" "[sic] TIM GOLDIE

2012-03-01T23:30:00.002Z

" "[sic] TIM GOLDIE / MATTIN / DEFLAG HAEMORRHAGE / HAIEN KONTRA - A SPECIAL FORM OF DARKNESS

2012-03-01T10:35:00.000Z

ABJECT BLOC PA by RADIANCE AUDIO

2012-02-29T15:31:00.004Z

2012-02-29T14:23:00.002Z

2012-02-22T18:06:00.001Z

ON ABJECT MUSIC

Capitalist anschluss shits through my anus ear

Detritus of emotion

Remnant of sense

If only you could hear it

Hear embraceable alienation

The glory of the deforming inhuman

Neolithic cyborg hordes all

Crawling tribesmen reduced to slither traces

Bankers basking in percentage point annihilation

Revolutionaries in summit talks

Musicians re-nationalising themselves

If only you could hear it

The reconstituted cess seeking the natural

The bone and brain of historical us in a sump pool

Can we collect it

Recollect it as us

Shit on it

Shit on an invaluable fern token

Shit on the tank the person has become

Shit on mammas stool gift

Shit on Daddas suicided authority

If only you could hear it

How far I’ve come from my self

How far from the lakes and glades of formal subsumption

How far from uselessness

How near to the nothing of overformed ideolect

It’s a formality now to be alienated

A matter of form

A matter of factory spun mini toys as subjects

A hall of mirrors to be worn

A rocket adorned with sponsored glyphs

If only you could hear it

The demise of music

The demise of pleasure

The arising of sado-masochistic release

Victim and liberator in one

    alienated

    chump

    contracted to be ritualistic

    inauthentic

    to act the antic human

    to restitch the blocked brick of language and drive

Howard Slater
1/9/08

2012-02-21T00:05:00.002Z

ABJECT BLOC RADIO

TUESDAY February 21st 22.30 - 23.30

HOSTED BY : " "[sic] TIM GOLDIE & JOHN WILD

WITH SPECIAL GUEST : JONATHAN KEMP http://crystal.xxn.org.uk/

RESONANCE 104.4fm

OR ONLINE AT : http://resonancefm.com/listen

2012-02-20T00:21:00.003Z

2012-02-17T22:17:00.001Z

2012-02-17T22:14:00.003Z

Asbotic Manifesto: The riots were the Chavantgardist reaction to economic austerity and increasing repression, not to mention decades of previous capitalist offences. The chavant-garde show the way forward for cultural and other non/workers in these desperate times. Direct your struggles in line with their mad lootanism. Dead the ends! No more race and culture wars! Join the chavant garde and the asbostocracy fighting regenicide & austerity. Mute Mini Manifesto Micro Massive.

