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hour 1 / DVNT

Randomform – Segment Slipp [Plataforma-LTW]

8Bitch – In the Moog for Love [Svetlana Industries]

Maps + Diagrams – Savannakhet [Yuki Yaki]

Herzog – Small Loves [Audio Gourmet]

Weldroid – Not Every Neuron [Kahvi]

Petrovszky – Stick to It [Sajgon Records]

Mordant Music – Olde Wobbly [Mordant Music]

Ital Tek – Massive Error [Planet Mu]

kode9 – Swarm [Rephlex]

Jam City – Arpjam [Night Slugs]

Vector Lovers – Girl + Boy (2011 remastered) [Soma] forthcoming

Kraftwerk – The Model (Dead Sound remix) [dub]

the wee djs – g [This Machine is Broken]

michaelangelo – Conception IV [Subsist]

Rory St John – Deglove [Limetree] forthcoming

Coefficient – Inverse Resonance [Duality]

2methylBulbe1ol – Glocken [Ruff Records]

Mazzula – Enya – Tekkazula [dub]

Gunjack & Boriz Noiz – Mukashi No Ningen [Syndetic Recordings] forthcoming

Somatic Responses – Clone Aware [Acroplane] forthcoming

Ed Devane – Squib [Takeover Recordings] forthcoming

hour 2 / VOCODE RECORDS

Supper Club for One – Styrofoam Sunset [Vocode]

Supper Club for One – Nothing Left To Prove [Vocode]

Supper Club for One – I Understand Perfectly Now [Vocode]

Wazo – Step Up [Vocode]

Silesian Miner’s Collective – Groove A (Derty Ratz) [Vocode]

Gruppe 909 – Outer Insights [Vocode]

Gruppe 909 – Hipsterism Is A Disease [Vocode]

Gruppe 909 – Mad Science [Vocode]

Warsaw Hoolz – Black Gold Caddy [Vocode]

Warsaw Hoolz – Don’t Make Me Smack Yo’ Momma [Vocode]

Original Console Generation – 150.4.3.162 Elektro Mix [dub]

Sound Logic – Sage Advice (Vocode Edit) [Vocode] forthcoming

075 /

It’s the final MANTIS broadcast of 2010. Generally it’s been a good year here at darkfloorHQ. Personally the year started off on a bit of downer, and as most people it’s had some blips, at times major ones, but overall, things are on the up.

The show remains popular, the darkfloor site is busier and 2011 is shaping up with some quality showcases already lined up. A lot of radio shows around this time of year like to do a retrospective of the year, and whilst I technically could do that, there are just so many fresh new bits I wanna play I don’t have the space. All the shows are of course tracklisted, archived and made available to download or stream if you fancied digging through the past years efforts. I might do a 2010 retrospective studio mix if I get a chance.

Speaking of showcases as I was but a few lines ago, for our final showcase of the year I’m very happy to present Vocode Records.

the SHOWCASE

Vocode Records is the offshoot of the long running Vocode Project, documenting the evolution of electro since 1999. The label philosophy is to release electronic music in all its forms, as long as its kopfnicken (which I think translates as head nodding). Expect to see releases in a variety of genres, but primarily in electro-bass with breakbeat grooves. Vocode Records currently operates as a netlabel licensed by creative commons guidelines.

Vocode is tended with loving care by DJ Mad Wax.

MANTIS RADIO 075 + VOCODE RECORDS // DARKFLOOR


The Black Dog – UR, We Are – One Hour With Underground Resistance by The Black Dog

tracklist:

1. Antimatter – Underground Resistance
2. Voice Of Electrifying Mojo
3. Afrogermanic – Underground Resistance
4. Mirage – Underground Resistance
5. Windchime – Underground Resistance
6. Talkin2Z – Underground Resistance
7. Final Frontier – Underground Resistance
8. In Or Out – Underground Resistance
9. Maroon – Underground Resistance
10. Death Of My Neighbor – Underground Resistance
11. Baghdad Express – Underground Resistance
12. Inversions – Underground Resistance
13. Technology Gap – Underground Resistance
14. Antimatter – Underground Resistance
15. I Am UR – Underground Resistance
16. Tazumal – Underground Resistance
17. Hunting The Program – Underground Resistance
18. Toxic Broadcast – Underground Resistance
19. Detonate – Underground Resistance
20. Orbit (The Black Dog Edit) – Underground Resistance
21. Riot – – Underground Resistance
22. Base Camp Alpha 808 – Underground Resistance
23. Entering Quadrant 5 – Underground Resistance
24. Adernarlin – Underground Resistance
25. Gamma Ray – Underground Resistance
26. Ambush – Underground Resistance
27. Sea Quake ? Underground Resistance
28. Kill My Radio Station ? Underground Resistance

Tracklist / Chapters 

 Hour 1 / Dvnt 1

 

  *Com Truise
Pyragony DOWNLOAD 2

 

  Hoehle
Neon Rhodes DOWNLOAD 3

 

  Mr. Seavers
Dishonourable Discharge DOWNLOAD 4

 

  Hatikvah
In The Spirit (Rod Modell / Deepchord Remix) DOWNLOAD 5

 

  Audioelectronic
Two Trains Running (Swayzak ‘Brun’S Dunb’) DOWNLOAD 6

 

  Ukv
Network Places (Dr. Schmidt Uranium Mix) DOWNLOAD 7

 

  Dvf
Warehouse DOWNLOAD

  Mad Tek
The Dark Age (Teutonic Kaboom Remix) DOWNLOAD 9

 

  Spuntic
Manifold DOWNLOAD 10

 

  Showcase 1 / Rabid Gravy 1

 

  Rabid Gravy
Blam DOWNLOAD 12

 

   Rabid Gravy
Rosebud DOWNLOAD 13 

  Rabid Gravy
The Clap DOWNLOAD 14

 

  Rabid Gravy
Lifetime Of Dither DOWNLOAD 15

 

  Hour 2 / Dvnt 16

 

  Slim Twig
Slit To The Hilt DOWNLOAD 17 

  Motor
Fire DOWNLOAD 18

 

  Jimmy Edgar
Hot Raw Sex (Instra:Mental Remix) DOWNLOAD 19

 

