January 2009


As part of AUDINT with Toby Heys (http://www.batteryoperated.net/spirawl/), I have a sound installation in this exhibition in Berlin in 2009. The installation entitled ‘Unsound Systems’ explores the peripheries of auditory perception. More news soon.

EMBEDDED ART
Art in the Name of Security

An exhibition presented by the Akademie der Künste, Berlin and ‘Künstlergruppe BBM’

24th January to 22nd March 2009
Akademie der Künste
Pariser Platz 4, 10117 Berlin-Mitte, Tel. +49 (30) 200 57-1513, heilmann@adk.de
Tue – Sun 11am – 8pm, admission: € 6, concessions € 4
Admission free every 1st Sunday of the month, admission free for under 18’s
Sponsored by the ‘Hauptstadtkulturfonds’

Concept
In 2009, the first exhibition of the year at Berlin’s Akademie der Künste will be devoted to a topical, highly political theme. EMBEDDED ART looks at the threats to unrestricted public life following the 9/11 attacks and the attacks in Madrid, Moscow and London. Security issues in the 21st century have an impact on the day-to-day life of millions of people. Since terrorism has reached major European and US cities that were once considered safe, citizens have been subject to increasing state control. To ensure comprehensive physical, political and national integrity, security has become a new ideology, the ‘mantra’ of civilised society.

For EMBEDDED ART, the curators Olaf Arndt, Moritz von Rappard, Janneke Schönenbach and Cecilia Wee of artist’s group ‘Künstlergruppe BBM’ have commissioned international artists to respond to the current situation. EMBEDDED ART will only show works realised on location or against a background of research into future security. The diverse works focus on the conflicting fields of terrorism and terror, security and control. Broadly speaking, the artists can be said to explore the subject in the following three ways: investigating the validity of ‘new threats’, the predominantly technical reactions to these threats, and their resulting impact on society. EMBEDDED ART is the working principle, ‘art in the name of security’ is the theme of the exhibition, a provocative phrase which itself is an artistic comment on one of the core questions of global development.

EMBEDDED ART also reflects the ambivalent relationship between artists and the state military machinery. So-called ‘war artists’ were dispatched to the front for the first time by the Australian government during World War I to capture the soldier’s experiences directly at the scene of events. Even as far back as 1944, ‘military science fiction’ authors collaborated with US army defence engineers to design the ‘cyber soldier’ in preparation for a Third World War. Today, the dispatch of ‘war artists’ in the ‘war on terror’ is still an established military practice. Artists in their capacity as researchers of the imaginable perhaps pave the way to a new reality, their fantasies selectively exploited for the development of new security strategies. EMBEDDED ART, conversely, introduces artists who are intent on enlightenment, not affirmation.

The exhibition venue – the Akademie building at Pariser Platz – is directly linked to the exhibition theme. The Pariser Platz, which was still a symbol for the end of the Cold War during the late 1990s, has become a security perimeter for international politics since 9/11. With its embassies, banks, a luxury hotel and architecture reminiscent of modern strongholds, it is located between the new hub of political power and the Holocaust memorial, hence the square is potentially one of the most-at-risk, most closely guarded, locations in the Federal Republic. EMBEDDED ART’s exhibition concept incorporates the Pariser Platz, thereby creating a further level in the interaction of artistic imagination and stark reality, the project’s focal point.

Ultimately, EMBEDDED ART provides – in conjunction with the exhibition ‘Raum’ (2007) and the programmes on the radical changes of 1968 and 1989, ‘Kunst und Revolte’ (2008/09) – a new contribution to a significant debate, one of the great challenges the Akademie has set itself: the campaign for public space as a democratic space.

Following on from the exhibition ‘Raum’ (2007) and the programmes on the radical changes of 1968 and 1989, ‘Kunst und Revolte’ (2008/09), EMBEDDED ART ultimately provides a unique and significant contribution to the debate and campaign for public space as a democratic right: one of the great challenges the Akademie has set itself.

The Exhibition
With more than 30 commissioned works, the exhibition not only highlights many of the pertinent issues relating to global security, it also offers fascinating insight into current trends in contemporary art practice, featuring artists from Germany, Great Britain, Japan, South Africa, Italy and Slovenia showing visual art, video art, media art, photography, music, and sound art.

The video artists Korpys & Löffler film a Rhineland-Palatinate-police riot squad workshop, where officers are instructed in the use of the Taser electronic control device. Painter Moritz ® portrays ‘Five Peace Monsters’, the protagonists of new technologies for political control. Photographer Christina Zück travels to Karachi, where she records the ‘psycho-geography’ of a site on the ‘axis of evil’, collaborating with the Pakistani photographer Zahid Hussein. British dubstep pioneer Steve Goodman (aka Kode 9) in collaboration with sound artist Toby Heys illustrate the physical sensations of future sonic weaponry with their installation ‘Unsound’. Peter Kennard mounts a 20-metre-wide collage on command centres – ‘War Rooms’. Musician Paul B. Davies reworks legendary ‘Popcorn’-composer Gershon Kingsley’s ‘Security-Song’.

The influence of EMBEDDED ART will also reach beyond the Akademie’s walls into Berlin’s public spaces. Posters designed by five internationally renown graphic artists will spread the word all over the city. Works by video artists will be shown on a 60-square-metre display on the façade of the Akademie building. The performance artist Richard Dedomenici stages interventions on Pariser Platz.

Exhibition Presentation
The exhibition format itself reflects the central issue of security, enabling the visitor to live the experience. Only projections of the works, transmitted from the hi-tech secure basement of the building using the latest surveillance technology, will be seen in the Akademie’s exhibition halls. The visitors can choose to visit projections of the artworks in the exhibition halls for a small entrance fee, the originals can only be viewed on a guided tour of the secure area, accompanied by security personnel.

