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"listening simultaneously demands openness to a surrounding world." – techNET

Category: arte

Complex Cognitive Material page @ fangoradio.com

Posted on 2020/01/08 - 2020/01/30 by thx1138

https://www.fangoradio.com/complex-cognitive-material-2/

Complex Cognitive Material
A cura di THX

Cut-ups, beats, collages, sperimentazioni, ricerche, impressioni, ambienti, paesaggi sonori dal futuro prossimo.
Musica eletronica come pratica quotidiana.
Senso di straniamento.
Non-sense Dada.
Contrapposizioni: analogico / digitale, dischi fonografici / compact discs, elettronica / acustica, teoria / pratica, spazio cosmico / spazio Interiore, suono / silenzio, luce / oscurità, armonia / dissonanza, caos / ordine.
Rumore come musica. L’unica distinzione è nel cervello dell’ascoltatore.
Techno. Tumulto psico-sociale.
La proprietà non è più un furto.

“Fuori dallo sgabuzzino e dentro nei musei, biblioteche, monumenti architettonici, sale da concerto, librerie, sale d’incisione e studi cinematografici di tutto il mondo: tutto appartiene al ladro ispirato e devoto. Tutti gli artisti della storia, dai pittori delle caverne a Picasso, tutti i poeti e gli scrittori, i musicisti e gli architetti, offrono le loro merci, importunandolo come venditori ambulanti. Lo supplicano dalle menti annoiate dei bambini delle scuole, dalle prigioni della venerazione acritica, dai musei morti e dagli archivi polverosi. Gli scultori tendono le loro braccia di calcare a ricevere la vita – e danno trasfusioni di carne quando i loro arti vengono innestati su Mister America. Mais le voleur n’est pas pressé – il ladro non ha fretta. Deve assicurarsi della qualità della mercanzia e della sua appropriatezza allo scopo, prima di impartire il supremo onore e la benedizione del suo furto. Parole, colori, luci, suoni, pietra, legno, bronzo appartengono all’artista vivente. Appartengono a chiunque sappia usarli. Saccheggiate il Louvre! A bas l’originalité, lo sterile e assertivo ego che imprigiona mentre crea. En haut le vol – puro, sfrontato, totale. Non siamo responsabili. Rubate tutto quello che è in vista.”
William S. Burroughs, Les voleurs (La scrittura creativa)

“Sono nato lo stesso anno del primo videogioco a gettone, lo stesso anno in cui Intel stampò il suo primo microprocessore. Non ho memoria di un mondo privo di pixel colorati che si inseguono l’un l’altro su di uno schermo. Ho maneggiato un joystick prima di imparare a leggere, ho appreso gli stratagemmi di Breakout prima di aver imparato le tabelline, dominato Asteroids prima di aver risolto il mistero delle divisioni.“

JC Herz, Il popolo del joystick


[english translation]

Cut-ups, beats, collages, experimentations, researches, impressions, ambients, soundscapes from the near future.
Electronic music as daily practice.
Sense of estrangement.
Dada non-sense.
Contrapositions: analog / digital, phonograph records / compact discs, electronic / acoustic, theory / practice, outer space / inner space, sound / silence, light / darkness, harmony / dissonance, chaos / order.
Noise as music. The only distinction is in the brain of the listener.
Techno. Psycho-social tumult.
Property is no more a theft.

“Out of the closet and into the museums, libraries, architectural monuments, concert halls, bookstores, recording studios and film studios of the world. Everything belongs to the inspired and dedicated thief. All the artists of history, from cave painters to Picasso, all the poets and writers, the musicians and architects, offer their wares, importuning him like street vendors. They suplicate him from the bored minds of school children, from the prisons of uncritical veneration, from dead museums and dusty archives. Sculptors stretch forth their limestone arms to receive the life-giving transfusion of flesh as their severed limbs are grafted onto Mister America. Mais le voleur n’est pas pressé – the thief is in no hurry. He must assure himself of the quality of the merchandise and its suitability for his purpose before he conveys the supreme honor and benediction of his theft. Words, colors, light, sounds, stone, wood, bronze belong to the living artist. They belong to anyone who can use them. Loot the Louvre! A bas l’originalité, the sterile and assertive ego that imprisons as it creates. Vive le vol – pure, shameless, total. We are not responsible. Steal anything in sight.”
William S. Burroughs, Les Voleurs (Creative Writing)

“I was born the same year as the first coin-operated videogame, the same year that Intel stamped out its first microprocessor. I have no memory of a world devoid of colored dots chasing each other across a screen. I was toggling a joystick before I learned to read, mastered Breakout stratagems before memorizing the multiplication table, conquered Asteroids before solving the mystery of long division.”

JC Herz, Joystick Nation

info — https://www.fangoradio.com/

Posted in art, arte, dischi, dj set, musica, podcasts, records, web radioTagged dischi, fango radio, podcasts, records

Villa Parsec Sound Club # 26 – Un Ti Geera

Posted on 2019/12/28 by thx1138

” […] Who runs may read, To read better, practice your running. Speed is entirely up to us, since machines have delivered us from the horse. Henceforth the question is to deliver us from that other so-called superior animal, man. It’s not worth it to chase out the merchants: their temple is dedicated to the unsuitable lie of the value of the Unique. The crime of separation gave birth to the idea of the Unique which would not be separate. In painting, matter has seen everything: from sand to stuffed goats. Disfigured more and more, the image has been geometrically multiplied to a dizzying degree. A snow of advertising could fall from the sky, and only collector babies and the chimpanzees who make abstract paintings would bother to pick one up.” – Brion Gysin, 1963

https://www.autistici.org/2000-maniax/texts/in%20the%20beginning%20was%20the%20word.txt

compiled and mixed by La Came & THX

Posted in art, arte, dischi, dj set, illustrazione, musica, podcasts, records

RIP Phase II

Posted on 2019/12/13 - 2019/12/13 by thx1138

^ Phase II burner, via Fioravanti Bologna (no longer in existence)


il testo che segue è tratto dal volume “Style: Writing from the Underground”, pubblicato da Stampa Alternativa in association with IGTimes

“Il materiale fotografico qui presentato è costituito da vere e proprie foto d’epoca, in molti casi unica documentazione esistente. Queste foto furono scattate dai writer stessi.”