  Dvf
Brain Dead DOWNLOAD 20

 

  Orien
Decaying Corpse DOWNLOAD 21

 

  Roguestar
Cold Shivers DOWNLOAD 22

  Dj Shufflemaster
Exp DOWNLOAD 23 

  Si Begg
Revolution (Gbass Mix) DOWNLOAD 24 

  Mad Tek
The Dark Age (Mazzula Remix) DOWNLOAD 25

 

  Defekt
Stimulus DOWNLOAD 26 

 Defekt
Replicants Mind DOWNLOAD 27 

  Neat
Lime + Sugar DOWNLOAD 28

 

   Showcase 2 / Sturqen 29

 Sturqen
Zincu DOWNLOAD 30  

 Sturqen
Suner DOWNLOAD 31  

 Sturqen
Nupak DOWNLOAD 32  

 Sturqen
Fsf DOWNLOAD 33  

 Sturqen
Kik11 (Edit) DOWNLOAD 34

 

  Sturqen
Kie (Edit) DOWNLOAD 35

 

  Sturqen
Dyo DOWNLOAD 36  

 Sturqen
Alk (Edit) DOWNLOAD 37

Mazzula – 6 cans o redstripe and i’l have 10 b&h silver as well please. by Mazzula

download stream

TRACKLIST
Cynthia Stern – Follow (Mazzula Rework)
Mazzula – Arp Denial
Mazzula – Two Oscillators are Enough
Mazzula – Harsh Boy
Mazzula – Untitled
Mazzula – Purple Patches
Mazzula – Trance Bitch
Mazzula – D3d B3ar
Mazzula – Oh Ah Drama

Araya pek çok ahkâm tohumu serpiştirdiğimizin farkındayız. Lâkin farkında olduğumuz bir başka şey de bizim, bu anlatının yazarı ve/veya yazarları olarak, okuyucularımıza sadece zevk vermek ve hoş vakit geçirmelerini sağlamak için yazmadığımız gerçeğidir. Son derece önemli mevzuları mercek altına alıyoruz burada; anlatıya ara vermişsek insanlığın geleceğine dair birtakım endişeler taşıyor oluşumuzdandır. Her neyse, lâfı daha fazla uzatmadan kaldığımız yere geri dönecek olursak görürüz ki olayın aldığı gayet komplike hâl yıllardır durmaksızın coşkuyla çarpamktan yorgun düşmüş ve/fakat aynı sebepten, yani durmaksızın çoşkuyla çarpmaktan ötürü, kas bakımından güçlenmiş yüreklere acı vermektedir. Çünkü “Ölüm ve Kapitalizm” temalı konferansın ilk konuşmacısı üç silahşörlerde şok etkisi yaratacak bir kişidir. Söylemeye gerek var mı bilmiyoruz, ama her ne hikmetse “istihbaratın düştüğü yanılgının ve bilgi eksikliğinin boyutları hem korkunç, hem düşündürücü, hem de ibret vericidir,” demekten de kendimizi alamıyoruz. Söz konusu yanılgıdan kaynaklanan istihbarat krizinin üç silahşörler için bu duygulara ilâveten endişe verici de olmasının ise insan doğasının gereği olduğunu da sözlerimize eklemeyi ihmâl etmiyoruz. Zira konferansın ilk konuşmacısı devletler platformunun korkulu rüyâsı Dr. Lawgiverz’dir. Belli ki doktor Japonya’da olmaktan ziyade tıpkı üç silahşörler gibi İngiltere’nin başkenti Londra’dadır.

Evet, yanlış duymadın, “Ölüm ve Kapitalizm” adlı konferansın ilk konuşmacısı, akıl ihsan olunmuş her fâninin aklına durgunluk vermesi kuvvetle muhtemel olsa da Dr. Lawgiverz’di, ey üstündeki lâneti yazgısı belleyen şaşkın okur. Akla zarar hakikatlerin birbiri ardına zuhruyla kasılan bilinçlerin daha fazla kasılmasına gönlümüz razı olmadığından, Dr. Lawgiverz’in konuşmasının anlatımızın kurgusu açısından önem arz etmeyen yanlarını budayıp, sadece hayati ehemmiyeti haiz bazı noktaları iktibas etmenin yerinde olacağını düşündük. Eminiz ki pek çok okuyucumuz bu kararımızı sevinçle karşılamış, içlerine dolan salakça sevinçle ne yapacaklarını bilmez bir vaziyette taklalar atmaya başlamıştır. Kararımızdan hoşnut olmayan okuyucularımıza ise elimizden herkesi tatmin etmenin mümkün olmadığı gerçeğini bir an olsun akıllarından çıkarmamalarını salık vermekten başka bir şey gelmediğini üzüntüyle belirtmek isteriz. Kendilerine burada sizlerin huzurunda söz veririz ki bir dahaki sefere de şimdi sevinç çığlıkları ve taklalar atan okuyucularımıza vereceğiz aynı salığı. Böylece her iki gruptaki okuyucularımızı da eşit derecede ihya etmiş olacağız sanırız. Kendini hangi gruba dahil hissederse hissetsin, hiçbir okuyucumuzu sanrılarımızla meşgul etmek istemediğimiz için lâfı fazla uzatmadan Dr. Lawgiverz’in konferansta sarfettiği ibret verici sözlere geçelim isterseniz şimdi hep birlikte.