Contributing Artists (as at 18.11.08)
Adam Broomberg & Oliver Chanarin; Alexander Krohn; Andreas Strauss; Angelika Schneider von Maydell; BBM – Beobachter der Bediener von Maschinen; Cameron Bobro; Cecilia Wee; Christina Zück & Zahid Hussein; Florian Wuest; Fons Hickmann; Georg Schmalhofer; Gunter Rambow; Hans-Werner Kroesinger; Heidi Specker; Jacques Coetzer; Jonathan Barnbrook; Jörg Möller; Jörn Buttelmann; Kalle Laar; Ken Hollings & Rathna Ramanathan; Keven McAlester; Klaus Staeck & REMOTEWORDS; Korpys / Löffler; Lars Vaupel; Lillevan & Zaji Chalem; Lutz Westermann & Peter Halasz (†); Monika Schedler; Moritz ®; Neville Brody; Oliver Kunkel; Omar Vulpinari; Paul B Davis & Gershon Kingsley; Peter Kennard & Cat Picton Phillipps; Richard DeDomenici; Sally Gutierrez; Simon Tyszko; Steve Goodman aka Kode9 & Toby Heys; Thomas Heise; Timm Ulrichs; U.R.A. / FILOART; Valentinas Klimasauskas; Vassilios Georgiadis; Yuko Shimizu; Zsolt Barat.

Ancillary Events
The exhibition will be accompanied by events, guided tours, debates and movie screenings. Each Friday, artists and guest speakers will discuss the exhibition in the temporary bar ‘Bar zur inneren Sicherheit’ on the top floor of the Akademie.

Publication
‘Verlag argo books’ will publish a comprehensive catalogue, including specially commissioned essays to accompany the exhibition.

Additional Venues
There are plans to take the exhibition to other locations including Johannesburg, London, Barcelona and Delhi.

Künstlergruppe BBM
Curators of EMBEDDED ART are Olaf Arndt, Moritz von Rappard and Janneke Schönenbach of the Künstlergruppe BBM (Beobachter der Bediener von Maschinen, Observers of Operators of Machines).
The artist’s group was established in 1989 and consists of artists as well as musicians, architects and programmers who join the core team on a project-basis. Based on the ‘source material’ machine, BBM’s work centres on the issues of technology, research and the Federal Republic of Germany’s social conditions. BBM’s exhibitions, events and performances evolve from a fine arts context and relate to public space. Books, CDs and videos accompany and complement the large-scale productions.
BBM has taken part in exhibitions such as ‘Deutschlandbilder’ (Berliner Festspiele, 1997), ‘deep storage’ (Haus der Kunst, München, 1997), ‘Zur Vorstellung des Terrors’ (Kunstwerke, Berlin, 2005) and projects like Themenpark ‘Wissen’ (Weltaustellung Expo, 2000) and ‘Demonen’ (as part of the BBM-managed ‘Kultur-2000′ project ‘Troia’, Theater der Welt, Stuttgart, 2005.)

For a Non-Lethal Weapon, Israel Uses Sound

All Things Considered: June 13, 2005
from

http://www.npr.org/templates/transcript/transcript.php?storyId=4701588

MELISSA BLOCK, host:

Two weeks ago, the Israeli Army used a new non-lethal weapon to disperse a crowd of hundreds of Palestinians who were demonstrating against Israel’s security barrier. The army calls the weapon the Scream. The device emits bursts of sound that cause an overwhelming sense of dizziness and nausea. According to a spokeswoman for the Israeli Army, soldiers used the Scream after Palestinians began throwing rocks at the soldiers. And, the army spokeswoman said, the Scream could potentially be used this summer against Israeli settlers in the Gaza Strip if they resist evacuation orders.

To find out more about the Scream and acoustic weapons, we’re joined by Malcolm Davis. He studies future warfare technologies at the Joint Services Command and Staff College in Wiltshire, England.

Thanks for being with us.

Dr. MALCOLM DAVIS (Joint Services Command and Staff College): Thank you.

BLOCK: And, Dr. Davis, explain, please, how this technology works.

Dr. DAVIS: Essentially, acoustic weapons generate their effects by directing bursts of very intense acoustic energy–sound, if you like–at a target. Now this can either be a high-frequency sound, a very high-pitched sound, or it can be a very low-frequency sound to the point that you can’t actually hear the sound. And the effect that both weapons produce is to vibrate the internal organs of the human body at a certain frequency to produce nausea, disorientation, dizziness and that sort of thing.

BLOCK: And apparently the one used at this demonstration at the West Bank was the first one you described, the high-frequency…

Dr. DAVIS: The high-frequency…

BLOCK: …because it was audible.

Dr. DAVIS: Yes. Yes.

BLOCK: Does it damage the hearing?

Dr. DAVIS: No, it doesn’t, because it is directional. I mean, if you were close to it, it would potentially damage your hearing, but someone a hundred feet away wouldn’t have their hearing damaged. What they would experience would be this dizziness and nausea and potentially a burning sensation on the skin, and ultimately they could not stay for any length of period in the effective range of the weapon.

BLOCK: You said a burning sensation on the skin. Why is that?

Dr. DAVIS: It’s because of the–I don’t understand the physics of it myself, but essentially, from what I understand, the vibrations of the body under the effects of the sound waves heats up the body, and so after a few moments, you start to feel a burning sensation on your skin.

BLOCK: Now the spokeswoman for the Israeli Army said this would be completely harmless, only used as a last resort, and that it’s far better, say, than using rubber bullets. Would you agree?

Dr. DAVIS: Yes. I mean, sort of–if you look at crowd control, you can use tear gas, which is very nasty stuff and lingers on after it’s been used, whereas acoustic weapons, once you turn them off, once you flick the off switch, that’s it, the effect ends. If you use rubber bullets, as you well know, people can die from rubber bullets, because all rubber bullets are is real bullets encased in rubber. So it’s much better to use a non-lethal weapon that does not permanently injure someone and can be immediately switched off once the desired situation has been resolved.

BLOCK: And is it the kind of thing that you can adjust? In other words, make it more or less intense, possibly, depending on the threat?

Dr. DAVIS: You can, and that’s where obviously it could be dialed up potentially to deliver a lethal effect. But there’s no real justification for doing that because this is more effective as a non-lethal weapon. And the moment you start using it in a lethal capability, that’s when it starts to be able to be used in that respect by an adversary, and it ceases to have its effect as a non-lethal weapon.

BLOCK: Dr. Davis, what are the drawbacks of this technology?

Dr. DAVIS: Well, the drawbacks is that it’s a new form of military technology and, of course, some–it could be used by an opponent against us, like all weapons, so it has to be managed effectively.

BLOCK: The way you’re describing it, this actually sounds like fairly simple technology. I wonder why it hasn’t been used before.