2012-02-05T19:01:00.005Z

Preview: Arika12

The Arika duo, Bryony McIntyre and Barry Esson. Photo: Phil Wilkinson

By David Pollock
Published on Thursday 19 January 2012 00:00

The team behind Instal and Kill Your Timid Notion are back this weekend with a brand new festival of experimental art, film and more, writes David Pollock
MENTION the word “experimental” in relation to art and you risk your audience turning their noses up, preferring to take comfort in what they know will offer familiar reassurance. Yet for Barry Esson, the joy of experimentation is, as he puts it, that “you don’t know what the results are going to be until you try it”.
“The most annoying thing about much experimental music is that, even though it’s called experimental, you know what it’s going to sound like beforehand,” he says. “I don’t see how that’s an experiment.”
Esson is in a good position to judge. For the past decade and more he has been a driving force behind the experimental music scene in Scotland, first with Glasgow’s annual INSTAL festival, which he started with Tiernan Kelly at the Arches in 2001, and then with Kill Your Timid Notion at Dundee Contemporary Arts. Later, he would export his skill as a curator south of the Border with the Music Lover’s Field Companion festival at Gateshead’s Sage, and a Kill Your Timid Notion tour to Bristol and London.
Yet now INSTAL and Kill Your Timid Notion are no more, and Esson and partner Bryony McIntyre are preparing to unveil an all-new sequence of festivals which will shift the focus of what they’ve been doing for the past few years.
The vinyl strip which has just gone up in the window of their nondescript office on Edinburgh’s Cowgate – a small storefront with the ambience of a design agency and an Ikea sofa for guests – announces the minimalist title of this new venture: Arika12.
“We got to the stage where we had been doing festivals for ten years,” says McIntyre of the end of Arika’s previous era. “A few other European contemporaries had reached that same mark as well, and they were going, (waves her imaginary flag), ‘Woo, birthday, here’s to another ten years!’ And we thought the last thing we wanted to do was ossify and stagnate, and for this to have been just another thing we do every year.
“It would have been easy to do that, to become like a kind of weird ATP (England-based alternative music festival and brand All Tomorrow’s Parties), but …”
“To do the same thing forever seems like death, doesn’t it?” interjects Esson. “And I don’t want to be held to an idea I had when I was 24. I was largely an idiot when I was 24.”
The final instalment of INSTAL in 2010 saw the pair turn the festival over to 60 audience members to create their own musical finale. “Some of it was amazing, some of it was f***ing awful,” says Esson, “but as an artistic process it was incredible.”
“And then the fire alarms went off,” recalls McIntyre. “So that really was the end.”
Arika12 is a different proposition, a festival held in three instalments over three months with an esoteric but compelling theme binding each together. This weekend’s first part is subtitled A Film is a Statement, which is about experimental approaches to film.
“Artists who make films don’t just think about the content and the story within them,” says Esson, “they think about the way the film’s made, the way it’s shot, the way you watch it. It’s not just about the message, it’s about the way you receive the message.”
He recalls a quote from French New Wave director Jean-Luc Godard: “A tracking shot is a moral issue.” To illustrate the political point, he mentions the reaction of film critic Serge Daney to a scene from Italian director Gillo Pontecorvo’s 1960 concentration camp drama Kapò, in which a female prisoner attempting escape is shot while entangled in an electric fence.
“The cameraman tracks in and frames her body in this beautiful shot,” says Esson, “but Daney said the man who made this image beautiful is worthy of our utmost contempt. It’s not a beautiful thing.”
The second weekend is named A Special Kind of Darkness , and is about ideas of pessimism, negativity and nihilism in art, and why these can be positive influences. March’s third episode is entitled Copying Without Copying, and will explore the exact recreation of texts or situations presented as art.
If that sounds like a high-concept proposition, Esson wonders if there’s more to be learned about, say, Guantanamo Bay from a BBC4 documentary with high production values, or the simple rereading of actual testimony from those who were there–- by which he means the group piece Combatant Status Review Tribunal pp. 002954–003064: A Public Reading.
One difference between Arika12 and Esson and McIntyre’s previous work is that the emphasis is now as much on film and live art as it is on music, although there will be more of the latter during A Special Kind of Darkness (Esson points to Tracer Trails, Glasgow’s Cry Parrot and Edinburgh’s Braw Gigs as three young promoters taking up the experimental music baton). Instead they’ve rebranded this new venture as “an experimental festival about experimental art”, where the curation is just as much of a statement as the work itself and the programming is designed to allow more informal interaction with artists and fellow festivalgoers.
“If people are into the visual arts or performance arts, they’ll find something they’ll enjoy here,” says Esson. “I mean, the Guantanamo piece I mentioned earlier was commissioned by Documenta, which is the biggest visual art event in Europe, and it’s just been at the Museum of Modern Art in New York. And a million people go there every year, so there’s a big enough audience for us.”
• Arika12 will be held in three parts over the next three months. Episode 1: A Film is a Statement is at CCA, Glasgow, today until Sunday. Episode 2: A Special Form of Darkness is at Tramway, Glasgow, 24-26 February. Episode 3: Copying Without Copying is at Tramway, Glasgow, 23-25 March. arika.org.uk