Ama durun bir dakika, sanırız bu kısımları böyle hızlıca geçiştirmemek lâzım, ne de olsa Dr. Lawgiverz’in üş silahşörlerin dizi dibinde olması kurguya yepyeni bir boyut katıyor. Şef yanındaki iki embesile şaşkınlık ve kınamayı aynı anda dışa yansıtan bir bakış fırlatıyor. Az önce iki embesil diye andığımız müffettiş ve çavuş ise şefe şaşkınlık ve korku dolu bakışlarını gönderiyor. İşler iyice sarpa sarıyor anlaşılan. Her neyse ama, şimdi panik yapmanın ve çevredekilere işin içindeki bit yeniklerinden örnekler sunmanın hiç sırası değil. Üç silahşörlerin bu aşamada yapması gereken soğuk kanlılıklarını korumak ve ölümle kapitalizm arasındaki ilişkileri spekülatif realist bakış açısıyla mercek altına almak maksadıyla düzenlenmiş “Ölüm ve Kapitalizm” adlı bu konferansı konuyla son derece alâkadarmış gibi can kulağıyla dinlemek. Şimdi papara koparmanın ve Dr. Lawgiverz’in yanına gidip “tutklusunuz bayım, sizi neo-liberal düzenin ve global kapitalizmin temellerine dinamit döşemeye, bu suretle rejimi yıkmaya cüret ve teşebbüs etmekten tutukluyoruz!” demenin hiç sırası değil. Bu arada dikkatli okuyucularımız soracaktır; “peki ama üç silahşörler Dr. Lawgiverz’i nereden tanıyor? Anlatıda daha önce Dr. Lawgiverz’in resmini gördüklerini hatırlamıyoruz.” Haklısınız sevgili okurlar, görmediniz, çünkü gösteren olmadı. Bizim de gözümüzden kaçan bu ayrıntıyı gündeme getirdiğiniz için size teşekkürü bir borç biliriz. Borcumuzu nasıl ödeyeceğimizi ise şimdilik bilemiyoruz. O yüzden hemen konuya açıklık getireceğini düşündüğümüz şu açıklamayı yapmayı boynumuzun borcu sayıyoruz: Dr. Lawgiverz’in resimleri devletler platformunun web sitesinde yayımlanmıştır; devletler platformu ise söz konusu resimleri bizzat doktorun kişisel web sitesinden araklamıştır. Zaten doktorun öyle saklısı gizlisi de yoktur. Internete girip google arama motoruna Dr. Lawgiverz yazıp ara’yı tıklamak irili ufaklı, renkli renksiz pek çok Dr. Lawgiverz resmine erişiminizi mümkün kılacaktır. Yani kısacası üç silahşörlerin, doktorun resimlerini görmesi değil, görmemesidir imkânsız olan. Bu konuya da yapıbozum tekniğini kullanmak suretiyle böylece açıklık getirdiğimize göre sanırız artık anlatımıza kaldığımız yerden devam edebilir, yani Birkbeck Enstitüsü’nün konferans salonuna geri dönebiliriz. Lâkin salona dönüp anlatıya devam etmeden önce tüm bu açıklamalarımızı anlamsız kılmak pahasına şunu da sözlerimize eklemeden edemedik: Zaten konferansın posterlerinde Dr. Lawgiverz’in ilk konuşmacı olduğu açık ve net bir biçimde yazılıydı. Bu posterlerin nasıl olup da üç silahşörlerin gözünden kaçmış olabileceğini ise  inanın biz de bilemiyoruz. Tek tesellimiz, bir anlatıcı da olsa insanın her şeyi bilmesinin mümkün olmadığı gerçeğidir.

Üç silahşörler konferans salonunun arka sıralarına oturmayı seçmiştir. Bu seçimlerinin ardında yatan sebep ise tüm salona hakim bir görüş açısına sahip olmak arzusunu taşımalarıdır; böylece salonda kuş uçurtmayacaklar, dişi olsun veya olmasın hiçbir sineğe geçit vermeyeceklerdir. Bu arada Dr. Lawgiverz, Ölümlüler, Ölümsüzler ve Spekülatif Gerçekçiler adlı konuşmasına başlamıştır bile, ki söz konusu konuşmayı da ne yazık ki anlatının akışı içerisinde yeri olmadığı düşüncesiyle kitabımızın son bölümüne aldığımızı belirtelim. Tekrarlamaktan asla bıkmayacağımız o bölüm ise her zaman olduğu gibi gene Dr. Lawgiverz’den Nihilistik Spekülasyonlar adını taşımaktadır, ey görüşleriyle kitabın organik bütünlüğüne katkı koyan paha biçilmez okur!

Sanctus and Other Films by barbarahammer.com from barbara hammer on Vimeo.

Sanctus is a film of the rephotographed moving x-rays originally shot by Dr. James Sibley Watson and his colleagues. Making the invisibile, visible, the film reveals the skeletal structure of the human body as it protects the hidden fragility of interior organ systems. Sanctus portrays a body in need of protection on a polluted planet where immune system disorders proliferate.

Snow Job: The Media Hysteria of AIDS, 1988, 8 min.
Endangered, 1989, 19 min.
Sanctus, 1990, 20 min.
Vital Signs, 1989, 10 min.

The police murder of Andreas Grigoropoulos

Greek teen died from bullet ricochet: court sources, ATHENS (AFP)

Initial results from the post-mortem on a Greek teenager whose killing by police sparked five days of rioting show Alexis Grigoropoulos died from a bullet ricochet, court sources said Wednesday. According to forensic doctors and independent experts hired by the boy’s family, the bullet “is a bit deformed, which showed the bullet touched a hard surface” before entering the 15-year-old’s chest, sources agreed…

On the events on the evening of Saturday, December 6, 2008 and the shooting of Andreas (Alexandros) Grigoropoulos

Police accounts, faithfully reproduced in corporate/state media, and slightly adjusted over time to conform with alternative accounts, appear to be based on complete fabrications. That is, rather than police, in fear of their lives, firing a warning shot — which ricocheted and accidentally struck Andreas — tragically killing him, police appear to have deliberately and cold-bloodedly executed the teenager.

via Deadeye on ANARCHISM.net forum

Mourning the death of Alexandros Grigoropoulos of Kratzi> RIP

1st witness
-We saw them at some point, with guns in their hands walking down the street.
-Both of them?
-Both.
-And? Where did they stop?
-Here, right here. They started cussing here, “Come here punks, come and settle this”. Some kids approached.

2nd witness
-During this verbal fight, we saw no objects being thrown, suddenly one of them pulls out his gun and opens fire, straight ahead. We took a careful look and noticed someone on the ground, being dragged away by his friends, probably in fear that he would shoot again. Anyway, this is what happened, the officers were just standing still and then walked away. They turned away and left, on foot.

3rd witness
-I saw the extension of his arms, I saw him aiming. The extension of his arms, not the position of his body. I was behind him. And he aimed. He aimed towards the other end of the street, towards that group.