Dr. DAVIS: It’s not simple. It’s simple in concept, complex in execution. In effect, what we’re talking about is firing acoustic bullets, bullets of sound, and to get the desired frequency, to actually project a narrow cone of acoustic energy over a fairly extensive distance, is what’s complex. And that’s the reason why it hasn’t been used before.

BLOCK: Malcolm Davis, thanks very much.

Dr. DAVIS: Thank you very much.

BLOCK: Malcolm Davis studies future warfare technologies at the Joint Services Command and Staff College in Wiltshire, England.

(Soundbite of music)

ROBERT SIEGEL (Host): You’re listening to ALL THINGS CONSIDERED from NPR News.

Copyright ©2007 National Public Radio®. All rights reserved. No quotes from the materials contained herein may be used in any media without attribution to National Public Radio. This transcript may not be reproduced in whole or in part without prior written permission. For further information, please contact NPR’s Permissions Coordinator at (202) 513-2030.

Scientist Meets the Ghost Captain
Kevin Martin’s (The Bug) sleeve notes from his 1995 compilation Macro Dub Infection Vol.1

1994

‘The first dub I heard was ‘King Tubby meets the Rockers Uptown’’ (Augustus Pablo) I couldn’t make head nor tail of it. I didn’t know what was going on, it sounded like a series of mistakes.(Lol Bell-Brown, The Disciples)

1992

‘Im is a scientist, original scientist y’know.’ (Augustus Pablo on King Tubby to Lol Bell-Brown/Dub Catcher) Cutting and splicing technology, King Tubby set songs adrift via customized Sound systems, mixing desks and echo units. Electronic engineer/technological wizard, Osbourne ‘King Tubby’ Ruddock inadvertently initiated today’s Drum & Bass Jungle 25 years prematurely, whilst developing dub as science and commodity. The deep reverberations from his cavernous dubs contaminated the rich bloodline of sorcerer’s apprentices, such as Prince Jammy and Scientist (whose hallucinatory encounters With Space Invaders, vampires and pac-men bore out the mark of his master), training in his Studio, under his shadow.

1993

‘Tubby’s right, with all the Drum & Bass ting now, dem ting just start by accident, a man sing off-key, and when you reach a dat you drop out everything an‘ leave the drum, an lick in the bass, an cause a confusion, an’ people like it – me say “Yes. Tubbs, madness, the people dem like it!”‘

(Bunny Lee, producer/mentor, to Steve Barrow/Dub Catcher)

1991

‘Joe played the mixing desk like an instrument.’ (Johnny Leyton, singer, on Joe Meek, from ‘The Legendary Joe Meek, Arena Television Special)

1960

‘Telstar’ producer Joe Meek releases the infamous ‘I Hear a New World as an alien testament reflecting his belief in extraterrestrial lifeforms and the Occult. He incorporates proto-synths and self-made echo boxes within his astral passage to pop perversion. Surpassing the psychosis that plagued producer Phil Spector, and the schizophrenia later suffered by head Beach Boy Brian Wilson (who dubbed a 15-minute version of ‘Good Vibrations’ on ‘Smile’ in 1966), Meek’s manic depression and eventual tragic suicide highlights the perils faced by early sonic test pilots. Blurring the distinctions between genius and madness, Meek’s producer-as-king self-status later led to abstract delusions, as he eventually claimed to receive instructions from the deceased Buddy Holly.

1995

‘I am the ghost captain.’ (Lee Perry)

1974

If Dub is a journey through time and space, then ‘Blackboard Jungle Dub’ is a black hole where the rational and irrational implode. Guided by self-proclaimed ‘Duppy (Ghost) Conqueror’, Lee ‘Scratch’ Perry, Tubby’s pragmatic advances translated the fantastic into the mechanically tangible, delivering Scratch’s first stereo Dub transmission. Satisfying both right and left hemispheres of the brain, skank merchants and space cadets alike, it was a successful war on logic. Perry continued to reduce musicians to spectres within his dream machinery. Weaned on Superman comics, spaghetti westerns and TV cop shows, Perry would later reconfigure Morricone’s past and Black Ark studio’s present as a visionary future on the Sound-bite infested ‘Dub Revolution’ – Science fiction made fact, his cathode-ray conversion encouraged the mixillogical body-snatching that would later manifest itself on Adrian Sherwood’s hot-wired productions.

1995

‘You’re listenin’ to a machine I imitate human being. I’m a machine being to satisfy your greatest dream.’

(Lee Perry)

1969

‘It is meant to suggest that man, in the face of encroaching technology, must confront technology and attempt to humanize it; using it to enrich his collective soul not only his purse. To explore inner as well as outer space. (George Russell. Musician/producer/composer in his sleevenotes accompanying ‘Electric Sonata for Souls Loved by Nature – 1968’)

‘Electric Sonata’ melted African, Indian, Rock and serial musics into its liquid grooves, as Russell cut up jazz into a pre-Laswellian dream state. He spoke of ‘vertical evolution’ and ‘music as architecture’, locating an uncharted middle ground for jazz and electro-acoustic to thrive in with studio aids. Tao Macero’s biomechanical work with Miles Davis on ‘Bitches Brew’ similarly revolutionized jazz with its infinite, production-generated patterns. Both men surgically removed the power of the musician, as they emphasized the space between the notes. Reflecting reggae’s changes, they both turned jazz upside down and inside out.

1953

Sun Ra dubbed out ‘Cosmic Tones for Mental Therapy’. Its reverberating echoes atomized his tradjazz environment and guaranteed a place for machinery as a means to freedom or exile, in Luddite surroundings -

‘I am a spirit being. – (Sun Ra, to Graham Lock/The Wire)

1990

‘With Stalling all are embraced, chewed up and spit out in a format closer to Burroughs’ cut-ups or Godard’s film editing of the 1960s than to anything happening in the 1940s.’ (John Zorn, on composer Carl Stalling’s genre-surfing for animated cartoons) Tod Dockstader inherited Stalling’s nomadic impulses and the invention of Varese, having ‘cut picture and sound for animated cartoons’ in Hollywood. The self-taught engineer/sound effects specialist incorporated musique Concrete’s microscopic detail, whilst re-assembling recorded sounds; to splice, cut, manipulate and mix them into a disturbing whole.

