Datacide 13 Conference and Release Party – Los Angeles, November 15 and 17, 2013

Friday, November 15

Datacide, Darkmatter Soundsystem and Immaterial Tech present

Datacide #13 Release Party
Magazine for Noise and Politics

Split Horizon
https://soundcloud.com/splithorizon

Key
https://soundcloud.com/key

Bad Timing
https://soundcloud.com/badtiming

Novokain
https://soundcloud.com/djnovokain

Diskore
https://soundcloud.com/diskore

WMX b2b Nemeton
https://soundcloud.com/wmx
https://datacide-magazine.com

The Lexington Bar
129 East 3rd St.
Los Angeles, CA 90013
9pm-2am / 21+ / $5 all night

darkmattersoundsystem.com
immaterialtech.bandcamp.com
datacide-magazine.com / praxis.c8.com
Void Tactical Media / So Simple Sound / Techno Belligerent

——————

Sunday, November 17

The Public School Los Angeles and the Anti-Authoritarian Marxist Network present

Datacide Conference
Talks on Electronic Music Countercultures; Sonic Fiction and Geographic Information Systems

Lauren (DJ Nemeton) – Raves and Riots: Networked Counter-cultural Strategies – An Introduction to Datacide 
Datacide, the magazine for noise and politics, has appeared in irregular intervals since 1997, first in London, then Basel, and is now headquartered in Berlin with a presence in Los Angeles. Datacide appears as a print magazine, and the crew has organized lectures and conferences on issues of subversion and the culture industry, as well as underground parties in Berlin. Datacide is not particularly concerned with aesthetics, and instead focuses upon an emancipatory critique of late capitalist society and the exploration of the multitude of internationalist antagonistic counter-cultural practices.

Sean Nye – Sonic Fiction: The Musical Case of Philip K. Dick’s Martian Time Slip
Music and sound recording play central roles in the science fiction of Philip K. Dick. Dick’s experiences as a radio and music store clerk during his youth, as well as his lifelong practices as an LP-collector and audiophile, are reflected throughout his major novels. This paper traces the ways in which Dick engages music and sound by analyzing his classic novel from 1964, “Martian Time-Slip.” My talk will explore how Dick’s references to composers, musical instruments, and audio technology in “Martian Time-Slip” demonstrates a careful consideration of the social and political role of music and sound during the Cold War. It will also show how Dick’s science fiction literary technique was able to offer narratives that address music and audio technology in striking ways. Thus, we will see that Dick’s role in modern music is not limited to the extraordinary influences he has had on musical subcultures and popular culture since the 1960s. His own writings are influenced by, and indeed saturated with, music – and noise.

Split Horizon – Salt Marsh to State: (un)Divided Space
Maps are synonymous with how we see the world, both mentally and as media. Cartography attempts to organize the infinite information of our physical existence, creating areas and structures that we can contemplate and discuss. This practice defines space, and as a consequence divides space with tremendous consequences politically, commercially, and ecologically. This talk will contrast several different ways we have ordered our apprehension of geography. A main point will be that these processes of map creation are always subjective and encode specific motivations and outcomes, particularly in the disconnect between virtual ownership boundaries and ecological structures. The talk with conclude with several suggestions for engagement in this contested media as well as action beyond mediation.

Start time: 4pm
The talks will be followed by Q & A.
The print edition of datacide #13 is released on October 12 in Berlin and November 15/17 in LA.

The Public School Los Angeles
951 Chung King Road
Los Angeles, CA 90012

datacide-magazine.com / praxis.c8.com / thepublicschool.org

check out the table of contents of Datacide 13:
http://datacide-magazine.com/magazine/datacide-thirteen/

datacide #13 is now available for purchase in the U.S. at the LA release events or online: https://darkmattersoundsystem.bandcamp.com/merch/datacide-13