2012-01-24T22:27:00.001Z

2012-01-24T21:54:00.001Z

Home • Events • Episode 2: A Special Form of Darkness • Programme • Abject Music

Episode 2: A Special Form of Darkness

24–26 Feb 2012

In 4 weeks

Tramway, Glasgow

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Performance

Abject Music

Deflag

Haemorrhage/Haien

Kontra

19:30–20:30 Fri 24 Feb

Tramway

/ Glasgow

Access by Festival or Day Pass

About the event

Who
We think Mattin is one of the most interesting conceptual noise musicians/improvisers in Europe: his performances are intense experiences (noise-as-noise) and lucid, challenging calls to think (noise-as-concept).
We think “ ” [sic]^TM Goldie might be a sort of imaginary construction, with all the habits and identifiable behaviours of a dadaist-noise-musician-improviser-performance-artist hybrid, but maybe not actually any of those things.
What
It will be loud, full on, possibly disorientating, in some senses extreme. Kicks and contemplation.
Why
An appealing tactic in Alfred Jarry’s ‘Pataphysic' was the practice of identifying a specific rule in a system, magnifying it well beyond any sensible limit, allowing this new rule to govern your behaviour, and crucially acting as if this heightened, and (to anybody familiar with the normal rules of the game) obviously deranged looking behaviour, was totally normal.
Deflag Haemorrhage/Haien Kontra try to advance noise music, free improvisation and rock by accelerating out of the other side of them; amplifying and taking deadly seriously all of those musics’ tropes (Cf.: self-expression, musicians having identifiable signature sound or moves, ideas of transgression).
It leads to an uncanny sense of confusion. Are they trying to destroy or salvage something? Could they be one of the most ferocious live noise acts around, or a necessary and ludicrous parody of ferocious noise acts? Could they be both?

On the web

2012-01-19T00:03:00.001Z

2011-12-19T22:42:00.001Z

2011-12-16T19:32:00.002Z

2011-12-16T19:30:00.001Z

2011-12-09T14:25:00.001Z

2011-12-04T19:18:00.001Z

2011-12-04T19:13:00.001Z

TUE 6TH, DECEMBER

ORCHESTRA OF SPHERES + LITTLE WET HORSE + " "[sic]™ TIM GOLDIE

VENUE / THE DALSTON VICTORIA,
451 QUEENSBRIDGE ROAD, LONDON E8
TIME / 20:00
TUBE / DALSTON KINGSLAND / DALSTON JUNCTION
TICKET INFO / FREE - TICKETS AVAILABLE FROM HTTP://WWW.TICKETWEB.CO.UK
LINKS / ORCHESTRAOFSPHERES.BANDCAMP.COM, MYSPACE.COM/LITTLEWETHORSE

FACEBOOK EVENT PAGE
ORCHESTRA OF SPHERES - Channeling ancient future funk from the IS! Warping spatioelastoplasticity with sound!

Born out of Wellington's Frederick Street Sound and Light Exploration Society in 2009, the Spheres have developed a cult-like following in New Zealand. Playing house parties, dance parties, DIY shows and opera houses, the Spheres have built a reputation for musically and visually ecstatic live shows.

Like celestial sponges the Spheres' clonga sound draws on influences far and wide:
kuduro, psychedelic primary school disco, fire music, kwaito, free improv, south pacific demolition, shangaan electro, zeuhl, mbalax, kosmische quiche, tarraxo, witch doctor haus, orgasmo brain rave, juke/footwork, polynesian no wave prog, quarr, costume rock, inner brain clap, funk puppetré...

The Spheres use homemade instruments like the biscuit tin guitar, electric bass carillon and sexomouse marimba to create their cosmic dancing sound.

Orchestra of Spheres are:
Baba Rossa - biscuit tin guitar, sexomouse marimba
E=M303 - electric carillon
Jemi Hemi Mandala - drumkit
Mos Iocos - keyboard, gamelan

Orchestra Of Spheres will be playing ATP curated by Caribou in December and are piecing together a tour. When recently asked what they had planned by Under the radar this is what was said, "we're playing at Les Transmusicales festival in France, a festival in Utrecht, and other gigs in England, Germany, Czech Republic and elsewhere. European dreams: Hoping to check out lots of cool music. E=MC303 will be eating lots of cheese. Jemi Hemi wants to party and try heaps of new European fizzy drinks. Mos Iocos aims to twiddle the moustaches of 100 frenchmen. Baba Rossa would like to drive really fast on the Autobahn."

'Nonagonic Now' will be available on CD / LP and Digital Download this autumn on Fire.

SUPPORTING ACTS:

LITTLE WET HORSEFree psych trio featuring Duke Garwood, Paul May and Daniel Beban, Little Wet Horse moves from hazy opium den ragas to blistering sun scorched boogie. The group has been in existence for 8 years, mostly jamming for themselves under a heavy cloud of hash smoke in Garwood's Brixton flat. They are releasing their album 'Mellow Trucker', on Critical Heights at this gig.

and " "[sic] Tim Goldie
A kind of mutant cross-pollination of noise, performance art, dada actions and improvisation.