1964

Dockstader created the monstrous Quatermass’ (inspired by the futuristic TV series of the same name). He revealed his passion sources as being ‘the early satellites, starting with “Sputnik”‘.

‘I had a library of 300,000 feet of tape (125 hours at 15ips). From this mass, I would select cells that seemed like they might work together into a piece, and then turn them into stereo (with more classical techniques of tape delay and tape echo between channels panning, reverberation and placement).‘ (Ted Dockstader, on the construction of 1964’s ‘Quatermass’ -Starkland Records)

1955

‘After I had travelled 16 miles and was still running further from the fearful noises, I didn’t know the time that I entered into a dreadful bush which is called the “Bush of Ghosts”, because I was very young to understand the meaning of “bad” and “good”.‘ (Amos Tutuola, extract from ‘My Life in the Bush of Ghosts’, Faber and Faber)

Eno and Byrne’s LP of the same name amplified Tutuola’s haunting novel and fanned ‘soul fire’ into a sampladelic prototype.

Adrian Sherwood’s ‘International Web of Outsiders’, featuring itinerant dreads, punk exiles and free jazz outcasts gathered under the On-U-Sound banner to record the ironically entitled ‘My Life in a Hole in the Ground’ as African Headcharge. A mutant guide to sci-fi Babylon, its multidimensional info-overload and depth-charged heaviness fed off the BBC sound-effects library and floated upon Nyabinghi tribal drumming. Old met new in an anarchic declaration of psychodelic intent, it announced separation from reggae’s puritanical roots that begat such a fetishistic beast.

11th century

‘Nothing is true, everything is permitted.’ (Hassan i Sabbah, assassin)

1989

‘We hear from all directions at once… If our eardrums were tuned any higher we would hear molecules colliding in the air or the roaring of our own blood.’ (Marshall McLuhan/Bruce R. Powers, from ‘The Global Village’, Oxford University Press)

1995

Jah Shaka’s enlightened offspring, Abashanti and Iration Steppas, lock woofers in a gladiatorial sound-system clash. Militantly proud and insanely loud, ‘Shanti plays a righteous dub plate, sounding like church bells ringing 20,000 leagues under the sea. (My Bloody Valentine meets Sly & Robbie in a psycho-acoustic twilight zone). Ritualistically, the audience reject applause and stand awestruck in reverential silence. Quadrophonic, wall-to-wall speakers render resistance impossible; forced into meditational worship with the pure sound relationship to the music. Iration counter with ‘Killimanjaro’, systematically reducing its geographical title to a hypnotically mind-bending Chant of ‘Kill a man, kill a man . . .’ Fusing the physical with the metaphysical, the Scientific with the archaic, the earth-moving EQ and time-warping effects reduce hours to minutes and make seconds stretch eternal. A tribal trek lost in sound.

1960

‘The word of course is one of the most powerful instruments of control as exercised by the newspapers… If you start cutting these up and rearranging them, you are breaking down the control system’. (William S. Burroughs, ‘The Job-John Calder Ltd’)

Dub has evolved into a mutant virus. Its amoral corruption effects all musical forms it digests. Addicted to change, Dub has ignored the rule world by cutting out all territorial claims. As a technological agent of transformation, its core identity remains compellingly elusive, leaving only rarefied traces of its mysterious past. Just as reggae’s pioneering spirits were infected by pops instantaneousness, so Dub’s leading practitioners were aware of Phil Spector. Berry Gordy and Brian Wilson’s radical sound exploits. Dub’s public broadcasts rocked Jamaica’s sound system infrastructure throughout the 1970s. Not only outmaneuvering the scientists and eccentrics by appealing to both body and intellect, its overground exposure and structural liberation provided the perfect recycling product for mass consumption. With the timely advent of Drum & Bass (‘Version’), remix and Dub, its manufactured addictiveness was guaranteed. Dub appealed to human greed and spiritual need. A formless folk-music to be baptized in. when McLuhan announced that the Global Media Village as ‘a proper place for the birth of metamorphosis’, his sentiments had met their match in King Tubby’s echo chamber. Turning technology in on itself Dubs feedback has continued to regenerate and redirect arid forms, Its revelatory peaks and paranoid visions have provided invaluable musical breakthroughs.

1968

When Jimi Hendrix promoted ‘the slow notion speeded up sound that sometimes cut so deep’ within ‘Letter to the Room Full of Mirrors’ on the sleevenotes to ‘Electric Ladyland’ , its disorientating sentiments tapped past, present and future. Drum & Bass had already taken root in Jamaica and now the Junglists’ polyrhythmic charge repeats the loop two decades later.

1989

Lee Perry’s ‘The Tackro’ , a visionary resize of his filmic hit ‘Clint Eastwood’, previewed the shapeshifting sound of Dub to come. Not that reggae had immaculately conceived instrumentals, effects processing or structural edits. Perry had monitored Motown’s moves and James Brown’s instrumental B-side grooves. Tubby had followed the leading figures of jazz. Sporadic emissions had been covertly received from as far back as the proto-Dubs highlighting Chess or Sun gems in the 1950s. Musique Concrete’s institutionalised disciples close-miked their environment to map out micro-space in effects-laden studios. Pierre Schaeffer rearranged reality as a ‘concept of noises’ in the middle of the twentieth century. Even Stravinsky protégé Varese wrote of music as being ‘spatial’, ‘sound set free, yet organised’. His ‘Americues’ (1918) not only challenged the status quo, it dubbed in sirens and a lion’s roar 50 years before the Caribbean grassroots revolution.

Dub’s infinite horizons arose from the promise of deep space and an insatiable appetite for techno info. It lusted for space, both inner and outer. Its advancement echoed Jackson Pollock reducing fine art to spectral fragments, Dali replaying non-narrative dream sequences and Warhol remixing repetition. With supernatural allusions and aural illusions, Dub’s prime movers reflected the edited reality of Modernist film. Both Bunny Lee and ‘Scratch’ were obsessive Western consumers (surrounded by guns and strife, it seems obvious now). So the slow-motion shoot outs punctuating Peckinpah’s ‘Wild Bunch’, the temporal cut-ups of Kubrick’s ‘2001’ or even Jean-Luc-Godard splicing up the Rolling Stones in ‘One Plus One’, added to the exhilarating confusion.

