Thanks to Narike Lintvelt for sharing this.
Richard Neill to Bodyform (a maxipad manufacturer), 8 October at 21:30 via Mobile
Hi , as a man I must ask why you have lied to us for all these years . As a child I watched your advertisements with interest as to how at this wonderful time of the month that the female gets to enjoy so many things ,I felt a little jealous. I mean bike riding , rollercoasters, dancing, parachuting, why couldn’t I get to enjoy this time of joy and ‘blue water’ and wings !! Dam my penis!! Then I got a girlfriend, was so happy and couldn’t wait for this joyous adventurous time of the month to happen …..you lied !! There was no joy , no extreme sports , no blue water spilling over wings and no rocking soundtrack oh no no no. Instead I had to fight against every male urge I had to resist screaming wooaaahhhhh bodddyyyyyyfooorrrmmm bodyformed for youuuuuuu as my lady changed from the loving, gentle, normal skin coloured lady to the little girl from the exorcist with added venom and extra 360 degree head spin. Thanks for setting me up for a fall bodyform , you crafty bugger.
Bodyform’s response, via Youtube:
J.J. Cale passed away around 20h00 on Friday 26 July, 2013 at Scripps Hospital in La Jolla, California, after a heart attack.
This beautiful album was released on 30 April 1974.
Beautiful cover of Gene Clark’s 1969 song, off Krauss and Plant’s 2007 collaboration, Raising Sand .
Broadcast’s Black Session – recorded live at La Maison de la Radio in Paris on May 4th, 2000 – features the original lineup that toured in support of their album, The Noise Made By People. It includes all the electronic segues and dissonance between tunes, along with stellar renditions of early singles, album cuts and B-sides. You can download the whole recording HERE.
The approach of a man’s life out of the past is history, and the approach of time out of the future is mystery. Their meeting is the present, and it is consciousness, the only time life is alive. The endless wonder of this meeting is what causes the mind, in its inward liberty of a frozen morning, to turn back and question and remember. The world is full of places. Why is it that I am here?
— Wendell Berry, from The Long-Legged House
Travel well, Chiwoniso. x
Newly released official video directed by Paul Thomas Anderson, featuring Fiona and her sister, Maude Maggart.
Let us not think that because we are less brutal, less violent, less inhuman than our opponents we will carry the day. Brutality, violence, and inhumanity have an immense prestige that schoolbooks hide from children, that grown men do not admit, but that everyone bows before. For the opposite virtues to have as much prestige, they must be actively and constantly put into practice. Anyone who is merely incapable of being as brutal, as violent, and as inhuman as someone else, but who does not practice the opposite virtues, is inferior to that person in both inner strength and prestige, and he will not hold out in a confrontation.
From Electric Ladyland (Reprise Records, 1968).
What do you get if you mix equal parts cutting edge continental philosophy, voodoo, psychedelics, underground dance music, cybernetics and multimedia experimentation? The notorious Orphan Drift!
Happening this Thursday, 25 July, from 20h00, Bolo’bolo Anarchist Info Shop and Vegan Cafe are delighted to announce an evening of Orphan Drift, featuring several short films from founding member Mer Roberts as well as a talk by UWC cyberculture theorist Delphi Carstens, followed by an almost certainly lively open discussion.
In the mid-90s, the legendary Cyber Culture Research Unit at the prestigious Warwick University was formed: their university-funded activities included producing collaged texts of Deleuze and Guattari, William Burroughs and binary code, theorising the occult underpinnings of markets, composing abrasive electronic music and, ostensibly, consuming inhuman doses of psychedelics as often as possible, much of this via the ORPHAN DRIFT collaborative artist project. A few years later, the CCRU was no more; founding member Nick Land – a genius philosopher and agent provocateur – had achieved full meltdown / deterritorialization and Sadie Plant, author of the well-known Writing On Drugs, had disappeared from sight.
The legacy of the CCRU is very much alive today though, a subterranean influence for the very latest movements in philosophy.
ABOUT ORPHAN DRIFT
Mer co-created the collaborative artist and hive mind 0rphan Drift in London in 1994. Although it was predominantly made up of visual artists, it also involved sound designers, concept engineers and media activists.
As an artistic entity, 0rphan Drift is known for immersive and visually complex works which use the sample and the remix extensively, treating information as matter and the image as a unit of contagion. The art produced is science fictional and immersive. It complicates the distinctions between material and immaterial phenomena and dimensions, both in content and media. Much of its work explored mimetic patterns of desire, production and consumption- particularly in relation to the rapid technological changes happening at the time- drawing heavily on cyberpunk fiction, polyrhythmic electronica and the underpinnings of African religious systems. This was the social context in which its shifting layers of frightening, disturbing, abject, schizophrenic, beautiful, deconstructive, poetic and fragmented frequencies were able to take affect.