“Hopped on the railroad played the conductor everywhere i went i always tucked a marker in my jacket tagged it where i went cuz we’re just the products of the environment. ” Mc Search

“Se vuoi parlare delle fondamenta di base, devi parlare di firme (Tag). Son state le firme ad introdurre i writers alla pratica di elaborare le lettere, e bisogna tenerlo sempre presente.” PhaseII

“Per prima cosa non si chiamano nemmeno graffiti, si dice writing. Graffiti è un termine sociologico che si è iniziato ad usare nei confronti della cultura durante gli anni 70′.” Iz The Wiz

“Furono i media i primi a usare la parola graffiti, un termine che si legò poi alla cultura come un’appropriazione indebita del fenomeno, volta a stigmatizzarlo come un abominio nel dibattito che aveva suscitato davanti all’opinione pubblica.”

“I writer concordano senza dubbio che essere un vero writer (nonchè essere onesto verso la propria cultura) comporta un atteggiamento spirituale (soul) e una devozione che non possono essere sostituiti da nessuna mole di lavoro.”

“Di rado si considera il fatto che la vita di un writer non è limitata alla bomboletta spray, ma coincide con le condizioni politiche e l’atmosfera della propria epoca. Si tratta di risposte all’ambiente circostante e allo stato di cose in generale.”
“Una cosa che mi fa veramente andar fuori è sentire ragazzi in giro per il mondo che si fanno i viaggi e pensano di aver inventato qualcosa. Cercano di ignorare i padri fondatori, capisci?Ma non ha alcuna importanza se oggi guardano quello foto e dicono che sono marce, tipo,”oh, potresti farlo a occchi chiusi, lo potresti fare senza nessuna difficoltà”, perchè senza quello che è stato fatto 25 anni fa, per quanto ai nostri occhi possa sembrare roba semplice, oggi non sarebbero dietro far proprio nulla.” Vulcan

“Per quanto ne so fu a Brooklyn che iniziarono le crew”. PhaseII

 

 

“Al pari dell’orgoglio e dell’alta considerazione che si nutrivano per la propria cultura tradizionale, così fra i writer il rispetto per il nome era una legge non scritta ma cruciale. Il nome personifica la tua esistenza e mancargli di rispetto era come un’aggressione alla tua integrità fisica.“

“Una volta entratoci sul serio, diventava in qualche modo una parte integrante di te, una seconda natura.” PhaseII

“Stanno cercando di mettersi al posto della gente che ha scavato le fondamenta, quando non hanno nemmeno versato l’acqua per il cemento. C’è gente che ha fatto quelle cose e non è nemmeno più qui per raccontarlo. La gente dovrebbe stare al proprio posto e smetterla di attribuirsi meriti che non gli appartengono.” Lee 163d!

“Le possibilità tecniche della bomboletta sono diventate di dominio pubblico solo negli anni’80. Devi tener presente che i writer, nei primi anni ’70, non avevano niente a cui riferirsi. Facevano pezzi e stili tirandoli fuori dalla propria testa. Dunque ci è voluta circa una decina di anni per sviluppare le tecniche che si usano ora.” Vulcan

“L’idea iniziale delle lettere wild risale al 1973, non appena le lettere Softie leggibile (o”bubble“) iniziarono ad allungarsi, fare giri, contorcersi, separarsi e ornarsi di frecce che spuntavano dalle estremità e dalle altre parti di cui erano formate le lettere. La loro adozione, come era successo con i pezzi, cambiò ancora il corso del writing.

“Quello che spero un giorno è di riuscire veramente ad acciufarli tutti, gente come Palo, Bot 707, Nic 707, Jinx II, a.c. kool, Take 5, Padre, Chain 3, Derby I, Spec II, gente del genere. Writers citati di rado che hanno preso certi ingredienti e gli hanno dato una forma, per mantenere lo stile a un certo livello. La gente di cui non senti mai parlare.A llora si potrebbe scrivere definitivamente la storia,parlare per giorni ed elaborare materiale mai toccato prima.” PhaseII

“Molti writer continuano a fare pezzi con lo stesso tipo di stile, le stesse cose fondamentali. Poi moltissimi dei nuovi prendono lo stile dai maestri, lo riproducono e lo chiamano loro. Ma un vero writer distingue uno stile ricreato da uno originale. Spon

“L’obbiettivo. Qualità invece che quantità. Ecco un aspetto tipico dello stylist, la cui scelta di inseguire il pezzo definitivo gli dà la soddisfazione più grande. Il tempo non ha nessuna importanza per lo stylist, che vuole solamente vedere le sue idee trasformate in realtà.”

“Sarebbe piuttosto interessante mettere in relazione la filosofia di una persona con le direzioni in cui decide di portare le sue lettere, e gli esiti sono sicuramente stupefacenti una volta che li hai davanti.”

“Non importa se dipingevi negli anni 60′, 70′, ’80 o ’90, di base è sempre la stessa storia. Si tratta di individui che si esprimono, non solo che scrivono il proprio nome. Una persona che non sa nulla di questa cultura, troverà difficile capirlo. Vedrà le cose alla maniera in cui i mezzi di comunicazione le hanno fatte apparire sin dall’inizio.” Coco 144

“Poca gente si rende conto che gran parte delle cose che vedono e sentono non sono vere. Ma una volta che una cosa viene scritta  o pubblicizzata diventa vera, che si tratti o meno di stronzate; è esattamente quello che è succeso. Molte delle cose che son state scritte su questa forma d’arte sono gran cazzate! “

“Le gallerie hanno un ruolo importante su quello che viene presentato al pubblico, ma non si tratta di ciò che facciamo. Quello che mettono in mostra non è mai la roba vera, hardcore, la roba mega che manda fuori  di testa i writer. Quello che vogliono per le loro mostre di solito è la roba più blanda, piatta e asciutta, ecco quello che vede la gran parte della gente. Dimenticati di Warhol, Johns e Pollock. Fanculo!. Non guardavi i loro lavori quando facevi i treni, quindi fanculo a tutti!!! Non puoi avere paura di dipingere quel cazzo che vuoi dipingere. La gente avrebbe bisogno di guardare un pò con i nostri occhi, dalla giusta prospettiva. Troppi di noi lasciano che qualcun altro abbia il controllo di quello che dovremmo controllare noi. L’espressione di se stessi.” Vulcan