4th witness
-They were exchanging words. It was intense. Suddenly, without any other intervention, the patrol car abruptly departs and some time later the officers return. They stood in front of the kids and gunshots were heard. One of the kids, fell.

1st witness – resumed
-3 shots?
-3 shots because he didn’t hit him at first. This man wanted to kill. Simple as that.

5th witness
-We heard two bangs. I immediately understood it was gunfire from the sound of the very first shot. I heard the second shot, followed by a scream and a kid falling to the ground. We headed towards the kid, we dragged him away.
-What did the police do?
-The police turned their backs, as if nothing had happened, and left. We lifted his shirt, he was bleeding. We gave him CPR, the ambulance was late.

6th witness
-I saw the patrol car between Zoodoxou Pigis street and Tzavela street, it left but a minute later, the two drivers came back. They were both armed and they shot that kid, without a reason.
-Did you see them aiming?
-Yes, they were aiming.
-They didn’t shoot up to intimidate?
-No, they shot the kids that were standing there.
-Did they see the kid falling dead?
-Yes, someone shouted that the kid was wounded, but they turned and left.

Those testimonies are a bit useless without knowing what the cops themselves testified.

They claimed they were attacked by a group of 30 hooded anarchists, with rocks, sticks and molotov cocktails, while in the car. They stepped on the gas to evade them, but later returned to arrest them. They were attacked once more and while in self defense, they threw a flashbang grenade, fired two shots in the sky to intimidate the attackers and one in the ground. The last one hit the ground but ricocheted.

They’ve been flipping their story until today. Their first two lawyers have already retired from their case, for ethical reasons. The ballistic examination was completed today. The bullet remained inside the body and it indicated that it came from a higher level (the pistol) to a lower level (the victim’s body). If it was indeed a ricochet, the bullet would have entered from a lower level (the street) to a higher [point], the point of entry in the body.

At first, all media adopted the cop’s case, spreading similar news worldwide.

Now, they talk about murder in cold blood.

via slackbastard.anarchobase 

Alexandros Grigoropoulos, two years on…

DOWNLOAD  STREAM  iTUNES  RSS

hour 1 / DVNT

Goblin – Suspiria [Cinevox Record]
65daysofstatic – Crash Tactics [Hassle Records]
Mad EP – Brooklyn Freestyle [Marasm] forthcoming
James Blake – Klavierwerks [R+S]
Subeena – Wishful Talk (Ghosts on Tape remix) [Opit Records]
Girl Unit – Wut [Night Slugs]
dBridge – Lost Shadow [dub]
Pinch – The Boxer [Tectonic]
Africa HiTech – Too Late [Warp]
Radio Slave – Eyes Wide Open [R+S]
Digital Filth – Confuse Me [dub]
Charlie – Spacer Woman (vocal) [Mr. Disc Organization]
Michaelangelo – Dimensional Wormhole (James Ruskin remix) [Labrynth]
Luke Creed – Leichtreas (Gunjack remix) [dub]
Jeff Mills – Space Walk [Axis]
Jeff Mills – Diametric [Axis]
Traversable Wormhole – Closed Timelike Curve (Marcel Dettman remix) [CLR]
Legowelt – Bayville Cove [Clone West Coast Series]
Actraiser – The Plutonia Experiment [Sub Pressure]
Doktrin – Doorgang (Siege remix) [Limetree] forthcoming
Doryk – Propaganda [Transporta Records]
the wee djs – Timeline [dub]
Mad Mike – Mi Raza [Underground Resistance]

hour 2 / T-POLAR showcase

T-Polar – Every Good Sitezen/Old Jim/Plom Pollop [Electrotoxic]
T-Polar – Poindexter the Hunter [Takeover]
T-Polar – Binoculars [Thinner]
T-Polar – 2015 [Acroplane]
T-Polar – Slow Grey Nightmare [Acroplane]
T-Polar – The Earl of Jacks [Thinner]
T-Polar – Hippocampus [dub]
T-Polar – Revenge of the Chilli Earls [dub]
T-Polar – Drone Step [Digital Distortions]
T-Polar – Ghosts of Eckerville [dub]
T-Polar – Wurms [Thinner]
T-Polar – Meet Rico Ecker Bump Mix [Digital Distortions]
T-Polar – Down in Dingely Dell [Digital Distortions]
T-Polar – Thelma Step [Acroplane]
T-Polar – Little Colossus [Digital Distortions]
T-Polar – Jupiter [L2S]
T-Polar – Hot Butter Interlude [Acroplane]
T-Polar – Sunbeams Dub [Lefthouse]
T-Polar – Sunbeats [Lefthouse]

broadcast 31/10/2010

A Lacanian Ink Event – Jack Tilton Gallery – NYC, 10/15/2010
Introduction by Josefina Ayerza


via ideologic

 

  1. David Cronenberg – Introduction
  2. David Cronenberg – National Velvet, 1963 – Empire, 1964 – Andy Warhol by Robert Mapplethorpe, 1986
  3. David Cronenberg – Troy Diptych, 1962
  4. David Moss, David Cronenberg, Dennis Hopper, Amy Taubin, James Rosenquist – Couch, 1964
  5. David Cronenberg – Red Disaster, 1963
  6. David Cronenberg, Dennis Hopper, James Rosenquist, Amy Taubin – Screen Tests, Selected Participants, 1964-66
  7. David Cronenberg – Elvis I and II, 1963
  8. Elvis Presley – Flaming Star
  9. Dennis Hopper, David Cronenberg, James Rosenquist – Sleep, 1963
  10. David Cronenberg – Foot and Tire, 1963-64
  11. David Cronenberg – Sixteen Jackies, 1964
  12. David Cronenberg, Miriam Davidson – Miriam Davidson, 1965
  13. Mary-Lou Green – Haircut No. 1, late 1963
  14. David Cronenberg – Five Deaths, 1963
  15. David Cronenberg – Kiss, 1963 – Silver Disaster #6, 1963 – Blow Job, early 1964
  16. David Cronenberg – White, 1963
  17. David Cronenberg – Tunafish Disaster, 1963
  18. 18. David Cronenberg – Race Riot
  19. David Cronenberg – Most Wanted Men No. 2, John Victor G., 1964
  20. Amy Taubin, David Cronenberg – Silent Speed, Andy’s First Films
  21. David Cronenberg – Underground Filmmaking in the 60s

Recorded at The Art Gallery of Ontario
Friday, May 19. 2006

In July, he is curating an Andy Warhol exhibition at the Art Gallery of Ontario in Toronto. “Andy was making underground films when I was making underground films,” the director said. “And I was more inspired by him than by Hollywood. He created himself: He was an outsider, a Slovakian, Catholic, gay, an artist, poor; an outsider in his own family, a triple outsider like Kafka, with his nose pressed against the New York window. And, he became the ultimate insider, the center of his own world, and drew people to him. He became a huge example of the invention of an identity.” In fact, a Cronenberg character.