Oxymoronically, a non-organic medium conveying organic messages, Dub’s initial broadcasts filtered yearning, cultural struggle and a Rastafarian Zion. Yet it reduced humanity’s status to ghosts within its machinery. A thirst for control or a humanising quest? Dub supplied the blueprint for the man-machine inter-face. Crowning producer as king, it pre-empted the dawn of music’s silicon age. Offering bliss to hedonists and madness to Babylon seekers.

1995

‘The studio is like your own world, and you become the god.’ (A Guy Called Gerald, to Simon Reynolds/Melody Maker). Whilst Dub’s individualistic genre claims can be contested, reggae’s historical innovations cannot. Sound system, rapping, the 12-inch single’s advanced sound all emanated from Jamaica’s survivalist doctrine of profit through invention. Straddling science and mysticism, Dub’s self-mythologising strength was supported by a populist mandate and an open-ended lack of structure. The practitioner’s bastardisation of recording technology was a genius/pragmatist split. The vocabulary of effects, delays, echoes, phasers, distortions and reverberations formed the clues. Reproduction by definition it was related to J.A. patois for ghosts. The key to Dub is the illusory nature. From out of the lab into the dancehall, Dub proved there was an audience eager for insecurity. By chopping the word, there was no absolute truth. Faith was placed in a process of abstraction, fusing the inner with the outer, it has sought to simulate the eternal whilst setting its controls to infinite. Witnessing Dennis ‘Blackbeard’ Bovell’s mix of the Pop Group’s ‘Y’, Hank S. Shocklee’s Bomb Squad dissecting the flux on ‘Fear of a Black Planet’, or even Andy Weatherall carving up My Bloody Valentine’s ‘Glider’, it becomes blatantly apparent how destablised Dub’s audio-visual worldview has become. Seeking the secrets between the notes, with the mixing desk for transport, its mystique has proven magnetic. Whilst reggae’s opportunism has left the memories to be fought over, the mutation continues. The Old Skool versus Digi Dub? Do people really think Tubby wouldn’t have utilised the surrounding tools? He was already compute literate prior to his tragically premature death.

Even cyber-space cadet William Gibson enlisted Dub’s sound for salvation in ‘Neuromancer’. Increased membership of Dub’s Altered States of Consciousness is unavoidable. Strictly forward, there’s no way back as evidenced by ‘Macro Dub Infection – Volume 1′.

posted by kode9 at 14:38

ribofunk – the undeath of cyberpunk

In the mid-90s Paul Di Filippo, writer of the Steampunk trilogy, issued a provocative and funny challenge to the ‘radical technoculture establishment'(????) in the shape of the Ribofunk Manifesto. Some of it is a bit vague or just plain wrong, but 2 aspects have stuck with me – 1) the shift from punk to funk 2) the shift from hardware to wetware (of course this just continues cyberpunk’s critique of classic sf’s hardware fetishism). Its not actually anti-cyberpunk, but rather correctly notes that cyberpunk needed upgrading – an upgrading that was carried out in untimely fashion between 1993-97 by jungle.

In a Wired interview in 1996, Filippo explained “Ribo comes from the word ribosome, which I use as a shorthand for all biology, and funk indicates a stylistic component derived mostly from funk music. . .a hot skittery style in contrast to the more laid back, cerebral style that you might find in some cyberpunk”

RIBOFUNK: The Manifesto
by Paul Di Filippo

Gregor Mendel Died for Your Sins!
Free James Brown!
Listen to Your Mitochondria!

Why Ribo?
Cybernetics was a dead science when cyberpunk SF was born, a cul-de-sac without living practitioners. Furthermore, the “cyber” prefix has been irreparably debased by overuse, in vehicles ranging from comic books to bad movies. The tag now stands for nothing in the public mind but computer hacking and fanciful cyborgs such as Robocop. And Weiner’s actual texts do not provide enough fruitful metaphors for constructing a systematic worldview.

Why Funk?

Punk was a dead music when cyberpunk SF was born, a cul-de-sac albeit with living practitioners who just hadn’t gotten the message yet. The music’s nihilistic, chiliastic worldview had already culminated in its only possible end: self-extinction.

What is Ribofunk then?

Ribofunk is speculative fiction which acknowledges, is informed by and illustrates the tenet that the next revolution–the only one that really matters–will be in the field of biology. To paraphrase Pope, ribofunk holds that: “The proper study of mankind is life.” Forget physics and chemistry; they are only tools to probe living matter. Computers? Merely simulators and modelers for life. The cell is King! Consider the following:

Portents

AIDS is causing an intense and unprecedented investigation of cellular mechanics which is bound to have myriad by-products.

The mapping of the human genome is already underway.

Legal obstacles to copyrighting living animals and organic substances are falling daily.

The ecological nightmare unfolding around us–greenhouse effect, oil spills, toxic wastes–can only be solved by biological means. You cannot replace a rain forest with an oxygen-manufacturing factory. You cannot mop up spilled hydrocarbons and PCB’s, but you can degrade them organically.

Humans are greedy for life-extension. Any promising developments in this direction will soon snowball.

One of the prime purposes of nanotechnology is bodily repairs, augmentations and modifications.

There are over a hundred naturally occurring neurotransmitters, and we only have a rudimentary idea of what a few of them do.

Where does the funk come in? In the style. Ribofunk must be as sensual as sex, as unsparing in sweat, cum, bile and lymph as the the body is prolific in these substances. Moreover, it must possess the same blind imperatives as the body. Crushed and crippled, the body persists, while many times the mind succumbs. We have gone as far as intellectuality can take us. We need a fiction as urgent as hunger or a hard-on. Hot, not cool.

Precursors

Like every kind of SF, ribofunk can be traced back to Wells, specifically The Island of Dr. Moreau. From there we follow it through Huxley’s “The Tissue Culture King,” onward through some of David H. Keller’s stories, into Knight’s biological SF (“Natural State”), and perhaps Pohl and Kornbluth’s “Gravy Planet” (chicken tissue culture). From there it’s a leap to the novels of T.J. Bass and Varley. Finally, a temporary culmination in Bear’s Blood Music and Sterling’s Schismatrix.

This is the barest outline. Once exposed, the vein gleams brightly. Our goal must be to smelt and refine the crude ore, to craft a speculative fiction which does not pretend that homo sapiens will even still look the same fifty years from now.