“Tecnicamente, la parola arte definisce qualsisi cosa sulla faccia della terra e anche oltre, ma i writer che hanno a che fare con il suo mondo continuano a domandarsi se siano artisti o no. Come se importasse veramente. Ho letto informazioni del tipo:”Ora è un artista serio (dato che non dipinge più).”Perchè? Perchè sei diventato commerciale o fai i soldi? Se sei un writer e anche per un solo secondo sei così stupido da pensare che la categoria di “arte” o “artista” hanno più onore, prestigio e validità di quelle di writer e writing, mi fai pena. Hai sicuramente bisogno di una lobotomia frontale. Se indugi in un’ideologia così insidiosa, non è sicuramente possibile che tu conosca o rispetti quello che fai. Il writing ha radici profonde e una lunga tradizione……Sono due gli elementi che fanno questa cultura quello che è. Il writer e il writing. Una volta che te ne allontani, fino a qualcosa di completamente diverso, ciò dovrebbe essere inquadrato nella sua prospettiva, perchè rappresentarlo come writing è una falsità.” Phase II

“Lo stile è sempre stato l’impronta digitale del writer. Alcuni writer hanno stili così complicati da essere “illeggibili”, ma a questo punto non ha importanza quale sia il nome perchè lo stile del pezzo ti dice chi lo ha creato…” Daze

 

“Non riesco a tornare a lettere più semplici. Faccio wilde style, più è selvaggio meglio è. Più è complicato più mi affascina,voglio che nemmeno gli altri writer riescano a leggerlo.” d.c.3

“Fermarsi a uno stile solo è troppo facile. Come andare da nessuna parte. Ti devi sempre costruire le cose. Ecco in cosa consiste lo stile.” Dome

“Cerco di dipingere alla stessa maniera in cui Michael Jordan gioca a basket, come Mike Tyson tira giù i pugili. Ecco la maniera in cui faccio i pezzi e non me ne fotte niente se riesco a farci mille lire o meno.” Vulcan

“Si tratta di far parte di una lunga tradizione, sapere quello che rappresenta. Essere in contatto con la sua anatomia e anima profonda  significa  più che rendere omaggio a un passato, che in ogni caso ne è più che meritevole. Esisti per il fatto stesso della sua esistenza. Senza le sue fasi iniziali e tutto ciò che le ha seguite, nessuno degli aspiranti writer negli ultimi 25 anni starebbe dipingendo a un livello anche lontanamente paragonabile a quello presente. Dipingere le firme non era la vera anima del writing. L’anima del writing erano i sui writers ed è stata la loro anima a dargli forza, energia, potere che dura nel tempo e lo stile che ne è veramnete l’essenza. I writer sono stati la scintilla dell’incendio. Il writing senza il suo corpo di mentalità, sfida e furia sarebbe solo un vegetale, privo di movimento, cuore e anima. Uno scopo privo di sostanza e una vera e propria affermazione priva di senso…”

fonte: http://zulunationitalia.blogspot.com/2013/09/libri-hip-hop-recensione-stylewriting.html


Posted in art, arte, writingTagged Bologna, foto, graffiti, Phase II, writing

Abu Qadim Haqq interview

Posted on 2019/12/10 - 2019/12/10 by thx1138

Intervista al pittore e grafico dell’immaginario di molti dischi del suono originario di Detroit, soprattutto del duo electro Drexciya, Abu Qadim Haqq che, con l’accompagnamento sonoro di due cultori fiorentini di tal suono quali THX e P.Flex, presenta il suo ultimo lavoro “The Book Of Drexciya”

thanx 2: Simona Faraone and her New Interplanetary Melodies radio show which welcomes us all, Andrea Benedetti, Gianluca Fusari, Andrea Mi, Tiziano P.Flex, Niccolò Rufus, Radio Amblè, and most of all 2 Abu Qadim Haqq 4 his artworks, 4 his interesting talk, 4 his beautiful comic book and 4 the live painting at ZUC

links:

third earth

new interplanetary melodies

radio amblè

mixology

bosconi records

Posted in art, arte, comix, dischi, dj set, illustrazione, musica, podcasts, records, web radioTagged amblè, Drexciya, firenze, Haqq, new interplanetary melodies, web radio

Villa Parsec Sound Club # 20: Artificial Cells

Posted on 2019/10/19 - 2019/10/20 by thx1138

mixed by La Came & THX AKA Villa Parsec Sound Club

For a space that is ‘populated’:
Each cell with one or no neighbors dies, as if by solitude.
Each cell with four or more neighbors dies, as if by overpopulation.
Each cell with two or three neighbors survives.
For a space that is ’empty’ or ‘unpopulated’:
Each cell with three neighbors becomes populated.

VPSC — https://www.mammaiuto.it/category/soundclub/

 

Posted in art, arte, dischi, dj set, musica, podcasts, recordsTagged La Came, podcast, villa parsec, VPSC

code war

Posted on 2019/09/26 - 2019/09/26 by thx1138
CODE WAR
THE MATHEMATICAL MODELS CONCERNING THE COURTSHIP OF GLOW WORMS, MAY ALSO POSSIBLY REVEAL SOCIAL BEHAVIOURAL PATTERNS AND FROM THE REACTION CYCLES OF CHEMICAL CLOCKS; CONNECTIONS MAY BE ESTABLISHED TO THE LAWS ACCORDING TO WHICH FATHER CHRISTMASES DRESSED IN RED AND WITH WHITE BEARDS APPEAR.IF COAT MARKINGS AND STRIPE PATTERNS IN THE ANIMAL WORLDS CAN BE SIMULATED WITH THE STANDING WAVES OF CHEMICAL REACTION-DIFFUSION MODELS, THEN WHAT FUNDAMENTAL PATTERN FORMATION MECHANISMS APPLY TO FASHIONABLE ACCESSORIES OR THE AFFIRMATIVE SMALL TALK? THE “SHAMELESS SOCIETY, WITH MODERN LIFE AS A HOTHOUSE OF BASE INSTINCTS”, ACCORDING TO THE TITLE STORY IN “SPIEGEL” ON 11.1.93, PROBABLY PROVIDES OPTIMAL CONDITIONS FOR THE DISCOVERY OF NEW PARASITIC INFORMATION MOLECULES.