Conceived and narrated by renowned filmmaker David Cronenberg to accompany the exhibition Andy Warhol/Supernova:Stars Death and Disasters, 1962-1964. Commentary by David Cronenberg, Mary-Lou Green, Dennis Hopper, David Moos,James Rosenquist and Amy Taubin.

Director David Cronenberg explains the debt he owes to Andy Warhol’s bizarre and chillingly prophetic work

Monday September 11, 2006
The Guardian

Empire is the classic. It was outrageous – yet somehow it worked. An eight-hour shot of the Empire State Building, it was high concept, not in the Hollywood sense, but the art sense. It’s got potency, resonance. Andy even said the Empire State Building was a star. It’s so New York, which was the centre of the artistic universe at the time, the 1960s. That’s why I decided to begin the Andy Warhol show I am curating with Empire.

I can’t recall when I first saw a Warhol. I feel as though he was always in my consciousness. I started making films at the same time he did, and the New York underground scene is what influenced me – and that was Andy. He didn’t think you needed access to anything to do what he was doing – just grab a camera, do your own thing, and it’ll work.

Preparing this exhibition, I was initially planning to ignore the films. It seemed too obvious to bring a film-maker in and for him to choose the films. But I didn’t have to dig deep to realise it would be a major oversight. Andy started the silk screens, the film-making and the Death and Disaster series at the same time. Everything influenced everything.

By taking photos from Life magazine and newspapers, he was democratising art. He saw everything as having artistic potential. When he picked up a camera, he just shot what was there in front of him: the people he knew, the people who stumbled into his studio. So there was that link between his art and his film-making.

Andy saw a great connection between celebrity and death. Although he worshipped celebrities, he was aware that there were different kinds of celebrity, and that celebrity was somehow involved with death. Someone asked him what he was working on when he was doing his celebrity stuff, and he replied: “Death.” He only started to work on the Marilyn silk screens after she’d committed suicide.

Because of the newspapers, he saw that anyone could be plucked out of obscurity and become famous, but only for that day, for that 15 minutes. Death – some bizarre, strange, spectacular death – would do it. Hence his Tuna Fish Disaster: two women in a suburb of Detroit became front-page news because they had eaten tainted tuna fish sandwiches and died.

I’ve also included Elvis’s hit song Flaming Star in my show, to accompany Andy’s painting. I was going to sing it myself but we managed to get the rights, so we have Elvis’s version. If Andy were around, I would have asked him to sing it. Elvis was a flaming star. It’s naive to think Andy wasn’t aware of that, and of how dark the movie that featured the song was. It was a western, and westerns could be all kinds of things; every second movie was a western in those days. But Flaming Star is about racism, and everyone dies in it, including Elvis.

Andy was a celebraholic. He would go to all the movies and read all the tabloids. He wasn’t anti-Hollywood; he loved it. But he had created his own universe in New York and become its star. Being gay, Slovakian and an artist from Pittsburgh, he never felt he could storm Hollywood. So he created his own stars, called them superstars, made his own movies and had his own studio. That’s how he dealt with that desire he had to belong, to be immortalised. And there was nothing superficial about his work. It would be easy to dismiss the flowers or soup cans as flippant or ironic, but Andy was never ironic. He said he ate Campbell’s tomato soup every day as a child and an adult. It had huge significance for him.

Andy was very shy. He didn’t like to be touched. He liked to say he was completely asexual, although I don’t think that was true. He liked to be among people, but found it difficult. He said the reason he made his first film – Sleep, about a person who was asleep – was so that he didn’t have to talk or interact with him. It was his way of working with an inanimate object, because the actor was genuinely sleeping.

Andy was doubtless shocked by JFK’s death, but there’s no way he could have identified with Jack, who was too butch and macho. He would have been with Jackie. She becomes the centre of the anguish of the Kennedy assassination. Those works [the Jackie Kennedy silkscreens] are very emotional. Andy became Jackie in the end. He had a tremendous identification with the people he put in his art. He became Elvis, too, and the electric chair.

It’s fitting that this show will be running on the fifth anniversary of 9/11. I think Andy would have thought the attacks an obvious thing to do. The assault on symbols, the way they combined death and disaster – what could have been more Warholian? In his era, it would have been the Empire State Building. He would have understood the symbolism; he would have seen that much more than buildings were being attacked. The images of people jumping out of the buildings – he had already done paintings like that. It was a bizarre prophecy. He was very prophetic and accurate in his understanding of America, of commercialism, of capitalism, of its flaws and strengths.

Interview by Matthew Hays.

· Andy Warhol Supernova: Stars, Deaths and Disasters, 1962-64, curated by David Cronenberg, is at the Art Gallery of Ontario in Toronto, Canada, until October 22, 2006

RELATED RESOURCES:
Andy Warhol in UbuWeb Film

UbuWeb Sound | UbuWeb

Mixes by swarmintelligence

S w a r m   I n t e l l i g e n c e

S w a r m //// I n t e l l i g e n c e

DJ Set @ Bethanian 01.10.10
Download01. The Bug – Skeng (Autechre Remix)
02. Terror Danjah – Acid
03. Baobinga & ID – Tongue Riddim
04. Swarm Intelligence – Grinding Teeth
05. Milanese – So Malleable (Cold Mix)
06. Royal T – 1Up (Rockz Remix)
07. Swindle – Airmiles
08. Rory St John – Farewell to the Flesh
09. Africa Hitech – Lash Out
10. Rude Kid – Squash
11. Clark – Gonk Roughage
12. Joyrex – Joyrex J4
13. Baobinga – Ride It (Untold Remix)
14. DJ Boss – 1st Rendered
15. AFX – Elephant Song
16. Tempa T – Next Hype (DVA Vocal Remix)
17. Gunjack – Buckshut’s Revenge
18. Aphex Twin – Digeridoo
19. Rory St John – Deglove
20. LFO – Mummy, I’ve Had An Accident…
21. Clark – Violenl
22. Power-Pill – Pac-Man
23. Rory St John – Wasted
24. Excision & Noiz – Force
25. Jega – Rigid Body DynamicsDJ Set @ Bethanian 01.10.10 by swarmintelligence


A joke about dissidents and a great speech from Zizek –  It’s the Political Economy, Stupid!  