We must be as widespread as ubiquitin, forging a philosophy that ties all organisms from yeast to man into a renewed great chain of being.

Slogans

What good is a movement without a slogan?

Here are a few:

* DNA to others as you would have them DNA to you.
* Anatomy is destiny–but anatomy is malleable.
* Gregor Mendel died for your sins.
* Redraw your MAP2
* Strobe your lobes.
* Match it, batch it, latch it.
* Snap the gap.
* Axe your axons.


“The person cringes with each large beat, as if the drum mallet descended upon his very skull; he ricochets about the peristyle, clutching blindly at the arms which are extended to support him, pirouettes wildly on one leg, recaptures balance for a brief moment, only to be hurtled forward again by another great blow on the drum. The drummer, apparently impervious to the embattled anguish of the person, persists relentlessly; until, suddenly, the violence ceases, the head of the person lifts, and one recognizes the strangely abstracted eyes of a being who seems to see beyond whatever he looks at, as if into or from another world.”
(Deren: Drums & Dance 206)

About 5 years ago, in I-Movie, I did a little (its 1 minute long) video refix of Maya Deren’s(voodoo priestess, mother of experimental film most well known for ‘Divine Horsemen: the Living
Gods of Haiti’) martial arts/dance short ‘Meditation on Violence'(1948). . .the refix is called ‘Meditation on Speed’. . .might upload it one day. . .anyway, here is an excerpt of the text (quite difficult to find) that accompanied Deren’s original verson of the film. . .there is more, it includes some cool diagrams mapping the movement of the body in relation to camera angles etc. But in this bit, she discusses the difference between internal and external martial arts. . .


“Mayan Deren – Meditation on Violence
Just as the actual movements of Chinese boxing are a physical statement of certain metaphysical concepts, so the film MEDITATION ON VIOLENCE is, in filmic terms, itself a statement of those same concepts, employing the physical movements as only one of the visual means.

The Wu-Tang school of boxing derives from philosophical concepts in the Book of Change, edited by Confucius, and also from The Way of Life of Lao Tzu. In the Book of Change, the emphasis is upon life as an on going metamorphosis, a continuous alternation between negative and positive. From Lao Tzu obtain such principles as the non-aggressive defence, by the conversion of the opponent’s strength against himself (rather than by an answering aggression) and the idea that an extreme extension may become its own opposite. The Wu Tang movements are consequently characterized by a constant dynamic flow, in which each movement is a preparation for the next. It is also known as ‘Interior Boxing’, since it is governed by breathing rhythm, and the movements related to the inhale-exhale alternation. The movements do not aggress upon the opponent, they ‘swallow’ his aggression and reconvert them into a defence. And finally, instead of arriving at any extreme extension – a point of status from which there would be need to recover balance and élan of power – the movements always round back upon themselves before they have lost their dynamic flow.

The film consists not only of photographing these movements, but attempts an equivalent conversion, into filmic terms, of these metaphysical principles. The film begins in the middle of a movement and ends in the middle of a movement, so that the film is a period of vision upon life, with the life continuing before and after into infinity. The rhythm of the negative-positive breathing is preserved in the rhythm at which the boxer approaches and recedes from the camera. Both the photography and the cutting of the Wu Tang sections are deliberately smooth and flowing, so that no ‘striking’ shots or abrupt cuts occur in these sections. This whole approach is further amplified in the diagram and notes.

Moreover, it seemed significant that not only were these movements related to metaphysical principles (an inner concept) but that they were training movements – the self contained idea of violence, not the actual act. Training is a physical meditation on violence. So, too, the film is a meditation. Its location is an inner space, not an outer place. And just as a meditation turns around an ideas, goes forward, returns to examine it from another angle, so here the camera, in the Wu Tang section , revolves around the movements of the figure, returns to some previous movement to examine it from another angle altogether, to achieve a ‘cubism in time’.

However, Meditations investigate extremes, and life, while ongoing and non-climactic in the infinite sense, contains within it varieties and waves of intensity. So this film, as a meditation, proceed beyond the Wu Tang School, to examine where the Shaolin concepts of aggression would lead. This school, called ‘exterior’ is based on exterior conditions of opportunity. Its emphasis is upon strength, impact, sudden rhythms and the body is not treated as a whole. Rather, the sharp strength of the arms and legs is emphasized for independent action. The logical conclusion is to even implement this sharpness with a sword. And so, in the film, the increasing violence bursts into an extension: the arm sprouts a sword.

Even this is carried forward. The climax of this Meditation on Violence is a paralysis. From which point the return is a reversal. The movements are actually photographed in reverse from this point on.”

Sonic Bullets – Acoustic
Weapon Of The Future
ABCNews.com
7-20-2

Anyone who has seen Tom Cruise fire his state-of-the- art sound wave gun at his pursuers in Minority Report no doubt assumes it is a weapon from the arsenal of science fiction. But such a weapon, or at least a less-glamorous version, is scientific fact.

Woody Norris, the CEO of American Technology Corporation and a pioneer in ultrasound technology, has developed a non-lethal acoustic weapon that stops people in their tracks.

“[For] most people,” said Norris, “even if they plug their ears, it will produce the equivalent of an instant migraine. Some people, it will knock them on their knees.”

The device emits so-called “sonic bullets” along a narrow, intense beam up to 145 decibels, 50 times the human threshold of pain. It usually doesn’t take that much to stop someone, as we learned in a demonstration in the company parking lot. The acoustic “weapon,” in the demonstration model, looks like a huge stereo speaker, except this one sports urban camouflage.

The operator chooses one of many annoying sounds in the computer ” in this case, the high pitched wail of a baby, played backwards ” and aims it at us. At 110 decibels, we were forced to walk out of the beam’s path, our ears ringing. Had we stayed longer, Norris said our skulls would literally start to vibrate.

Police departments and the Pentagon are flocking to Norris’ headquarters in San Diego to see this revolutionary technology for themselves. The problem with past attempts to make an acoustic weapon is that sound traveled in every direction, affecting the operator, as well. Norris’ narrow ultrasound beam takes care of that problem, meaning police could use it to subdue suspects or quell riots, without hurting bystanders or the operator, because the sound is directional.