THE VIRUS AS A GENETIC PIRATE IS A FRONTIER COMMUTER BETWEEN INANIMATE MATTER AND LIVING ORGANISMS, A MODEL FOR SELF-ORGANIZATION AT AN EARLY DEVELOPMENT STAGE IN LIFE. THE EXAMINATION OF VIRUSES SHOWS HOW INFORMATION CAN BE OPTIMIZED AND FURTHER PROCESSED AT A MOLECULAR LEVEL. THESE SELF-REPRODUCING INFORMATION SYSTEMS TRANSCEND THE BARRIERS BETWEEN MAN AND MACHINE, ANIMATE AND INANIMATE NATURE.

WHEN THE TEXT “I HAVE BECOME ALIVE, I AM ALIVE!” SUDDENLY APPEARS ON A COMPUTER MONITOR, THEN THE COMPUTER IS VERY PROBABLY INFECTED WITH A VIRUS.

LANGUAGE ITSELF CAN BE UNDERSTOOD AS BEING A VIRUS, ACCORDING TO W. BOUROUGHS, EVEN AS A VIRUS FROM ANOTHER STAR.

EVERY RELIGIOUS-IDEOLOGICAL MISSIONIZING SHOWS THE QUALITY OF SELF-ACCOMPLISHING REPRODUCTION AND THE COMMON EARWIG CAN BE UNDERSTOOD AS BEING A VIRAL INFECTION.

IN CONTRAST TO THE SOMEWHAT AWKWARD SELF-REPRODUCING IDEOLOGIES OF THE PAST CONSISTING OF RELIGION AND POLITICS, WE HAVE BECOME ACQUAINTED WITH, NOT LEAST, NEW AND MORE AGGRESSIVE SPECIES OF IDEOLOGY BYTES AND TIME CODES THROUGH THE FAST BREEDER OF THE MEDIA.

IDEOLOGY IS SUPERSEDED BY EFFICIENT IDEOGRAMMES WHOSE REDUCED MOLECULAR MORPHOLOGY BECOMES CLEAR IN THE COMPARISON BETWEEN A BAROQUE SAINT AND A MODERN STREET SIGN. THE LOGOGRAMME OF THE AIDS VIRUS WITH ITS DEGREE OF NOTORIETY, IN THE MEANTIME, COMES CLOSE TO THE POPULARITY OF THE MERCEDES STAR.

ADVERTISING AND MARKETING HAVE ADVANCED THE IDEOLOGICAL INTERLOCKING OF CODES WITH THE CONSCIOUSNESS OF THE EVERY DAY CONSUMER THROUGH PRODUCT NAMES SUCH AS “DU DARFST” (YOU MAY) OR “NIMM ZWEI” (TAKE TWO). CHEERFUL POST-BEHAVIOURISM AS SELF-SERVICE FOR THE AUTOMATED CONSUMER. “EVERYONE ACCORDING TO HIS NEEDS” CHANGED FROM THE LIBERTARIAN SLOGAN TO THE RELIGIOUS META-CONCEPT OF THE LATE CAPITALISTIC SUPERMARKET’S WORLD OF GOODS AND THE SALVATION ARMY OF POSITIVE THINKING. IN THE PRECONSCIOUS STIMULUS RESPONSE OF THE SOCIALLY STRESSED PRIMATES, IT DOESN’T FIT TOGETHER AT ALL, LIKE FLEEING INSTEAD OF STANDING FIRM TO AN EXPLODING FAST RESTAURANT.

MIND-BYTE MARKETING IS THE FUTURE BAROMETER OF ALL TREND RESEARCHERS AND THE WATERHOLE OF ALL MEDIA FEEDBACK ARTISTS, JUST AS A BOOK OFTEN ONLY REPRESENTS IT IF JUSTIFICATION FOR THE BLURB, INFORMATION SCANNING IS SIMILAR TO THE FILTERING OF RESYNTHESIZEABLE CODES TO FORM A SELF-REFERENTIAL KEY SERVICE, (HIT ME WITH YOUR FUNCTION KEY).

“YES, YOU GET THINGS LIKE THAT: MORE LOGICAL, VERY LOGICAL, LESS LOGICAL- FORMALLY THIS CAN ONLY BE UNDERSTOOD AS LONG AS IT IS MEANINGLESS.”

ADVERTISING AND MEDIA OPERATE ACCORDING TO THE CONCEPT OF AFFECTIVE LOGIC AND THE MEANINGFUL HUNCH OF “PERHAPS” ORIGINATING FROM THE DUAL LOGIC, HAS CAST ITS SHADOWY SWEEP ONTO THE SCIENTIFIC DISCOURSE, PARTICLES OF THE WORLD BECAME PROBABILITY FUNCTIONS AND MATTER BECAME SYMMETRY. BUT NOT THE INCLINATION FOR POETRY, ON THE CONTRARY, A COMPULSION TO WRITE TRANSFORMS HALFBAKED FACTS INTO TURN-KEY METAPHORS AND SPIRALIZES THE AMBIGUITY OF THE MEDIAL COMMON PLACE INTO THE UPS AND DOWNS OF COLLECTIVE UNCONSCIOUS IN ORDER TO LEAVE ITS SCENT THERE.

WITH A CHEERFUL “EX NIHILO NIHIL FIT”, WE LEAF THROUGH THE PRESS OR ABSORB VIVID PICTURES AND JUST AS GENETIC MUTATIONS ARE TRIGGERED OFF THROUGH THE BOMBARDMENT OF COSMIC RADIATION, THE FIELD OF VISION OF THE MEDIA CONSUMER IS PICTURE POINTED BY CATHODE RAYS.