0rphan Drift is cross-contextual and made extensive contributions from 1994 – 2004 in the social arenas around contemporary art, underground music and cyber-feminism/post-structural philosophy. 0D has participated internationally in over a decade of exhibitions, screenings and performance, exhibiting extensively in the UK, Europe, Canada and the States, including at the Cabinet Gallery and Tate Modern in London; writing the Scifi-theory text ‘Cyberpositive’, and featuring in DJ Spooky’s ‘Sound Unbound’ in the ‘Renegade Academics’ chapter. It contributed cybervisuals to the set of Stephen Speilberg’s ‘AI’ and ‘Minority Report’ features and Leftfield and NIN world tours, worked frequently with Kode 9 and participated in 10 years of international Video art and AV Electronica art events in Norway, Germany, Canada, UK, South Africa and USA.
We now collaborate between Cape Town and San Francisco and continue to make science fictional work which is guided by a neo-futurist sensibility and clearly a progression from our earlier work. Our new video work ‘Wilderness of Elsewheres, Colony 1’, which maps contemporary global concerns with survival, insecurity and the unknown, has been shown in Santiago and San Francisco and we subsequently produced a series of Post Apocalyptic postcards for Shadowshop; Stephanie Syjuco’s parasitic shop at SFMOMA. Recently we made video for Delphi Carsten’s Capetown Tedx Talk, ‘Hyperstition’, and were commissioned make ‘You Its Eyes 94-13’ for screening at CTM13, Berlin.
WHAT WE’LL BE SCREENING / HOSTING THIS THURSDAY EVENING
1: You Its Eyes. 1994-2013, 30 minute video remixing 0D’s earlier work
0D employs different frequencies and overlapping rhythmic patterns to activate submerged regions of the brain and create intimacy and proximity through video-sonic signal. The goal of 0D, writes Simon Reynolds (1996), is “the liberation of texture from its environment, of energy-flux from contoured form with the goal to recreate the intensity of being lost”. 0D describes the individual ‘self’ haunted by a sensory cross-talk of signals from realms beyond the physical. Voices from imagined futures haunt the contemporary technological landscape. Feedback from the machines evolves into an unfamiliarity of speed and complexity, coding the textual body and imagination as tools for change. The invisible, fantastical, and anarchic called upon here are what Deleuze and Guattari define as the essence of virtuality. These intensities carry the sorcerous forces that technology and science unleash as they delve further into the quantum, the chaotic and the abstract.
“Surrounding the human self and its island of experience lies a raging sea of intensities” (D&G). All journeys into this space involve a succession of becomings autistic, mimetic, contagious and machinic.
2: Hyperstition – A talk by Delphi Carstens
Delphi is a lecturer at UWC, as well as half of the duo which makes up Groovy Troopers Productions – creators of temporary autonomous zones in the form of art & trance festivals. Delphi is currently completing a doctorate thesis, and will present on: “hyperstition” — a neologism coined by Nick Land that combines the words ‘superstition’ and ‘hype’ to describe how fictions become fact and how our narratives (stories) shape our world. It also describes, particularly, the narrative of capitalism, which is driven by hype and speculation and, which more importantly, turns fictions into facts. One very important fiction that Delphi will be discussing is the fiction of the apocalypse. Focusing on the current secular meaning of apocalypse as well as how popular culture views our current global crisis and the importance of imagining ourselves differently. Hyperstition also describes the nexus where myth or magic and science meet. Delphi explores the world of hyperstition to describe the manner by which hype and speculation become facts in contemporary society. The future is looking uncertain and how we imagine this future may be more important than we realise. This talk will be both an intellectual and a felt experience.
3: A Wilderness Of Elsewheres. 2009, 10 minutes
A two-screen installation in which dark abstract video spaces flow into bright photographic landscapes (the raw desolate tundras of southern Africa), populated and de-populated by animated collages of architecture and fashion, cut and scanned from contemporary print publications. A deliberate rhythmic awkwardness creates an alien time frame. The screens share a soundscape, made from a wide variety of samples including glaciers melting and rocket launches, composed into a sonic ‘event’. The work is imbued with post-apocalyptic sensibility, urges to the neo-romantic and the science fictional blending of first and third world materiality. At once immersive and deconstructive, the work is collision, co-habitation, evolutionary fever-dream.
Join us in mapping the outer edges — and do come earlyish if you want to sit down while doing so ;) !
On July 18, the Film and Publication Board’s refusal to classify the would-be opening film of the Durban International Film Festival, Jahmil XT Qubeka’s Of Good Report, became the flint that sparked the latest South African aesthetic controversy.
Unclassified films are illegal to screen, which means that this is a functional ban on the production. The ruling was imposed on the basis of having interpreted the representation of a sexual encounter of a Grade 9 pupil, Nolitha, (played by the 23-year old actress Petronella Tshuma) as being child pornography.
Tongues have been wagging in creative circles and the media, and given that the film is divorced from any overt perspective on political matters (as in the case ofThe Spear), it is clear that this matter relates to some quite primal conflict over the interpretation of a particular image.