Free tickets downloadable from Ticketweb here

2011-11-27T23:49:00.001Z

2011-11-26T13:13:00.001Z

2011-11-25T12:57:00.001Z

FTH: The Savage and Beyond

By Howard Slater

Howard Slater grasps at the August riots as the appearance of an ‘unrecognisable demos' which challenges the very ability of capitalist democracy to include or contain the language and acts of its subjects

One carries in public affairs the spirit of the sales counter
- Pierre Leroux (1834)

The consonants F, T and H, in that order, form a trilateral root meaning fissure, chink, opening...
- Jean Genet (1986)

1. One thing can be said with a modicum of certainty: the recent riots of August 2011 were political. What can be meant by political in this instance? Well, maybe something as straightforward as taking action in the street, getting beyond the idea of a ‘neutrality of living'.1 It's a form of such neutrality that informs those accusations that have it that the riots were ‘apolitical'. These accusations more or less come from a political state (and those professionally invested in it) that proffers an idea of politics as the maintenance of a ‘neutrality of living', as the embodiment of rational common sense, as the legislative thrust of a protective equilibrium. If, as many of the riots' detractors maintain, these actions that overspilled the boundaries of ‘civil society' were not political then we have further reason to surmise that politics for such as these is a technical managerial affair: the management of libidinal and economic energies into a steady state; the making legible of all action into recognisable ‘civil' forms.

2. The next step, then, was to brand the rioters as criminals and to see in the rioting a mass outbreak of criminal opportunism. Such labelling brings the ‘overspill' into an understandable civil remit and makes exemplary retaliation possible. Anything else is unconscionable for those who sit comfortably upon us. So, to link the ongoing austerity cuts to the riots as some liberal politicians did, is seen as an outrage, as a breach to the morally consensual re-establishment of ‘civil peace'. This civil peace is however, informed by capitalism's ‘naturalisation' within the state as it creeps beyond a simple integration - that could be echoed by a discipline going by the name of ‘political economy' - towards a takeover of the state political realm - that could ring out in such a phrase as ‘corporate governance'. It is maybe possible, then, to consider the increasing role of the state as an indicator of a corporate takeover - ongoing welfare cuts, bank bailouts, effective corporate lobbying etc. - that makes politicians ‘instinct' with capital and dictated to, in the moments immediately preceding the riots, by the fear of ‘sovereign debt'. Thus they are dictated to by a form of corporate para-political power that wields abstract measurements of a state's wealth and economic standing over and above even these states' belief in a mythic ‘democracy'.

3. The moral outrage of the governing political administrators at this disturbance of ‘civil peace' is, then, illustrative of a kind of ‘political theology'. Their god is now capital and those blasphemers against value, property and the entrepreneurial form are sent off to a purgatory of incarceration and classification. In this theocracy it makes perfect sense to jail a youngster for nicking a bottle of water because the greater crime, beyond that of thieving the object itself, is the blatant disregard it shows for surplus value and the exchange value embodied in money. Likewise robbing for the sake of it not only shows up the worthlessness of these commodities - a disrespect for the commodity as much as an indicator of greed - but it is a kind of people's auto-reduction to the ‘naturalised' criminality of ‘markup', ‘profit margins' and welfare ‘bribes'. Of course part of the moral outrage stems from the extent and ubiquity of the looting and this outrage must, by self-preservatory necessity, be blind to the ‘oversignification' of the riots that, in their very chaos, appear as a kind of ‘deforming' mandate that, weirdly enough, complements the politicians presiding over a foreclosure of a by now financialised politics.

4. This ‘oversignifcation' is polysemic noise and it is enigmatic to the turnkeys of capital who, seeing the ‘neutrality' of their governmental and ideological forms retaliated against, are set adrift before what Miguel Abensour might call a ‘political moment': ‘the moment most liable to gain an excessive meaning, to go beyond the meaning proper to it'.^² The meaning deemed ‘proper to it', as usual, is criminality, but the excess of this meaning should take in the relationship between crime and poverty, between abandonment and rage, between hope and despair (all inadmissible in a court of law). That the riots are a political moment does not mean that those who participated in them face the political state as an homogeneity; they are not consciously proletarian though a majority are working class (or even part of the ‘surplus population'); they are not all gang members or linked in varying degrees to a more organised crime set up; they have not all been stopped and searched; not all been in prison etc.^³ The move to deem all who participated as ‘criminals' - as if to suggest all those who carry convictions are the same ‘type' - is just as much about the refusal to see the politics in hope and despair, in abandonment and rage as it is a refusal to see the politics in poverty. Whilst this latter has a long tradition it is a tradition that, on the whole, has, like the political state, not taken in the affective dimension which were it to do, may have led to a less meaning driven capture of the riots; to a ‘thinking emancipation otherwise'; towards a re-forming of ‘political links' as relational.^⁴