“Tear gas lingers long after you’ve fired off the canisters,” said Norris. “This, you switch it off and it’s gone. And the damage is only temporary.”

Army to Use as Sonic Cannons

The U.S. Army has already ordered its own prototype of the non- lethal acoustic weapon. It will be packaged in a camouflaged cylinder and either be handheld or mounted on an armored car. Two security experts who were at the company on behalf of the Defense Department said it would be terrific for repelling suicide bombers and for rousting terrorists from their hideouts. Because the sound ricochets in tight, enclosed areas, said retired Marine Col. Peter Dotto, it would make it very uncomfortable for al Qaeda terrorists to stay in Afghan caves.

“They would have to come out,” said Dotto, “and they probably would come out with their hands over their ears so they would be very easy to subdue at that point.”

Practical Uses, Too

Not all the applications of this new technology are pain-inducing. Norris has invented a related acoustic device called the Hypersonic Sound System. Only when he turns the speaker in your direction, do you hear the message. For instance, liquid being poured over ice was the sound requested by a soda company to inspire people within earshot of a vending machine to quench their thirst.

Norris tried out the acoustic beam at a mall near his office and passers-by all stopped to listen when the sound was aimed at them. “That is absolutely amazing,” said one woman, “it sounds like the sound is inside your head.”

There are dozens of potential commercial uses, from shooing away pesky birds (geese off of golf courses, for example) to directing television sound so it doesn’t disturb a sleeping spouse.

Whether friend or “friendly fire,” this new technology is likely to affect almost every aspect of our lives, in ways we can only begin to imagine.

http://abcnews.go.com/sections/wnt/DailyNews/sonic_bullet020716.html

“ICONIC TREATISE GOTHIC FUTURISM
Assassin knowledges of the remanipulated
square point one to 720deg. Rammellzee”
di Rammellzee

(1979) Testo tratto da “Graffiti – East Village”, di Tommaso Tozzi, 1984, tesi presso l’Accademia di Belle Arti di Firenze

INFINITYS ZOETICAL COMPOSITIONAL JUNCTION FROM ANTIKNOWLEDGE MATTERED A CONDENSED ABSTRACT QUANTRUM MECHANICS

Electromagnetic energys knowledge conformed in a stable formation function protection around any planet gives basis base for development of disease culture, on any planet with enough natural resources to conceive bacteria as long as the orbit is the right postition for that vital resource. Humans being disease culture (the body) spirtis being gaseous energy (disease culture manipulation). Death is remanuplation only be electromagnetic knowledge energy leaving disease because of malfunction of inhabited disease culture, other deaths are only CHANGE. Electromagnetics knowledge disperses back into the course of the Van Allen Belts (in purity) ° dianetical path, continuing on in evolution’s path. Knowledge is scattered throughout Van Allen Belt in minute knowledge particles. Life. Electromagnetics in a photonic stage to conduct energys knowledge light (pure thought) which is in all atoms inhabits compatible disease by fusing into diseases DNA nervous system structure codeplan to energize the cerebrum before its embryotic stage sharing and manipulating and being manipulated with the composed knowledge of the atometric D x N =.
A molecules and at the end of cellular construction is conformed into biochemical energy and is dispersed through motor neutron. This structural symbolic procedure code connects the Van Allen Belt as a symbol ° and a basic symbol and language for structural symbolic translations transformations of slanguage for energys purpose through the manipulation of insight and onsight of enerty and inhabited diseases. These completed symbols are: Roman, Arabic, Hebrew, Chinese, and any other symbol NOT resembling latter languare symbols or pictograms.
Knowledge knowledges knowledge, the elevation of Wild Style knowledge is concluded as a SYMBOL DESTROYER, ARMORED, MEDIEVAL MECHANISM. This formation shall be known as IKON_ OKLAST PANZERISM: R.O.K.: GOTHIC FURURISM, THIS IS WILD STYLE CORRECTED.

RAMM ELL ZEE

Knowledge knowledges knowledge, the elevation of Wild Style knowledge is concluded as a SYMBOL DESTROYER, ARMORED, MEDIEVAL MECHANISM. This formation shall be known as IKONOKLAST P.A.N7T~RTSM R.O.K.: GOTHIC FUTURISM, THIS IS WILD STYLE CORRECTED.

SIRPIEREULE: is electromagnetic structure formation function protection register dealing with a friction formation of compressed electromagnetic knowledge and what it remanipulated strictly from a subject Equation Formation Latin, warning any misuse without the representation and reformation of the alphabet structure formator as it leads you into apocalyptic AP x O = CALY + PTIC wars will lead you into apocalyptic wars final formation final.

This pamphlet holds, formates the knowledges to translate a symbol, a universal symbol the dictionary, all word formation and any sentence, paragraph, page, or study including the Bible.

With formations two degrees are left open for discussion and in math: SUG – G x EST = IONS.

First codified law (Roman) 449 BC. Ram catch bases for structure colony mathematics of Ikonoklast Panzerism. Points stabilizing friction, intake, outpush or thrust. Start with the structure of six, 6, 360, of equaling or extenting from zero degrees equals aerodynamics. This is the reverse like 360 + 00.
INPLOSION/EXPLOSION EQUALS 0-0+.

*PREFACE*

(147 B.C. Roman period begins) (1140 A.D. Gothic period begins) From the fourth century to the nineteenth century a development of style remanipulated by monks known as Gothic type, or Old English type, presently used by The New York Times and Long Island Press. This is the PROTO product of WILD STYLING.

