by David Roden
David Roden – The Noise of the Future: Against Posthuman Ethics from Sonic Acts on Vimeo.
A bit Dalek like from a hard night bopping in the Paradiso club, but I remain standing and more or less self-aware throughout. The paper considers Ballard, Brassier and Cronenberg in the light of posthuman theory.
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Barnaby Clay recreates the hedonism of 1980s Milan for the Italian composer’s latest featuring Soko and Karen O
The first film for Daniele Luppi’s new MILANO project--a collection of fictionalized stories about misfits, fashionistas, and junkies in mid-1980s Milan--Pretty Prizes is a chic New Wave-style mystery shot by British-born director Barnaby Clay, who has worked with the likes of Rihanna and David Bowie.
For this multi-song video, the New York-based filmmaker has created a beguiling visual narrative to accompany the composer’s new album, bringing together Yeah Yeah Yeahs frontwoman Karen O and Brooklyn punk rockers Parquet Courts, who perform the music that appears in this snapshot of sex, death and decadence—conjuring a Milan that was known as ‘Milano da bere' (‘Drinking Milan’).
“A snapshot of sex, death and decadence”
By turns psychotic and insouciant, French actor and chanteuse Soko, who plays the lead in the narrative film, embodies the vibrancy and stylish superficiality of Milan’s hedonistic heyday, when the city was infamous for its wild and often reckless nightlife. Clay explains: “The whole video rests on the juxtaposition between the upbeat feel of the song and Soko’s laissez-faire performance in accompaniment to the music.”
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I am sometimes asked if I have any words of advice for young people.
Well, here are a few simple admonitions for young and old, man and beast.
Never interfere in a boy and girl fight.
Beware of whores who say they don't want money. The hell they don't.
What they mean is that they want more money; much more, these are the most expensive whores what can be got.
If you're doing business with a religious son of a bitch, get it in writing; his word isn't worth shit, not with the good Lord telling him how to fuck you on the deal.
If, after having been exposed to someone's presence, you feel as if you've lost a quart of plasma, avoid that presence. You need it like you need pernicious anemia.
We don't like to hear the word "vampire" around here; we're trying to improve our public image. Building a kindly, avuncular, benevolent image; "interdependence" is the keyword -- "enlightened interdependence".
Life in all its rich variety, take a little, leave a little. However, by the inexorable logistics of the vampiric process they always take more than they leave -- and why, indeed, should they take any?
Avoid fuck-ups. Fools, I call them. You all know the type -- no matter how good it sounds, everything they have anything to do with turns into a disaster. Trouble for themselves and everyone connected with them.
A fool is bad news, and it rubs off -- don't let it rub off on you.
Do not proffer sympathy to the mentally ill; it is a bottomless pit. Tell them firmly, "I am not paid to listen to this drivel -- you are a terminal fool!" Otherwise, they make you as crazy as they are.
Above all, avoid confirmed criminals. They are a special malignant strain of fool.
"Am I using this technology, or is it using me?"
Charlene Hunter Gault interviews media theorist and cultural critic Neil Postman on PBS' The MacNeil/Lehrer NewsHour in 1995. Postman discusses new media and the "Faustian bargain" of technological change in the context of the "Information Superhighway" and the Internet.
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Das Netz is a German documentary directed by Lutz Dammbeck, a strange mosaic of the collision of covert history, scientific development, and popular culture. Ostensibly it’s about the case of the Ted Kaczynski, the brilliant mathematician-turned-“Unabomber” who between the years of 1978 and 1995 engaged in a bombing campaign against industrial civilization. Holed up in remote cabin in the woods near Lincoln, Montana he fashioned weapons that he then mailed to his victims, many culled from the ranks of the “Digerati” – the top-elites of the then-emergent fields of computing and information technology development. While many would be satisfied creating a linear narrative, a documentary snaking through Kaczynski’s life as a mathematical prodigy who lost his mind, Dammbeck choses instead to ask the question of why? Not satisfied with the charge of insanity, the filmmaker strikes out to navigate a twisty terrain in search of causation, something that would explain why an individual who was expected to become one of the leading mathematicians of our time would flee civilization to wage a protracted war against technology – the very force that trajectory of his mathematical fields was propelling forward. In the end, this question becomes a guiding compass in the loosest sense of the word, holding together an unwieldy array of facts and tangents that span decades.