5. The outrage of the political class meets the enragement of those subject to austerity, and whilst they are not an homogenous mass, could it be said that, speaking a ‘language of acts' (Pasolini), those out on the streets formed an ‘horizon' for the political state as well as for us politcos; and became a form of ‘unrecognisable demos'.^⁵ No longer an ‘idea as subject' (a definable gender, class or race) these crowds, often called upon to ‘participate', return the loaded inveiglement to speak with a language (as often a blasé beat as a gestural scream) that is untranslatable into the language-norms that would seek to bestill it as ‘criminal', as ‘proletarian', as ‘underclass', as ‘materialistic'. Not fighting for a cause, but fighting against causes, against a dimly perceivable - but all the same felt - overdetermination of their lives by, well, in the immediate past, austerity measures caused by the bank bailout. Not fighting as a ‘body' but fighting for the body, fighting the pressures felt by bodies in the form of abandonment, hunger, desire, aggression, alienation and stoic hopelessness. In Tottenham, that the family and friends of a police murder victim were ignored after requesting to be heard out is an indication of a callousness that comes along with capitalist social relations: the ‘correct channels', the strict form of even a verbal exchange, could not be ‘exceeded'. So these non-relations began to be ‘exceeded' (de-linked) by an at times vicious secession from those very channels; a secession away from the ‘policed' language of politics towards appeasing the demands of instinct for which there is maybe no language except the ‘language of acts'.

Image: Trokikhouse, 'The Savage and Beyond', 1991

6. Yet instinct, such as rage, is not apolitical. The sexual instinct, the appeasement of which is often negotiatory, a form of communication, is political to the degree that this ‘negotiation' of drives and their timing, their relationality, is political. Rage, present in muted form as the aggressive component of the sexual instinct, is a similarly political moment by means of its modulation of transgression and negotiation. So, like the sexual instinct, rage doesn't just come from anywhere (again the criminality tag helps the forces of ‘civil peace' to occlude the affective dimension), but its causes are a manifold layering of experiences through which a person comes to feel affronted, neglected and unwitnessed (not negotiated with). When these forms of emotional deprivation (lack of care) meet a situation of poverty and the pressures of material survival through which living horizons and future possibilities are extremely foreshortened, then, in some circumstances, when it is felt there's nothing to lose and nothing to live for, rage can stalk the social psyche. So rage, it could be said, comes to be expressive of a lack of hope, a lack of hope that cannot be countenanced or communicated because until the circumstances provoking its enragement are met, this rage exists as immanent.

This may well go some way toward getting a handle on some of the acts of ‘concise violence' witnessed in the riots - the burning of inhabited buildings, the hit and run, the assault and subsequent death of a pensioner.^⁶ Even the more embittered revolutionaries would find it hard to condone such ‘savage acts', but it is maybe that writers like Pasolini and Genet, who embrace, neigh love, the ‘savage' and the wilfully abject in its human form, maybe it is such writers as these who seek and accept something else in this rage. Both Genet and Pasolini often get impatient with knowing, as many politicos know, that rage can arise at the sight and feel of exploitation, can come from a conscious felt sense of alienation from the economic and political system, can come from the actions of the police. They sense, too, that both the enraged and the outraged can experience a ‘blackout', a short circuit as impulses takeover. Perhaps this impulsiveness is what comes over when we see footage of folk tearing at the shutters of inconspicuous shops and, as one eye witness described, scrambling in a heap fighting over a spilled tray of looted jewels. And yet, even in these moments Pasolini, for one, would spare the rioters an empathic hearing and spare us too the trap of our ideolectual urge: they ‘appear not only without any logical goal but without even the shadow of an idea: merely expressing with all its strength the general disquiet and restlessness - the anxiety, in fact'.^⁷