BEING ABLE TO MAKE SENSE, MEANS IN THE KILLER CIRCLE OF DOG EATS DOG: MAKE SENSE OR I’LL EAT YOU.

MAN AS THE FORERUNNER OF THE 100% BIOLOGICALLY DECOMPOSABLE THROW AWAY PACKAGE HAD, IN THE HISTORY OF MANKIND, AN AVERAGE EXPIRY DATE OF 30 YEARS.

UNDER FAVOURABLE CONDITIONS AND IN A CIVILIZATION WHICH IS FOUNDED ON WEALTH AND GOOD BEHAVIOUR, THE HUMAN EXPIRY DATE ON THE BIOLOGICAL SPARE WHEEL CAN BE CONSIDERABLY PROLONGED DESPITE RESTRICTED VITALITY. HOWEVER, WITH GREATLY INCREASED LIFE EXPECTANCY, AN ENORMOUS LEISURE PROBLEM ARISES AS AN AVERAGE LIFE EXPECTANCY OF 30 YEARS APPEARS TO BE MORE THAN SUFFICIENT FOR SEXUAL REPRODUCTION AND THE RAISING OF OFFSPRING. (“IS THERE A LIFE BEFORE DEATH? WHAT RESTS FOREVER IS NOT DEAD, BUT IN UNKNOWN TIMES DEATH STILL COULD DIE!”).

IF WE WANT TO MEASURE LIVELINESS TO THE ADAPTATION POSSIBILITY TO ENVIRONMENTAL STIMULUS, THEN DON’T TRUST ANYONE OVER TWENTY, AS APPARENTLY THE ENERGY HAS GONE AND THE FIRE IS OUT SOON AFTER THE DECISIVE SEXUAL CHARACTER PHASE (THE TRANSFORMATION TO THE HONOURABLE MEMBER OF SOCIETY). AS CAN BE SEEN CLEARLY FROM THE ANNUAL RINGS OF THE YOUTH CULTURE AND THE QUICK SUCCESSION OF THEIR TIDES, ONLY A FEW SUCCEED IN TRANSCODING THE MODEL OF THEIR COINING. THE READINESS OF THE BRAIN TO MAKE NEW CONNECTIONS OBVIOUSLY DECREASES TO SUCH A DEGREE THAT THE MUSICAL STYLISTIC EXCRESCENCE CAN NO LONGER BE ACCOMPLISHED AFTER THE “OPEN WINDOW”. BE IT FISH OR FROG, BABOON OR HUMAN BEING, THE EMBRIONIC DEVELOPMENT OF VERTEBRATES IS VERY SIMILAR IN ITS INITIAL STAGES, BUT THE DEVELOPMENT STOP AND THE SIDESTEP INTO THE ECO-NICHE NOT ONLY PRESENTED US WITH ADULT ROCK AND POST PUNK, BUT ALSO APPEARS TO BE AN EVOLUTION PHENOMENA.

THE LUXURY OF A PROLONGED ADOLESCENCE IN THE LONG-LIVED WEALTHY CIVILIZATIONS IS DIRECTLY CONNECTED TO THE CULTURAL DEVELOPMENT, FOR EXAMPLE, HOW THE DREAM FACTORY OF THE CINEMA FINANCES ITSELF LARGELY FROM THE POCKET MONEY OF THE INTERNATIONAL TEENAGER. THE LEISURE PROBLEM HAS FURTHER INTENSIFIED WITH INCREASING AUTOMATION AND AFTER HAVING SUPERSEDED BLUE COLLAR WORKERS BY THE INTRODUCTION OF INTELLIGENT TECHNICAL PRODUCTION METHODS, THE NEXT STAGE IS READY TO IGNITE: THE AUTOMATION OF INTELLECTUAL WORK DRIVES THE MENTAL SILICON PROTHESIS RIGHT OUT INTO THE SERVICE AREA.

SOON THERE WILL HARDLY BE ANY PRODUCTION SECTORS WHERE MACHINES DO NOT WORK MORE ECONOMICALLY, FASTER, CLEANER, AND MORE EFFICIENTLY THAN HUMAN BEINGS. WHEN WILL THE POST-INDUSTRIAL DATA ECONOMY SWITCH OVER TO AUTO-PILOT AND DISMISS THE WORKING POPULATION INTO HISTORY BY MEANS OF LEISURE SHOCK? THE HEADING “WORK LIBERATES” WAS PART OF THE WEIRD IRONY OF THE MORE RECENT CONTEMPORARY HISTORY; BUT “FREEDOM MAKES WORK” IS AN UNWRITTEN LAW OF THE LEISURE SOCIETY. IT MAY BE POSSIBLE TO VERY EXACTLY FOLLOW, BUT FROM WHICH UNCONSCIOUS AFFECTIVE CHANGES AND REGULATIONS OF HIERARCHICALLY SUPERORDINATED, FEELING IMPULSES A “FREE WILL” ORIGINATES, CAN HARDLY STILL BE FOLLOWED. THE SOFTWARE IS THE SAFETY RISK OF COMPUTER-AIDED WAR STRATEGY, COMPLEX SOURCE CODES LEAD A LIFE OF THEIR OWN AND ESCAPE THEIR UNVEILING ON THE ARROW OF TIME.

JUST FOLLOW YOUR NOSE, EVEN JUST A FEW MOLECULES OF A SCENT OR PHEROMONE ARE SUFFICIENT TO AWAKEN MEMORIES OF THE ANIMAL IN HUMAN BEINGS. PRODUCT NAMES LIKE OBSESSION, EGOISTE, OR PITRALON, SPEAK A VERY CLEAR LANGUAGE. SOME RECOLLECTION STORES, THE DRAINERS OF THE MEMORY, APPEAR ONLY TO OPEN IN CERTAIN FRAMES OF MIND AND EMOTIONAL SETTINGS. IT IS ONLY THE TRANSITION INTO THE PHASE AREA OF THE ATTRACTOR THAT PERMITS ACCESS TO THE SYSTEM.