In this case, the battle over meaning is taking place in the awkward, sexually liminal space of the moment of the young female character’s transition from archetypal “virgin” to archetypal “whore”, and what she, the figure of the girl, means.
It probably wouldn’t be completely unfair to assume that the film is objectionable to the classification board because of this very liminality, and the way in which the morality embedded in the process clearly regards anything that isn’t exclusively either “virgin” or “whore” as a kind of abomination.
This act of censorship is fundamentally based on a conflict of representation – meaning it’s as much an aesthetic one as it is an ideological one. This means that we need to be asking not the obvious and common question of whether we should or shouldn’t be allowed to depict female children in an erotic light, but rather what actually is a female child, and what is an erotic light?
South African film and South African audiences remain equally conservative. The idea that representations of people, places, things and events can have a lot of different meanings and aren’t consistently, singularly defined is, surprisingly, not taken for granted by the typical South African viewer, practitioner or institution of film.
We aren’t yet comfortable with the multifarious nature of representation, and expend a lot of hot air trying to settle on the one, all-encompassing, so-called “South African voice”, which it turns out, we’re really struggling to locate.
It’s a self-evidently flawed project, because its ridiculous to think that such a thing could ever actually exist in a finite sense.
Read the rest of this article HERE.
“There is no man so good, who, were he to submit all his thoughts and actions to the laws, would not deserve hanging ten times in his life.”
— Michel de Montaigne, essayist (1533-1592)
For anyone who’s been following what’s been happening since blind busker Lunga Nono was publicly assaulted and arrested by Cape Town police recently… Also watch Nono’s own account of events HERE.
This started out as an admonishment of Cape Town residents for our tardy outrage and showboat sense of civic responsibility. We turned up in huge numbers, I was going to say, when city law-enforcement officers publicly assaulted and arrested Lunga Gooodman Nono, but where were we when the laws and regulations he supposedly fell foul of were made? Public participation in law-making, after all, forms one of the key pillars of our constitutional democracy. It’s on us if unjust laws make it into the statute books.
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Cover of The Kinks’ song, from Pain Teens’ 1990 album, Born in Blood (on the Trance Syndicate label).
A 1960 hit for Dinah Washington, written by Clyde Otis.
When the UK’s Daily Mail tabloid paper covered Amanda Palmer’s recent performance at Glastonbury, they didn’t mention anything about the music that she played, choosing to focus only on a brief moment where her breast “escaped her bra”.
Palmer wasn’t thrilled about the lack of coverage her performance received and the extent of attention that was paid to her so-called wardrobe malfunction, and she decided to respond to the paper live on stage. About halfway through her hilarious and cutting song, she strips almost entirely naked. Astute:
I must act “as if”. As if the forces of labour and knowledge may overcome the forces of greed and of proprietary obsession. As if the cognitive workers may overcome the fractalisation of their life and intelligence, and give birth to a process of the self-organisation of collective knowledge. I must resist simply because I cannot know what will happen after the future, and I must preserve the consciousness and sensibility of social solidarity, of human empathy, of gratuitous activity, of freedom, equality and fraternity. Just in case, right? Just because we don’t know what is going to be happening next, in the empty space that comes after the future of modernity. I must resist because this is the only way to be in peace with my self.
— Franco “Bifo” Berardi, from After the Future
Plus ça change, plus c’est la même chose…
Video made by Robyn Aronstam and Neria Cohen. Track taken from the album Living in the Heart of the Beast. http://www.kalaharisurfers.co.za/
Plus ça change, plus c’est la même chose…
From Forces of Victory, 1979.
Plus ça change, plus c’est la même chose…
“Murder is murder / Why’re they confused? / Another man dead / I read it in the news / Who gave them the fucking right / To run around like they own the night?”
A pioneer of performance art, Marina Abramović has been using her own body as the subject, object, and medium of her work since the early 1970s. In 2011, the Museum of Modern Art (MOMA) in New York put on her retrospective, The Artist is Present. Yesterday, 14 July 2013, again at MOMA, she spoke about how to create a productive union between the arts, science, technology, spirituality and education in the future. GO HERE TO WATCH.
Human life, distinct from juridical existence, existing as it does on a globe isolated in celestial space, from night to day and from one country to another—human life cannot in any way be limited to the closed systems assigned to it by reasonable conceptions. The immense travail of recklessness, discharge, and upheaval that constitutes life could be expressed by stating that life starts with the deficit of these systems; at least what it allows in the way of order and reserve has meaning only from the moment when the ordered and reserved forces liberate and lose themselves for ends that cannot be subordinated to any thing one can account for. It is only by such insubordination—even if it is impoverished—that the human race ceases to be isolated in the unconditional splendour of material things.
― Georges Bataille, from The Notion of Expenditure
Lykke Li is a worthy successor to Julee Cruise. The Big Dream, the new album from David Lynch, will be released on 15 July 2013.
Concept by Lykke Li and Daniel Desure
Edited by Jesse Fleming and Sadie Strangio
DP – Nicholas Trikonis
Designer – Michelle Park