7. Impulsive? How far does anxiety inform the impulsive? Even so, what can we possibly expect? For Bernard Stiegler, coupling the ‘structurally short term' effects of fictitious capital to the lust of the drive for appeasement of needs (instant gratification), capitalism has become drive based: ‘novelty is valorised at the expense of durability, and this organisation of detachment (unfaithfulness/infidelity) contributes [...] to the spread of drive-based behaviours'.^⁸ Whilst this could possibly gloss some of the more gratuitous looting in the August streets, it also sets this looting against a backdrop of speculative greed and ‘instant returns' on investments of the glorified criminals in the banking sector. The very cuts whose blade could have been close to a riotous skin are themselves short termist and the deregulation, in a wicked inverse, was extended to the deregulation, the temporary de-forming, of the law of the land. So, was it that high streets became the site of an anxiety informed ‘language of acts'? Did they become the scene for a dissociated revenge of dissociated consumers? Was the libidinal energy so sought after by the window displays returned to them as a ‘quick fuck' minus the time of desire? Was it a political indicator that, for some bordering on many, there is no ‘neutrality of living' when life itself is no longer guaranteed and relationships are full of hard to express anxiety? Was it that the broadcast effacement of such neutrality has to be called ‘greed' in order to ground it in capitalist culture, but, at the same time, remove the desperation of poverty from purview and, furthermore, discredit any claim it may have to inhabit the political?

8. Just as capital is intermittently faithful to those who can pay, so too the semi- detached state is not faithful to all its ‘subjects'. The resultant evacuation of the political by those learning about their own abandonment is more like an enforced withdrawal. They are barricaded out by a wall of ‘political formalism', procedure and financialised jargon that excludes them. Pasolini again:

The communicativeness of the world of applied science [i.e. politics], of industrial eternity, presents itself instead as strictly practical. And therefore monstrous. No word will have a sense that is not functional [...] the autonomous expression of a ‘gratuitous' sentiment will be inconceivable.^⁹

And so, maybe it could be said that many of those who were out on the street in an active anti-form way in August are amongst those who are neither admitted nor desire to be admitted into the political realm but who, speaking a ‘language of acts' respond to the ‘monstrosity' with the enaction of an ‘unrecognisable demos'. Such a demos, as Abensour would maintain in his musings about what the young Marx meant by ‘real democracy', is this fissure through which the political state is ‘reduced' from its position as ‘the moment of the political', the dominant instant of the political that keeps the ‘other realms' of life subordinate and silent; deems them apolitical.^¹⁰ The riots, then, with their ‘language of acts', their amassed expression of social insecurity, posed a challenge to the authority of the political state in its mission to maintain homogeneity and police the uncontainable overspill. They posed a challenge too to those for whom a certain social opacity and indeterminacy are similarly anathema.

Such a temporary loss of civil foundations and the move into the streets of an indeterminate body of people displaying an acute restlessness, an at times ‘kamikaze' flouting of the law and a need to be heard in their painful grievance is reminiscent of Claude Lefort's ‘savage democracy'. That which, in the guise of the rageful ‘raw being' of the sans-culotte of the French Revolution, marked a founding moment of the modern western political state.^¹¹ Moreover, as Abensour informs us, the ‘right to insurrection' was deemed to be a ‘democratic right' back in these days and, he adds, up to the Paris Commune. That this history, and indeed the events of the Arab Spring, are kept at an ineffectual distance from most western political states, is indicative of the reification of ‘democracy' that can admit of no further instituting ‘discrepencies'. The dream of the rational state as the ‘organising form that passes for the whole' now has capital as this organising form and as a result politics, in the form it is now practised (affectless and technocratic), seems more and more to be revealed as the language of a ‘pseudo totality'.^¹² The ‘neutrality of living' becomes asphyxiated in its own forms of empiricised communication and the ‘non-totalisable' human becomes thwarted and ‘renditioned'.