AS A MATTER OF INTEREST, WITH THE STORING AND RECALLING OF COMPLEX COGNITIVE MATERIAL THERE IS A HIERARCHICAL STRUCTURE IN WHICH THE INFORMATION STORED IN HIGHER CONSCIOUS STAGES (AWAKENED CONSCIOUSNESS) REMAINS AVAILABLE IN LESS DIFFERENTIATED STATES (DREAM), BUT NOT IN REVERSE. AFTER WAKING UP IT IS OFTEN DIFFICULT TO REMEMBER A DREAM AND WHOEVER HAS AWAKENED FROM A DEEP HYPNOSIS HAS NO DIRECT ACCESS TO THE SUGGESTIONS MADE IN THE HYPNOTIC SLEEP.

IN THE CASE OF OPERATIONS PERFORMED UNDER A GENERAL ANAESTHETIC, ANY NEGATIVE SUGGESTIONS MADE BY THE MEDICAL STAFF PRESENT (E.G. “THE FAT PIG WON’T DO IT MUCH LONGER”) CONSIDERABLY HAMPER THE REHABILITATION PROCESS AND HAVE LED TO MALPRACTICE PROCESSES AND ACTION FOR DAMAGES.
EVEN REAL ZOMBIES EAT HAMBURGERS, BUT DO THE BRAIN DEAD EXPERIENCE HUNGER? AT ANY RATE THEY NEED NOURISHMENT AND OXYGEN.

CONSCIOUSNESS AND READINESS FOR MENTAL RECEPTION CONSUMES ASTONISHINGLY JUST AS MANY CALORIES AS APATHY OR INDOLENCE. ACTING DOESN’T COST ANY MORE STRENGTH THAN REACTING. HERE AT THE CROSSING POINT OF THE CONSTANTLY CHANGING WITH THE PERMAMENT, THERE APPEARS TO BE A HIDDEN SOURCE OF NEGATIVE ENTROPY. CONSCIOUSNESS AS A NON-THERMAL POWER STATION OF AN ENERGY FASTER THAN LIGHT, IS IN ITS SIMULTANEOUSNESS, AN ADHESIVE OF THE UNIVERSE.

THE CINEMA DEVELOPED AS THE TECHNICAL EXECUTION OF THE MODEL OF JACOB’S LADDER AND THE CADRE GRID REMINISCENT OF AN EXTENDED FIRE BRIGADE LADDER REVEALS THE FUNCTIONAL PRINCIPLE WHICH BECOMES SYMBOLIZATION IN THE INTERNATIONAL SYMBOL FOR EMERGENCY LADDER. AS, OF COURSE, IT INVOLVES TOO MUCH EFFORT TO TRANSPORT THE AUDIENCE AT THE CORRESPONDING SPEED ALONG THE CELLULOID LADDER, THE INGENIOUS IDEA AROSE TO MOVE THE FILM ON WITH AN ARTFUL MECHANICAL DEVICE. ULTIMATELY, THE AUDIENCE IS THEN MOVED MORE THAN THE MATERIAL.

THE SPACE BETWEEN THIS FILMED LATTICE FENCE BECOMES A VISION OF A PROJECTED MODULATION OF TRANSPARENCY. AND JUST AS GALILEO’S BINOCULARS, THE VIEW OF THE STARS AND LITTLE STARS PROVOKES THE CRY: “AND THEY DO MOVE!”

BEYOND A PEACEFUL COEXISTANCE, THESE ARTIFICIAL GALAXIES HAVE LONG BEEN INSEPARABLE FROM OUR REAL WORLD, AS IS SHOWN BY THE PICTURE OF THE “FILM TEAR” THAT FREQUENTLY CROPS UP IN COURT PROCEEDINGS. “THE FILM TEAR” AS MITIGATING CIRCUMSTANCE STANDS E.G. FOR THE ALCOHOL-RELATED BLACKOUT OF CULTURAL GLOSS AND WHEN THIS SHORT TERM LOSS OF SOCIAL ENTRAINMENT PROCEEDS WITHOUT MUCH HARM BEING DONE, EVERYTHING IS OK AGAIN. THE TECHNICAL FAULT (WE REGRET) OF THE PRIVATE RED-GREEN-BLUE LINE DANCE MONITOR, OF COURSE, REQUIRES A NEW LINGUISTIC REGULATION, E.G. TAPE TEAR, BITMAP ERROR OR “🙁)*()*(“.

RITUALIZED NON-LOCALITY IN THE LOCAL OF YOUR CHOICE IS, OF COURSE, THE BAR: IN THE COURT OF CONTACT OF ZEITGEIST IS THE TEST ROUTE OF HUMAN INTERFACE MODELLING AND THE ARENA FOR BREEDING SELECTION (SON OF A BITCH). A MERRY ROUND CONSISTING OF ATTRACTION AND REPULSION ON A MATRIX OF THE GUESTS’ REQUEST INTERVALS. THE COURSE OF A PUBLIC MULTI-LATERAL RELATION BUSINESS CAN BE REPRESENTED AS A DYNAMIC LANDSCAPE OF VIRTUAL MOUNTAINS OF UNEASE AND VALLEYS OF WELL-BEING, IN WHICH THE SUBJECTIVE TOPOGRAPHY OF THE PARTICIPANTS IS ALWAYS DIFFERENT. ENDLESS HUNTS AND THE ROMANTIC TURBULENCE OF CELLULAR SLOT MACHINES ON THE COORDINATES OF THE SOCIAL DISTANCE OF PERSONAL SPACE (30 SECONDS TO COMPLY). THE BIOCULTURALLY RELATED GAMES RULES HAVE BECOME INCREASINGLY COMPLICATED AND ABSTRACTED THROUGH MEDIALIZATION. (IS THAT NEW? NO …). AN INDUSTRY OF “SPECIAL EFFECTS FOR SPECIAL EFFECTS” HAS RECORDED ITSELF ENGRAMMATICALLY IN THE UNCONSCIOUS, JUST AS VIRAL GENETIC INFORMATION HAS BEEN INTRODUCED OVER GENERATIONS INTO THE HUMAN GENOTYPE. (SOME OF THESE VIRUSES COULD HAVE BEEN WASHED ONTO OUR PLANET A LONG TIME AGO AS COSMIC FLOTSAM AND JETSAM FROM EXPLODING STAR SYSTEMS AND COULD HAVE MADE MAN INTO THE HOST OF PARASITIC ALIEN LIFE FORMS). IN THIS WAY MAN BECAME HIS DOUBLE, CLONED FROM THE TRIPLETS OF TRIVIAL TRINITY BY PRESS, RADIO AND TELEVISION.