- Edmund Berger
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An excerpt from draft 5 of "NOVA EXPRESS"
a film by Andre Perkowski
based on the writings of William S. Burroughs
Readings by William S. Burroughs and Phil Proctor
music by Andre Perkowski with Fats Terminal at the Electric Organ
NOVA EXPRESS is currently three hours long and continues folding, shifting, and permutating.
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"A Policeman with a new piece of technology" - William Gibson at ARS ELECTRONICA FESTIVAL 1990, Linz
In 1990, US writer William Gibson was a featured guest at the ARS ELECTRONICA FESTIVAL in Linz, Austria. Amongst other reasons, the festival was established to detect future trends in technology and society - and in that year dealt with the term "cyberpunk", which was coined to describe the work of William Gibson. The tracks shown in the video are restored footage from a VHS recording of the first lecture William Gibson gaveat ARS ELECTRONICA FESTIVAL in Austria.
Video: Chris Haderer
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by Andre Perkowski
An excerpt from draft six "NOVA EXPRESS"
a film by Andre Perkowski based on the writings of William S. Burroughs
readings by William S. Burroughs
music by Kristin Palker & Andre Perkowski
Thanks to: James Grauerholz Oliver Harris Jan Herman Keith Seward Carl Weissner Giorno Poetry Systems realitystudio.org
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Turner Prize-winning multidisciplinary artist Wolfgang Tillmans' work covers everything from documenting the darkest corners of Europe’s club culture to abstract material images that exist in a place somewhere between photography and sculpture. With music being a strong influence on the artist’s entire career, a recent development saw Tillmans undertake a number of musical projects. Here, the artist talks to us from Berlin Atonal festival, which saw him perform with British producer Oscar Powell.
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January 1946, Mojave Desert. Jack Parsons, a rocket scientist and Thelemite, performs a series of rituals with the intention of conjuring a vessel to carry and direct the force of Babalon, overseer of the Abyss, Sacred Whore, Scarlet Woman, Mother of Abominations. His goal is to bring about a transition from the masculine Aeon of Horus to a new age—an age presided over by qualities imputed to the female demon: fire, blood, the unconscious; a material, sexual drive and a paradoxical knowledge beyond sense … the wages of which are nothing less than the ego-identity of Man—the end, effectively, of “his” world. Her cipher in the Cult of Ma’at is 0, and she appears in the major arcana of the Thoth Tarot entangled with the Beast as Lust, to which is attributed the serpent’s letter ט, and thereby the number 9. In her guise as harlot, it is said that Babalon is bound to “yield herself up to everything that liveth,” but it is by means of this very yielding (“subduing the strength” of those with whom she lies via the prescribed passivity of this role) that her devastating power is activated: “[B]ecause she hath made her self the servant of each, therefore is she become the mistress of all. Not as yet canst thou comprehend her glory.”2 In his invocations Parsons would refer to her as the “flame of life, power of darkness,” she who “feeds upon the death of men … beautiful—horrible.”
In late February—the invocation progressing smoothly—Parsons receives what he believes to be a direct communication from Babalon, prophesying her terrestrial incarnation by means of a perfect vessel of her own provision, “a daughter.” “Seek her not, call her not,” relays the transcript.
Let her declare. Ask nothing. There shall be ordeals. My way is not in the solemn ways, or in the reasoned ways, but in the devious way of the serpent, and the oblique way of the factor unknown and unnumbered. None shall resist [her], whom I lovest. Though they call [her] harlot and whore, shameless, false, evil, these words shall be blood in their mouths, and dust thereafter. For I am BABALON, and she my daughter, unique, and there shall be no other women like her.
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