Watch the youtube video and here’s the text:

“In the good old days of Really-Existing Socialism, a joke was popular among dissidents, used to illustrate the futility of their protests. In the 15th century Russia occupied by Mongols, a farmer and his wife walk along a dusty country road; a Mongol warrior on a horse stops at their side and tells the farmer that he will now rape his wife; he then adds: “But since there is a lot of dust on the ground, you should hold my testicles while I’m raping your wife, so that they will not get dirty!” After the Mongol finishes his job and rides away, the farmer starts to laugh and jump with joy; the surprised wife asks him: “how can you be jumping with joy when I was just brutally raped in your presence?” The farmer answers: “But I got him! His balls are full of dust!” This sad joke tells of the predicament of dissidents: they thought they are dealing serious blows to the party nomenklatura, but all they were doing was getting a little bit of dust on the nomenklatura’s testicles, while the nomenklatura went on raping the people… Is today’s critical Left not in a similar position? Our task is to discover how to make a step further – our thesis 11 should be: in our societies, critical Leftists have hitherto only dirtied with dust the balls of those in power, the point is to cut them off”

ANd here are some of my favorite quotes from the speech:

When the normal run of things is traumatically interrupted, the field is open for a “discursive” ideological competition …Consequently, to put it in old-fashioned Marxist terms, the main task of the ruling ideology in the present crisis is to impose as narrative which will not put the blame for the meltdown onto the global capitalist system AS SUCH, but on its secondary accidental deviation (too lax legal regulations, the corruption of big financial institutions, etc.)”

“Rarely was the function of ideology described in clearer terms – to defend the existing system against any serious critique, legitimizing it as a direct expression of human nature:

 “An essential task of democratic governments and opinion makers when confronting economic cycles and political pressure is to secure and protect the system that has served humanity so well, and not to change it for the worse on the pretext of its imperfection. / Still, this lesson is doubtless one of the hardest to translate into language that public opinion will accept. The best of all possible economic systems is indeed imperfect . Whatever the truths uncovered by economic science, the free market is finally only the reflection of human nature, itself hardly perfectible.” 

Such ideological legitimization also perfectly exemplifies Badiou’s precise precise formula of the basic paradox of enemy propaganda: it fights something of which it is itself not aware, something for which it is structurally blind – not the actual counterforces (political opponents), but the possibility (the utopian revolutionary-emancipatory potential) which is immanent to the situation:“The goal of all enemy propaganda is not to annihilate an existing force (this function is generally left to police forces), but rather to annihilate an unnoticed possibility of the situation. This possibility is also unnoticed by those who conduct this propaganda, since its features are to be simultaneously immanent to the situation and not to appear in it. »6 This is why enemy propaganda against radical emancipatory politics is by definition cynical – not in the simple sense of not believing its own words, but at a much more basic level: it is cynical precisely and even more insofar as it does believe its own words, since its message is a resigned conviction that the world we live in, even if not the best of all possible worlds, is the least bad one, so that any radical change can only make it worse .”

“Again, it is thus not enough to remain faithful to the Communist Idea – one has to locate in historical reality antagonisms which make this Idea a practical urgency. The only true question today is: do we endorse the predominant naturalization of capitalism, or does today’s global capitalism contain strong enough antagonisms which prevent its indefinite reproduction?

There are four such antagonisms: the looming threat of ecological catastrophy, the inappropriateness of private property for the so-called “intellectual property,” the socio-ethical implications of new techno-scientific developments (especially in biogenetics, and, last but not least, new forms of apartheid, new Walls and slums. There is a qualitative difference between the last feature, the gap that separates the Excluded from the Included, and the other three, which designate the domains of what Hardt and Negri call “commons,” the shared substance of our social being whose privatization is a violent act which should also be resisted with violent means, if necessary: the commons of culture, the immediately socialized forms of “cognitive” capital, primarily language, our means of communication and education, but also the shared infrastructure of public transport, electricity, post, etc. (if Bill Gates were to be allowed monopoly, we would have reached the absurd situation in which a private individual would have literally owned the software texture of our basic network of communication); the commons of external nature threatened by pollution and exploitation (from oil to forests and natural habitat itself); the commons of internal nature (the biogenetic inheritance of humanity) .”

The predominant liberal notion of democracy also deals with those Excluded, but in a radically different mode: it focuses on their inclusion, on the inclusion of all minority voices. All positions should be heard, all interests taken into account, the human rights of everyone guaranteed, all ways of life, cultures and practices respected, etc. – the obsession of this democracy is the protection of all kinds of minorities: cultural, religious, sexual, etc. The formula of democracy is here: patient negotiation and compromise. What gets lost is the proletarian position, the position of universality embodied in the Excluded.

 “The new emancipatory politics will no longer be the act of a particular social agent, but an explosive combination of different agents. What unites us is that, in contrast to the classic image of proletarians who have “nothing to lose but their chains,” we are in danger of losing ALL: the threat is that we will be reduced to abstract empty Cartesian subject deprived of all substantial content, dispossessed of our symbolic substance, with our genetic base manipulated, vegetating in an unlivable environment. This triple threat to our entire being make us all in a way all proletarians, reduced to “substanceless subjectivity,” as Marx put it in Grundrisse. The figure of the “part of no-part,” confronts us with the truth of our own position, and the ethico-political challenge is to recognize ourselves in this figure – in a way, we are all excluded, from nature as well as from our symbolic substance. Today, we are all potentially a HOMO SACER, and the only way to prevent actually becoming one is to act preventively.