FROM PEN-FRIENDSHIP TO TELEPHONE SEX, FROM THE TELECOM TO IN VITRO FERTILIZATION, IT IS ONLY ONE HOTLINE. SOME BEHAVIOURAL RESEARCHERS REDUCED THE FUNDAMENTAL STATEMENT OF HUMAN COMMUNICATIONS TO THE PRIMAL FORMULA: “I AM HERE! ARE YOU HERE TOO?” A VERBAL EXCHANGE WHICH HAS BEEN PRACTICED SINCE THE VERY EARLY HISTORY OF MANKIND (IN THE NON-ELECTRIFIED FLATS OF THE CAVE BEARS). THE FORMULA CHANGED INTO “I AM COMING! ARE YOU COMING TOO?” IN THE SYMBOL OF TELEMATIC MOBILITY AND EROTICIZED TECHNOLOGY.

EVER SINCE THE EARTH HAS BEEN ROUND AND REVOLVES, EVERYTHING REVOLVES AND MOVES, AND TO JUST BE ABLE TO REMAIN AT THE SAME PLACE, THE COMPLETE ROTATION OF THE TERRESTRIAL GLOBE HAS TO BE ACCOMPLISHED OVER 24 HOURS. THE CLEAR STAND POINT GETS INTO THE FLUX TO THE LINE AND OPINION BECOMES A QUESTION OF STYLE, CONTEXTUALITY, THE CUDGEL IN THE LAUGHING BAG OF MODERN PERPLEXITY, WILL AT SOME TIME WILL BE SLAIN BY HYPER-CONTEXTUALITY; WITH THE FAINT IDEA THAT SOMEWHERE, EVERYTHING IS SOMEHOW CONNECTED.

EVEN COMPUTERS NEED FUZZY LOGIC AND IT CAN BE SEEN HOW THE PRECISION OF A STATEMENT CAN BE THE REVERSE OF ITS SIGNIFICANCE, WITH THE COMPLEXITY OF A SYSTEM. “NO NEWS IS BAD NEWS” – EVEN WHEN LIFE SEEMS TO BE HARD ENOUGH. FOR, WHOEVER UNDERSTANDS EVERYTHING MUST HAVE UNDERSTOOD SOMETHING WRONG. IT IS NOT A LONG WAY FROM SURVIVAL AND FITNESS TO SELF-OUTSMARTING. THE RELATIONSHIP OF COOPERATION AND SELF-INTEREST WAS KNOWN AS A GAMES-THEORY SITUATION UNDER THE NAME OF PRISONERS’ DILEMMA AND AWAKENED THE INTEREST OF MATHEMATICIANS, SCIENTISTS, POLITICAL SCIENTISTS AND EVOLUTONARY BIOLOGISTS. COMPUTER GAMES AND COMPETITIONS FOR ITERATIVE AND TERRITORIAL FORMS OF THE PRISONERS’ DILEMMA SHOW JUST HOW COOPERATION STRATEGIES CAN SUCCEED ALTHOUGH SUCCESSFUL FRAUD BRINGS THE BIGGEST GAIN IN THE SHORT-TERM.

LUCKILY ENOUGH, OUR ANTHROPICAL CHAUVINISM RELATIVIZES ITSELF IN RELATION TO THE LIVING BEINGS WHICH RULED THE PLANETS BEFORE US. WITH THE AID OF NEW FINDINGS AND THE ASSISTANCE OF THE YOUTH FROM ALL OVER THE WORLD (THE DINO AS CONTEMPORARY TEDDY BEAR), THE DINOSAURS ARE HITTING BACK AND NO LONGER LET THEMSELVES BE SLANDERED AS THE PLUMP-DULL MONSTERS WHICH WERE OVERRUN BY EVOLUTION ON ACCOUNT OF ALLEGEDLY BEING UNFIT TO LIVE. WHEN THE DINOSAURS STILL LIVED ON THE SPACE SHIP EARTH, THE FORERUNNERS OF THE HOMONIDS WERE ONLY INSIGNIFICANT SORICIDAE AND OPOSSUMS WHICH OCCUPIED ONLY A SMALL ECOLOGICAL NICHE AMONG THE MAMMALS. IS HISTORY REPEATING ITSELF AT THE END, AGAIN, AND IS THE MOUSE WHICH IS NOW TO BE FOUND ON NEARLY EVERY WRITING DESK THE FORERUNNER OF A NEW MASTER RACE?

IT IS NO LONGER PENNIES WHICH FALL FROM HEAVEN BUT GAME CHIPS AND AN AMERICAN PRESIDENT WHO DREAMED OF HOW THE YOUTH COULD TURN INTO PEREFCT FIGHTER PILOTS WITH THE AID OF VIDEO GAMES, WAS STILL ABLE TO EXPERIENCE HOW AIR BATTLES BECAME VIDEO GAMES. JUST AS THE CAPTAIN OF A PLANE ON THE APPROACH FOR LANDING UNDER BAD VISIBILITY CONDITIONS ORIENTATES HIMSELF ON THE SOVEREIGN CONTROL ABILITIES OF THE COMPUTER-EXPERT SYSTEM “AUTOPLIOT”, IT IS NOT A DISGRACE TO WITHDRAW IN THE FACE OF A SUPERIOR OPPONENT. IF OVERREACHING DOESN’T PAY, A COOPERATION MODEL COULD POINT OUT THE WAY. THE “DIVIDE AND DOMINATE” PRINCIPLE OF THE OLD WARLORDS DEVELOPS ITS COUNTERACTING FORCE IN ELECTRONIC INTERLINKING. UNITE AND FIGHT!

