The internet server and web-site t0 and Public Netbase, an open access point that combines many threads of subversive uses of technology are located in the heart of Vienna, also hosting a weekly evening with talks and experimental electronic music called e-scape. Konrad Becker, techno-activist for a decade and a half, is the brain and pulse behind this, along with a dedicated crew of cyber-guerrilleros. I spoke to him in February ‘97 when I played at e-scape. [Read more →]
…once desire is specified as sexuality, it enters into forms of particularised power…
Electronically composed sound, communally celebrated has the effect of some collective plateau phase. Music becomes a device, a prosthetics that leads to a hypersensitization – an overspill that establishes a field of flow between listeners. This incessant repetition with its controlled highs and lows, its deep grindings is nothing other than the continuation of erotics by other means, an erogenisation without object or delimited locale. The carefully placed touches of digitalised breaks, tips of searing reverb and the conducting of frequencies through skins plays the body to effect a libidinal response… to take us elsewhere. The desire for music is the desire for erotic communication as diffuse sensuality. [Read more →]
Found sound is recorded. Interference at the end of the scale. There are no instruments. Nothing is crafted or selected for performance. There is no beginning or end. There is no intervention to shape this electronic material that can be picked up from anywhere. If the sampler seeks to relocate its snatched fragments within a recognisable framework, if it relies on some conscious agency of a composer then this tape violently dissolves the act of composition and the vested interests that surround such an activity. It cannot be attributed to any one source.The author of this music is more than dead, they do not exist. Perhaps its creation is truly multiple. The signals are sent out from an unknown and unknowing source…they are unlocatable, and yet thier creation is reliant upon a thousand and one contingent creations. But this is a creation that cannot be apprehended in words for as sounds they are generated without any sense of being captured, overcoded and territorialised. They are re-contextualised in no-place. Everything is to be disentangled, but nothing deciphered. It is all in the listening. It is all reception. [Read more →]
In the border country
They’ve done it all
We kept watch
As they smashed the wall
Swell Maps, “Border Country” (1980)
While trans-national institutions like the IMF, the World Bank and the WTO clear the way for capital to move freely across the globe, European States are barricading their borders as if they expected a foreign army to invade.
In most of continental Europe this means the Schengen agreement, which suspends monitoring of borders between participating countries but gives immigration authorities unprecedented powers of surveillance, search and detention everywhere in the territory, not just at frontiers and ports of entry. Britain, meanwhile, is playing its part with the 1999 asylum Act, quietly pushed through by the Labour government under cover of the ‘anti racist’ Stephen Lawrence Inquiry. (A Home Office Green Paper explicitly links the two initiatives.)
The term ‘asylum seeker’ suddenly replaced ‘refugee’ in media and parliamentary language around the time of last Tory immigration act, finally passed in 1996. Wheras ‘refugee’ implies an active attempt [Read more →]
13.11. Berlin. Datacide präsentiert: “Zwischen Resignation und Resignifikation: Die Auf-gabe der Kunst.”
“Zwischen Resignation und Resignifikation: Die Auf-gabe der Kunst.”
Widerständigkeit oder Affirmation – ist Kunst als oppositionell zur bestehenden Gesellschaftsordnung oder als deren Komplizin zu verstehen? Der Vortrag von Andrea Wald wird nach den Machtprozesse in der Kunst fragen. Die Referentin umschreibt das Handeln durch Nicht-Handeln und die Perspektiven einer radikal-emanzipatorischen Politik. Unter Bezugnahme auf Jaques Rancière, Gilles Deleuze und Slavoj Žižek wird die Referentin ihre Ausführungen belegen.
Andrea Wald studiert in Wien und schreibt derzeit ihre Diplomarbeit in Theater-, Film- und Medienwissenschaften. Sie ist Redakteurin der Zeitschrift “fiber – werkstoff für feminismus und popkultur”.
Die Zeitschrift Datacide veranstaltet seit 2007 Vorträge um die Begriffe Subversion und Kulturindustrie und interessiert sich dabei nicht primär für Fragen der Ästhetik, sondern für die emanzipatorische Kritik der spätkapitalistischen Gesellschaft und die Praxen von unversöhnlich negatorischen Gegenkulturen.
Beginn 21 Uhr
b_books // Lübbener Str. 14 // 10997 Berlin