica’s distinction is that it sometimes exists as a catch-all for everything else that isn’t drawn into one of the other dedicated genre scenes within the electronic and dance music milieu, fluctuating in that what departs from electronica is often transmogrified into its own micro-scene (cf post rock, Berlin minimalism,…) whilst the core of electronica itself can never be pinned to any particular rules of thumb regarding sounds, instrumentation, structure, etc. However, the compressing and packaging of electronica as a scene easily rivals its constructed polar opposites for it’s sheer predictability and softened ‘subversion’. In fact, the hyperconformism exhibited by sects such as the ‘crasher kids’ [Read more →]

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