THANKS BARRY! 

via fuckyeahzizek

• Philosophy as Biography •
• Alain Badiou •

“Nietzsche wrote that a philosophy is always the biography of the philosopher. Maybe a biography of the philosopher by the philosopher himself is a piece of philosophy. So I shall tell you nine stories taken of my private life, with their philosophical morality… The first story is the story of the father and the mother.
My father was an alumnus of the École Normale Superieure and agrégé of mathematics: my mother an alumna of the École Normale Supérieure and agrégée of French literature. I am an alumnus of the École Normale Supérieure and agrégé, but agrege of what, of philosophy, that is to say, probably, the only possible way to assume the double filiation and circulate freely between the literary maternity and the mathematical paternity. This is a lesson for philosophy itself : the language of philosophy always constructs its own space between the matheme and the poem, between the mother and the father, after all.” Read More

• VIDEO Version •

[blip.tv http://blip.tv/play/Aan1MAI%5D
[blip.tv http://blip.tv/play/AaqtLQI%5D

Postfelsefe nasıl hadım eder, ya da neden XI. tez tersine çevrilmeli üzerine

Postfelsefe nasıl hadım eder ya da neden XI. tez tersine çevirilmeli üzerine Benim felsefeye ilgim materyalizm ve onun eleştirel işlevi sayesindedir: bilimsel bilgiyi onun mistifiye edilmiş tüm ideolojik bilgiselliğinin karşısına almaktır. Ahlaki temelde bir mit ya da yalan karşıtlığından değil, onların akılcıl ve sistematik eleştirisinden bahsediyorum. – Louis Althusser [kaynak]

Burada bır zamandır okumaya çalıştığım bir felsefi metinden kısaca sözetmek istiyorum. Zira şu ana dek metnin sadece 2 bölümünü yani 50 sayfasını okuyabildim. Bu da kitabın sadece 3′te 1′ine tekabül ediyor. Şunu itiraf etmek zorundayım: Bu 50 sayfayı okumak bana 500 sayfa okumak gibi geldi. Bunun nedenlerinin başlıcaları arasında benim “felsefeci” olmadığım gerçeği yatıyorsa da, bundan öte metnin Kant sonrası felsefeye, modernist felsefeye olan özgün eleştirisinin ince noktaları ve ziyadesiyle yoğunluğu okunuşunu zorlaştırdığını eklemek gerekiyor. Halbuki metnin son yılların felsefi metinleri içerisinde en yalın, en tutarlı, en takip edilebilir bir dille yazıldığını düşünmeme rağmen, bu böyle oldu. Yazar: Quentin Meillassoux, Kitap: After Finitude: An Essay on the Necessity on Contingency (Sonluluk Sonrası : Vukuu Belli Olmamanın Gerekliği Üzerine Bir Deneme)… Read More

via Mutlak Töz

Creatureliness and Immortality (via Speculative Humbug)

 [I now think the opinions expressed here are massively too hasty – this issue of meaning and finitude requires a lot more thought – but I’ll leave the original post up anyway.] I’ve just watched the first episode of this interview with Simon Critchley, and I thought I’d take the opportunity to note a key disagreement I have with Critchley’s position while the thoughts are still fresh. Critchley makes the point – with which I agree – that our soci … Read More

via Speculative Humbug

Excerpt from Cengiz Erdem’s Ph.D. thesis

In his Critique of Judgement, Kant distinguishes between the determinative and the reflective modes of judgement. If we keep in mind that the reflective mode of judgement reflects on particulars in such a way as to produce universals to which they can be subjected, and that the determinative mode of judgement determines a particular by subjecting it to a universal, it becomes understandable why among these two I shall be using the reflective mode which splits as it unites the subject of enunciation and the enunciated subject. But it must be kept in mind that the subject of enunciation which refers to the universal is itself a constitutive illusion, or a regulatory idea necessary for the emergence of the immortal subject as the enunciated content.

It is only in and through a position of non-mortality within and without mortal life at the same time that the exploitation of mortality can be brought into the spotlight. A critique of the exploitation of mortality inherent in particularly exemplary cultural products will be achieved through putting them in a perspective that analyzes the life death drives in such a way as to expose the exploitation of the fear of death as the driving force inherent in them. The point is that it is indeed necessary to fantasize being what one is not, in our case being non-mortal, to be able to become self-conscious of one’s self-reflexivity in the way of creating an order of signification not caught up in the rotary motion of drives locked in Klein’s projection-introjection mechanism, but rather one which breaks this vicious cycle and at least attempts to subtract death from life in a counter-act to the post-structuralist idea of life as a process of dying and death as an absent presence in the midst of life. It is only through such a subtraction of the absent presence of death within life that the productive interaction between Deleuze’s transcendental empiricism, Foucault’s bio-politics, Badiou’s theory of infinity, and Kant’s reflective mode of judgement give birth to the immortal subject as the womb of a new thought, a new life, and a new mode of being, free of the exploitation of mortality and engagingly indifferent to this mortal, all too mortal life.

The immortal subject within and without the pre-dominant symbolic order is not only the cause, but also the effect of its own alienation from mortal life. This regulatory idea of immortality, which is also a constitutive illusion, is inspired by the post-structuralist theme of becoming non-identical as we see in Deleuze and Derrida. If one could become non-identical, why would one not also become non-mortal? If one could become alienated from one’s identity, why would one not also become alienated from one’s mortality?  Why not become immortal so as to become capable of criticizing the exploitations of this mortal, all too mortal life? But what motivated me to take immortality as a virtual mode of being was Badiou’s theory of infinity which aimed at secularizing the concept of truth. Badiou’s technique of secularizing the truth is inspired by the 19th century mathematician Georg Cantor’s technique of secularizing the infinite. As Badio claims, the secularization of infinity started with Cantor who stated that there was not one, but many infinities varying in size and intensity. From then onwards it became possible to link Deleuze’s concepts of impersonal consciousness and transcendental empiricism with Badiou’s theory of infinity and Kant’s assertion that for reflective judgement to take place and turn the object into a subject a transcendental ground is necessary.  Now I can say that for me a transcendental ground is necessary only to the extent that it enables the subject to shake the foundation of its own mode of being and opens a field for immanent critique to take place. In other words, the untimely indifference of immortality is required in order to actively engage in an exposition of the exploitation of mortality in this time.