THE WORLD WAR AMONGST COMPUTERS HAS BEEN RAGING FOR YEARS AS CORE WARS AND, AS OPPOSED TO START WARS, PROGRESSES COMPLETELY WITHOUT LOSS OF BLOOD. AND PARADOXICALLY THIS CAN ONLY BE TERMED AS BEING HUMAN IN FRONT OF THE BACKGROUND OF “REAL” WARS IN WHICH THERE IS NO VICTOR ANY MORE. INBREEDING AND SPECIALIZATION ARE AT THE EXPENSE OF THE ABILITY TO ADAPT AND OVER-SPECIALIZING IS THE FASTEST WAY TO EXTINCTION. ON THE WAY TO THE GLOBAL SELF-FULFILLING MEDIA, DATA DEAMONS DEVELOP TO FORM EMANCIPATED KNOWBOTS ON A SILICON PLANET OF ELECTRONIC SELF-STIMULATION. (“DO ANDROIDS DREAM ABOUT ELECTRICAL SHEEP?”)

AMUSINGLY ENOUGH, THE BASIS OF THE MATERIAL WORLD (MONEY MAKES THE WORLD GO ROUND?) IS STILL GOLD, THE MEANS OF PAYMENT OF ANALPHABETIC PIRATES AND CRAFTY CHIEFTAINS. AND ALTHOUGH, FOR CENTURIES NOW, MORE AND MORE GOLD HAS BEEN PRODUCED AND BROUGHT INTO CIRCULATION, THERE IS HARDLY LESS POVERTY THAN BEFORE. EVEN WHEN AN AUSTRIAN DAILY NEWSPAPER ADVERTISES FOR ITSELF WITH THE SLOGAN “INTELLIGENCE CAN BE BOUGHT”(1), IT BECOMES MORE AND MORE EVIDENT JUST HOW PASSE THE ECONOMIC APPRAISAL SYSTEM IS. YET THE INFORMATION WAR RAGES AND SETS NEW STANDARDS: PATENTED MICE AND COPYRIGHT TOMATOES HAVE ALARMED BIG MONEY, TO CONQUER THE GENETIC MAPS WITH GENOM DECODERS.

AS IS WELL KNOWN, YOU CAN’T EAT MONEY, BUT YOU CAN EAT TRANSGENIC PRODUCTS AND THE INFORMATION CODED IN IT CAN SUDDENLY CAUSE A HARDWORKING BUSINESS MAN TO EXCHANGE A SUITCASE FULL OF GOLD FOR A FEW NUTS OR GRAINS OF CEREAL.

IN THE GENETIC GOLD RUSH, THE DIRECT INFLUENCE OF A SEMEN BANK IS SHOWN ON THE STATEMENT OF ACCOUNTS OF A DATA BANK. WHO GETS THE PATENT FOR THE NEW PERSON? WHO MONOPOLIZES THE SPECIES? WHO LICENSES THE BORN WINNERS AND LOSERS? IS THERE A MARKET FOR TRANSGENIC CENTAURS, CONTORTIONISTS, DWARFS OR SELF-LUMINOUS HOUSE PLANTS? TRADE IN CHANGE! FROM CONSUMER ELECTRONICS TO CONSUMER BIOLOGICALS, FROM ANIMATRONIC ENVIRONMENT TO THE MULTI-DIMENSIONAL ECOLOGICAL HYPERSPACE-DESIGN OF THE BIOMASS. THE KEY TO SUCCESS IS RECOMBINATION, LIFE IS CHANGE, SO RESIST THE BEGINNINGS – TRANSCODE YOURSELF! (REVOLUTIONS GOBBLE UP THEIR CHILDREN, BUT YOU CAN’T FOOL THE CHILDREN OF THE SYNVOLUTION).

FRY LUKEWARM REALITY SCHNITZEL WITH STATISTIC INSUFFICIENCY IN THE BODY FAT OF THE MENTALLY STILLBORN, ARE THEY PERPETUUM PERPLEX OF NEW HIGH TECH FEUDALISM. IN A RESTAURANT WHERE ONLY THE MENU IS ON OFFER (THE ULTIMATE FAST FOOD), THE KAISERS NEW CLOTHES SUGGEST THEMSELVES. IN THE DEAD FLANK ARMS OF GAME, FUN AND EXCITEMENT, WHERE FIGURES CARVE FIGURES WITHOUT MAKING THEIR GAME, LIE THE HEAPS OF COMPLEX IGNORANCE LIKE METABOLISM PRODUCTS.

CODING AND DECODING WERE AT THE CRADLE OF MODERN INFORMATICS IN THE WAR OF THE BRAINS (ENIGMA VS. TURING, WW II). CRYPTOLOGY AND THE SCIENCE OF COMPLEX DYNAMIC SYSTEMS UNVEIL THE MYSTERIES OF OPEN SECRETS AND THE MECHANISMS OF WONDERFUL FOG MACHINES OF PUBLIC OPINION FORMING. WHILE THE CONES OF PANIC SEARCHLIGHTS FALL ON THE CLOUD BANKS OF CULTURAL STEAM, THE PSYCHOCYBERNETIC TARGET SIGHTING MECHANICS ARE HEATING UP. EVERYTHING IS REVOLVING, EVERYTHING IS MOVING IN THE GLOBAL PLAYGROUND “PANTA RHEI”, AND EVEN THE VACUUM OF THE EMPTY SPACE IS FLOODED BY ENERGY FLUCTUATIONS (ON WHICH THE LAWS OF NATURE OF THE ELEMENTARY PARTICLES DEPEND).

PERHAPS ON THE OTHER SIDE OF THE WALL OF SEMOLINA PUDDING THERE IS THE GENERAL KEY TO THE SYNLOGISTICAL PERMAFLUX WITH WHICH THE VISCIOUS CIRCLE OF CODED PROJECTIONS AND PERCEPTIONS CAN BE ALLOWED TO BE TRANSFORMED INTO A NON-DETERMINISTIC HYPERCYCLE.

Konrad Becker

Posted in art, arteTagged zero news

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