Control and Freedom in Geographic Information Systems

Like the Internet, the Global Positioning System (GPS) was developed first with military applications in mind.  GPS enabled a precise, autonomous, and facile location of any point on the globe.  The development of this technology was critical to the broad merger of cartography with database technology and statistical analysis in the second half of the 20th century.  This new science, termed Geographic Information Systems (GIS), has profoundly changed our views and interactions with physical reality at both continental and minute scales.  The potential for highly detailed monitoring is exhilarating for scientists, but often terrifying for divergent or contestational voices.  At the same time access to these technologies is not highly controlled, which has thrown open the door for popular participation in map creation and publishing.  Through GIS and GPS, cartography has become a crucial new media for expression and critique.  How we choose to map reality is a cornerstone of our consensus on what exists, has existed, or will be created in a place.
The science of cartography has always had deep implications for increased control.  Creation of useable world maps in the colonial period was essential to developing global shipping routes.  Better maps facilitated the massive transport of resources from less technologically developed regions to those holding the most accurate picture of the world.  Among the most famous are the transfer of precious metals from Central and South America to Europe, and the middle passage of African slaves to North America.  Maps have historically empowered control on much smaller scales as well.  Violently enforced consensus on terrestrial boundaries is the defining ingredient enabling land ownership and regulatory extents.  On the other hand, iterative improvement of maps has hugely augmented our concepts of physical reality.  Without a  ‘birds eye view’ our notions of Earth extend only so far as we have seen, perhaps a small area only reaching the borders of town.  Without a map, all the rest is unknown, the other.  Early maps highlight precisely this erroneous notion, placing a given civilization at the center of the world and filling the unknown space with nothing [Figure 1].  In modern times we can view the entire globe, explore its topology, civic organization, and boundaries without leaving the house.  This constitutes a major widening of perception for the human race.
Still, greatly enhanced apprehension of geographic space has been a hotly contested arena.  [Read more →]

Datacide Twelve release party and conference – October 20!

DATACIDE 12 RELEASE PARTY & CONFERENCE
in the spaces of subversiv e.v.
Brunnenstrasse 7, Berlin-Mitte

October 20th

The new issue will be available for the first time at the event!
Cover image and table of contents HERE.

DATACIDE 12 Release Party & Conference, 20.10.2102 @ Subversiv, Berlin from sans culotte on Vimeo.

Party starts at 11pm with live sets & DJ’s:

Xanopticon – Live – Zhark / Peace Off – San Francisco – www.xanopticon.com
Split Horizon – Live – Void Tactical Media – Oakland – soundcloud.com/splithorizon
Dimentia – Live – Void Tactical Media – Oakland – soundcloud.com/dimentia
Key – Live – Void Tactical Media – Oakland – soundcloud.com/ioekey
LFO Demon – Sprengstoff – soundcloud.com/lfodemon
Amboss – Sub/Version – soundcloud.com/amboss
H-Kon – Clash of the Titans – soundcloud.com/h-kon

visuals: Sansculotte – vimeo.com/sansculotte – (upstairs)

Talks start at 6pm:

“Electronic and experimental music in Asia and Africa” by Cedrik Fermont
The official history of experimental and electronic music is mostly centered on developments in the “West” from the end of the 19th century through the 1960s, and yet, in 1944, the first known piece of African so-called “experimental music” was recorded by Halim El-Dabh in Cairo.  This talk addresses the fact that electronic, experimental music, and by extension noise music, cannot been seen as a typically “Western” kind of music.  The origins of the very notion of noise music do not entirely belong to “Western” culture, but most probably stem from technology, modernization, and often urbanism.  What about non-Western composers of experimental, electronic and noise music, who have been written out of histories? Which culture(s) and which non-Western nations are they influenced by? Are they still maintained under a post-colonial cultural yoke?

“2012 IS THE SEASON FOR TREASON: An Assault on Establishment Culture in Germany” by the OKK Team Chus Martinez, Francisco José Avestruz & Otto Karl Kamal
Extending the assault on capitalist society through a radical take on Berlin Biennale 7, dOCUMENTA (13) and similar propaganda tools, the OKK Team will present their analysis of and strategies for countering these bourgeois gentrification festivals and their “activist” participants who are often sporting either extreme naivety or some “brown” (i.e. fascist) ideology.  For more info go to: http://2012istheseasonfortreason.wordpress.com/

“On the Map – Control and Freedom in Geographic Information Systems” by Split Horizon
The merger of cartography, statistical analysis and database technology threatens our privacy and autonomy, while simultaneously pluralizing our consensus of what exists, or has existed, at a place. Digital map making is now a crucial form of communication, and a newly contested media that begs exploration. This talk addresses the most severe technological consequences of location tracking, while presenting creative directions, détournements, and strategies that free and open source GIS/GPS technologies now make available to the general public.

 

– a more precise time-table for the talks will be posted closer to the date – and the talks will be free to attend.