After a series of events in Switzerland, the film My Life’s a Gunshot about Joke Lanz/Sudden Infant is premiering in Berlin on January 16 and 17.
The showing at Wolf Cinema in Neukölln is already sold out. There are still tickets of the showing at Brotfabrik Weissensee Friday the 17th. 8pm. The film is showing at Brotfabrik until 21/01/2020, daily at 8pm.
Both showing with Q&A with Joke Lanz and the director.
Here’s the trailer:
See Joke’s contribution to the latest issue of Datacide HERE.
Paris, December 5, 2019: Tense moments on the first day of the nationwide strike against the proposed changes of the pension system in France. We’re waiting on Place de la République for the demo to arrive. The demo started at Gare de l’Est (only about 15 minutes walk from République) and is supposed to head south to Nation. Boulevard de Magenta is already full of people, but somehow they’re not getting on to République. Instead objects are set on fire right at the junction of Magenta and République which gives the “forces of order” the pretext to throw teargas grenades into the crowd. Uncut footage from about 3.45pm at Place de la République.
Incontro con Christoph Fringeli della redazione di DATACIDE, rivista che esplora le implicazioni sociali del souno del dancefloor e il binomio noise & politics. L’incontro sarà moderato da Riccardo Balli. A seguire dalle ore 21 ad appena un numero civico di distanza presso Stomp Bologna SOUND APERITIF con dj Lynx + C.F. (Praxis Records) datacide-magazine.com
praxis-records.net Rivista seminale in lingua inglese che sin dagli annI ’90 in formato fanzine e sotto il nome ALIEN UNDERGROUND monitora le implicazioni sociali del suono mutante del dancefloor. Il termine noise usato nell’accezione del magazine individua specificatamente la cassa di risonanza che si crea tra il continuum di sonorità elettroniche orientate al ballo & la politica intesa in senso allargato come scienza che regola ogni forma di interazione sociale. Ma perchè erigire la musica dance a campo di osservazione favorita dell’antropologia del contemporaneo? Venitelo a scoprire di persona giovedì prima al Libreria modo infoshop e poi al bar Stomp Bologna .
Music by Lynx, Psychic Defence, Christoph Fringeli
Riccardo Balli, however obscure and enigmatic he might appear in his writing and featured on his picture discs, has shown that he can be highly lucid and brilliantly persuasive in expounding his ideas when he is provoked to defend himself by attacks, such as the one Toby Reynolds, the literary critic of Datacide, launched against him on Reddit in the summer of 2018.
In reviewing ‘Frankenstein, Or The 8-Bit Prometheus’, Reynolds warned his readers of the danger that Balli might become the messiah of the enemies of realism. “Here at last was a self-proclaimed advocate of anti-writing: explicitly anti-realist and by implication anti-reality as well. Here was a writer ready to declare that words were meaningless and that all communication between human beings was impossible. Reynolds conceded that Balli presented a valid personal vision, but “the peril arises when it is held up for general emulation as the gateway to writing or music of the future, that bleak new world from which the humanist heresies of faith in logic and belief in man will forever be banished.’ Balli was moving away from realism, with “characters and events [that] have traceable roots in life” – from the writing of Paul Virilio, Stewart Home, Bill Drummond, Mark Manning, Lester Bangs, Brecht and Sartre.1
Reynolds’ attack opened one of the most interesting discussions on this subject ever conducted in public. Balli replied that he certainly did not see himself as a messiah,