.
To my knowledge of letter structure, separation of sound (verbal recording), and word formations English, Spanish, and Russian, and any other Slanguages using Roman letter symbols or others is not a language, due to universal symbolic thievery. The original verbal formation, (phonetic) for the Roman letter was Latin:
(L+AXT=IN).
How can a government be structured straight using a symbolic code subconsciously remanipulated and its symbols do not belong to the verbal formation. To my knowledge societies and disease culture symbols have violated universal symbolic laws and shortcircuited the electromagnetic code of the Roman letter symbols and others used to build a word, the definition of a word to build a society and then a government and a future educational process to complete universal transit system and manipulate (blood system).
To my knowledge of the symbolic codes of the alphabets formation, it is very much incorrect. The evolution of the Roman letter structured in the formation: ADEBRKPFLHIJTMGOQCNSVWUXYZ and the SIRPIEREULE formated structures. The construction of most of the symbols was remanipulated subconsciously J,U,W are conscious remanipulations. (Neutral) The borrowing of subconsciously incomplet symbolic structures (Phoenician), etc. Added to the design of the Roman letter type, these symbols are complete due to armament structure in desing of Ikonoklast Panzerism. According to the degree of knowledge of the cipher, triangle, and square this is not revolution this is evolution.
MAN: ?????????????????????????????????????????
The infinity or Van Allen Belt ° section graftation symbol is based with electromagnetic energies positive north, positive south squared, negative north, negative south squared, chemically based, dry-based, and so called anti-based energies. This build/destroy symbol is for science, mathematics (universal) to our life forms knowledge and not religion. The symbolic structure X holds fusion (W.A.R.) according to this formation and pamphlets breakdown strategy (formated hy its structure). The Roman letter type and others have been armed to assassinate and/or abolish this supreme symbol know as infinity sign by removing the X from this written structure.
This is symbolic wars using slang and ionics to understand the very outline structure that makes A through Z its mathematics and science for disease culture to understand the consequences of structure that have been disease culturally sabotaged and trickknowledged.
All formations of word knowiedge are constructed under the symbolic thoughts of the infinity sign.
Motion in motion, power, armed, stride with position straight, is known as the function formation formula for and of IKONKLASTIC PANZERISM ROK REMANIPULATION, all the knowledge for military strategy for the (BLOOD SYSTEM) of New York City, (Universal Tranit System).
First:
MILITARY FUNCTION RAMM*ELEVATION*Z
MILITARY FUNCTION FORMATION RAMM*SIGMA*LL*Z*SIGMA, SIGMA
– TITLES: MAESTP.O**SHA**RISK**(BOO)METALS, DOUBLL DEATH, HYTESTYR
REMANIPULATOR OF AND FROM GOTHIC FUTURISM**IKONOKLAST PANZERISM(ROK) INTERROGATOR OF EVOLUTION THE LETTER (THE GRILLER)ISM* IN IKONOKLAST WARS ALL CITY PRESIDENT AND FOUNDER OF THE TAG MASTER KILLERS *1974-79* LEGIONS ASSASSINS WIZARDS 1977-79* MIC**CONTROLLER* (ECHO-BOY) SOS STIMULATION ASSASSINATION
Infinitys electromagnetic knowledge shows that there are two C cipher belts one is forward the other is reversed, (foci or planet), and a electromagnetic knowledge starting a society, for an established knowledge is A.D., according to the dictionary. All knowledge remanipulation, in the universal gamble, by Monks was destroyed by ikonoklastic emperors themselves divided realms from disease culture sounds and formation C-O+dominion = A GOD, GIVEN OMNIPOTENT DOMINION.
In 1582 the 13th Pope removed ten days from the calendar, the next day they will stay is the year 2000. From the fourth century to the nineteenth century outline of letter, numbers and other universal symbols and disease cultural structures, was in the hands of calligraphers. Since then the Roman letter in a PANZER stage of evolution from the fourteenth century to 1969-1974 was complete subconscious toyism(Treacherous on your System). From Bubble to structure (squared) and emotional outburst era 1974-1979 was a war era, where knowledge formed about by itself through the body, in the dark, underground. This is a ten year cycle of so-called graffiti development and elevation. 1980-2000 separation between Wild Stylism and Panzerism, the nonemotional era, knowledge of it and purpose of it… this is full evolution of the Roman letter type and others in so-called graffiti.
The present infinity sign and the symbol X: this symbol must be separated from the present infinity sign by Ikonoklast PANZERISM.
The only way is to go into the structure on paper or space or dimensions of art of paper. WILD STYLISM: “A so-called” element of graffiti is base-derived from Gothic text subconsciously. The FUTURISM is Panzerism design a subconscious development.
WILD STYLE: ELEMENT TECHNIQUES, CLASSIFIED. (ISM)
“Wild Style has no rules” in itself to have no rules is to be ISM the ogal and the rule. Separation of unique interpretations or basic symbolic construction, example: common sense says the only basic symbol for a missile is an arrow, shown ny the Chinese, the ones who really started all recording verbal formation symbols, several thousand years ago. NO GOVERNMENT IS ALLOWED TO STEAL SUBCONSCIOUS SYMBOLS.
Style separation of the advanced statement style Ikonoklast Panzerism. Registeration and Draftation of three to ten style structure of which four are commerically based in futurism armament. From Transit records and elimination of style interpretation and conception on a Panzerism scale of design advancement in drafting techniques, you have a choice to go in, out or remain neutral. To anyone who challenges this pamphlet the outcome is a word formation breakdown on these styles of reality construction.
Since Panzerism is conceived on a flat dimension, one phase of Wild Style is conceived of a flat dimension (paper style). This style is of knife (stabbing) technique.
In a Symbolic War and according to the understanding of slang in gangsterism, a paper style will burn if faced with an outranking construction in drafting technique.
Listed are these remanipulations.
Due to a knowledge of reality construction (Ikonoklast Panzerism), the incomplete outline construction in the drafting technique, the construction of this next style is concluded as and educational technique, (Jewelrysm) or the Discretionism or Juryism.
The NYMPHISM is a practice that based on my studies are the growing baby tanks. Nymphism shows the only technique of wild stylisms with some discipline and goal. Other styles and/or Gothic Futurism include Dimensional map techniques, Bubble styles techniques that deal with elements of commercial calligraphy.
All-conceived Wild Stylisms in any plan of operations whether for military purposes or not will advance in drawing technique to a Panzerism style technique on the letters’ structure, masterpieces, and pieces in and on any medium does not include scenery. Any masterpiece or piece that has a crack in its outlined structure techniques according to Panzerism technique has been fired upon and hit, evidence is cracks a factual damage symbol in anything that deals with art.
Graffiti era is from the beginning to the end of recorded history!
According to slang and reality condensed style structure piece equals gun not the medium, masterpiece equals cannon and/or tank or the Discretion technique.
TAG militarily the unreadable are a stabbing harpoon and pulsator technique which is like a satellite. This technique can unravel, extend, discharge, surround, attach. TAG is not a signature but a sign-overture. Due to the formula in construction of motion in motion construction, path of launch and extension of the connecting SIRPIEREULE.

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