Timothy Murray, Director of the Society for the Humanities, is pleased to announce the 2011-2012 research focal theme: “Sound: Culture, Theory, Practice, Politics.” Six to eight Fellows will be appointed.

ALL FOR FELLOWSHIP APPLICATIONS

The Society for the Humanities invites scholars to reflect this year upon the theme of “Sound: Culture, Theory, Practice, Politics” as a means of analyzing the resonance of historical and contemporary representations, movements, ideas, and negations of sound. Representations of sound abound in visual, textual, and aural realms. Storytelling, poetry, music, theater, oral histories, political speeches, and noise find their way in and out of texts, images, and recordings as various kinds of sound travel through different media. From “voicing” to “listening,” sound shapes the framework of much critical and philosophical analysis of the body, affect, and social publics. How does sound function in establishing parameters of psycho-cultural imaginaries, social practice, religious ritual, and political regulation across the globe? How do manifestations of sound differ in the global context of capitalism and cosmopolitanism, not to mention the specificities of ethnic difference and cultural diversity? How are “voice,” “hearing,” and “listening” defined in various disciplines and in relation to aesthetic properties of the disciplines, such as meter, rhythm, montage, and amplification? What criteria are used for differentiating natural from artificial sounds? Does sound challenge disciplinary distinctions between the visual the oral/aural/tactile? Can the loud noises of industrial culture be distinguished from the synthetic sounds of electronic music, the stammerings of performance and philosophical manifestos, and the burps and sighs of the comics and cinematic sound tracks? Beyond music’s embodiment of sound as artistic form, applicants are welcome to consider the broader sense of sonic environments, the role of silence in private and public space and performance, and the ways in which sound underlies life itself (the “pink noise” of earthquakes and ocean currents) as well as the negative sense of pollution (environment) or weapon (torture and warfare). Possible topics might include the use of sound to mark the passage of time; the correlation of sound to the movement of the body in dance and performance; deafness and disability studies; the sonic promise of sonic cartographic projects of social movements and migrations. Of equal import are the cultural impact of the electronic and digital age and the harmonious collusion of the virtual and the visceral in internet-driven communities. Fellows might also consider sound’s importance to visual studies, the cultural and ethnic specificity of acoustic fields and rhythms in the age of sampling and mixing, and the gender import of voice and spoken narrative. This interdisciplinary invitation is open to study of the broadest cross-cultural range of contexts and media that cross the boundaries of time and space, from East and West/South and North.

QUALIFICATIONS

Fellows should be working on topics related to the year’s theme. Their approach to the humanities should be broad enough to appeal to students and scholars in several humanistic disciplines. Applicants must have received the Ph.D. degree before January 1, 2010. The Society for the Humanities will not consider applications from scholars who received the Ph.D. after this date. Applicants must also have one or more years of teaching experience which may include teaching as a graduate student.

APPLICATION PROCEDURES

The following application materials must be postmarked on or before October 1, 2010. Faxed applications will not be accepted. 1. A curriculum vitae and a copy of one scholarly paper no more than 35 pages in length. Applicants who wish to have their materials returned should enclose a stamped, self-addressed envelope. 2. A one-page abstract in addition to a detailed statement of the research project the applicant would like to pursue during the term of the fellowship (1,000-3,000 words). Applicants are also encouraged to submit a working bibliography for their projects. 3. A brief (two-page) proposal for a seminar related to the applicant’s research. Seminars meet two hours per week for one semester (fourteen weeks) and enrollment is limited to fifteen graduate students and qualified undergraduate students. 4. Two letters of recommendation from senior colleagues to whom candidates should send their research proposal and teaching proposal. Letters of recommendation should include an evaluation of the candidate’s proposed research and teaching statements. Please ask referees to send their letters directly to the Society.

Letters must be postmarked on or before October 1, 2010. Send 3 copies of the full application and letters of recommendation to:

Program Administrator Society for the Humanities A.D. White House 27 East Ave. Cornell University Ithaca, NY 14853-1101

For further information:

Phone: 607-255-9274

Email: humctr-mailbox@cornell.edu

Website: www.arts.cornell.edu/sochum/

Awards will be announced by the end of December 2010.

Note: Extensions for applications will not be granted. The Society will consider only fully completed applications. It is the responsibility of each applicant to ensure that ALL documentation is complete, and that referees submit their letters of recommendation to the Society before the closing date. Emailed applications will not be accepted. The Society for the Humanities The Society for the Humanities was established at Cornell University in 1966 to support research and encourage imaginative teaching in the humanities. It is intended to be at once a research institute, a stimulus to educational innovation, and a continuing society of scholars. In addition to promoting research on central concepts, methods or problems in the humanities, the Society for the Humanities seeks to encourage serious and sustained discussion between teachers and learners at all levels of maturity. Fellowships Fellows include scholars from other universities and members of the Cornell faculty released from regular duties. The fellowships are held for one academic year. Each Society Fellow will receive $45,000. Applicants living outside North America are eligible for an additional $2,000 to assist with travel costs.

 “In Examined Life, filmmaker Astra Taylor accompanies some of today’s most influential thinkers on a series of unique excursions through places and spaces that hold particular resonance for them and their ideas.

Peter Singer’s thoughts on the ethics of consumption are amplified against the backdrop of Fifth Avenue’s posh boutiques. Slavoj Zizek questions current beliefs about the environment while sifting through a garbage dump. Michael Hardt ponders the nature of revolution while surrounded by symbols of wealth and leisure.

Judith Butler and a friend stroll through San Francisco’s Mission District questioning our culture’s fixation on individualism. And while driving through Manhattan, Cornel West—perhaps America’s best-known public intellectual—compares philosophy to jazz and blues, reminding us how intense and invigorating a life of the mind can be.

Offering privileged moments with great thinkers from fields ranging from moral philosophy to cultural theory, Examined Life reveals philosophy’s power to transform the way we see the world around us and imagine our place in it.”

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