9. As it could be heard from Tahrir Square so it is heard from the London prisons that ‘our voice has been heard ... we are not animals.' That voice may be indiscernible to some, to others, as a ‘criminal' voice, it should not be heard and it should be stripped of its ‘rights'. But it is a voice that, held in reflux by a structurally informed muteness, may well be speaking the ‘language of acts' and seeking to be expressive of affect rather than being ‘educated' to speak that language that Jean Genet complained about in the 1940s: a ‘language of words' that are ‘weighed down with precise ideas'.^¹³ This weight of the determinate, this exchange value of expression whereby affect (a proto-meaning in itself) should be forfeited for precision with the resultant reward of entry into ‘civil society' and its politics, is in itself a bottling up of the ‘overspill' of affect and a surplus humanness that engenders the ‘savage' as a moment of the ‘species-being'. Pasolini and Genet, with their ‘telling inarticulacy', well understood this ‘language of acts' as a somatic and poetic embodiment, a flouting of the dictatorship of the ‘formal universality' of state sanctioned modes of language. Genet writing of his time spent with the Black Panthers in the early '70s says: ‘the force of what was called Panther rhetoric or word-mongering resided not in elegant discourse but in strength of affirmation (or denial), in anger of tone and timbre'.^¹⁴ Such ‘word-mongering', ringfenced as ‘aggressive', and ignored as ‘rageful', may well be, in Abensour's view, an instance of an imprecise ‘savage democracy': a political moment in which we can playfully create one another and in which passion as a relational link is once more given a space in contradistinction to a reified democracy. This latter cannot countenance that its ‘subjects' are filled with the discrepencies, contradictions and discords of an uncontainable species-life that, in its ‘telling inarticulacy', seemed, in August, to bring into view an experience of the wobbling of those very institutional foundations that are charged with maintaining ‘civic peace'.

10. Despite their ‘criminal' tag, those taking part in the riots formed an opaque body that academic research will now be charged with making transparent. Is this opaqueness, infuriating to the political state, not the very auto-conflictual opaqueness of species life? How often can we be said to be transparent to ourselves? Moreover, is it not an opaqueness through which the enigma of the self and the enigma of the social can no longer be solved accept as a ‘language of acts' that entails the abandonment of forms of ‘ideality' that have blinded us to the (albeit risky) ‘instituting' power of species-being? As Abensour adds in his musing on ‘savage democracy': ‘Every social manifestation is in the same movement a threat of dissolution, an exposure to division and to the loss of self, as if every manifestation were inhabited [...] by the threat of its own dissolution'.^¹⁵ The riots may well have brought into purview this threat of dissolution of the political state and its ‘precise words', they exposed us to division but in so doing they exposed us to divided selves, to a ‘self-discrepency' between, say, condoning the most savage acts whilst feeling an optimistic excitement at the breach they formed in the ‘neutrality of living'. The riots could be said to highlight such schizo states; states in which the contradictions of living become ‘felt contradications' that not so much bypass thought as bring it into relation with instinct. So, maybe the affective experience of the ‘savage' that the riots permitted could get us beyond a reified democracy whose rationalist ‘pseudo totality' demonises our ‘savage' selves and thus, in line with the myth of productive progress, removes a key facet of our indeterminate species-life and makes us, by means of such devices as guilt, ready to be produced as the financialised subjects required of the political state.^¹⁶

11. This notion of the ‘production of the subject' may well figure the riots as a form of ‘human strike'. Not only in the suspension of the ‘human' in favour of the ‘savage', but as a retaliatory strike against the very apparatus of the production of the subject through such institutional dispositifs as the education system. For Pasolini, who consistently and painfully spoke of the genocide of the working class, the political state had become ‘the new production (production of human beings)'.^¹⁷ Maybe this could take on an added resonance in that the increasingly noted failure of capital to reproduce the working class leads to a necessity for the subject to be produced elsewhere than the site of wage labour. This hiatus, this dissolution of the working subject and the incursion of state-led control into the ‘bodies' of its subjects, marks a further opaque void for the political state as well as the traditional left. The regulatory mechanism of wage labour is absent for many, perhaps more so for those who were out on the streets in August. Just as the looting, then, flouts the law of the wage relation, so too does the latter's absence remove a main social identifying pole. That for some this is to be welcomed (ne travaillez jamais), for others it may be an instance of the ‘loss of the self' when the ‘self', under the value-form of capital, is encouraged to identify with the various roles that wage labour allots. The ‘meaning of life' is bound up with work but its absence throws us back on a kind of ‘savage' survival and an equally savage interrogation of what it is to be human (a social individual) without the capital-imposed definition of life as a life of wage labour.^¹⁸

As Abensour is quick to point out the ‘savage', as Lefort uses it, is not the return to a state of nature, but a baseline in the forecoming of ‘species existence, the advent of human existence', a socialised nature that must admit of ‘other realms', those other disavowed areas of species activity that should not be compressed out of existent expression by the political pseudo-totality of a reified and financialised democracy.^¹⁹ The inadmission of the ‘savage' to the demos is of course one sided. The savagery of financial capitalism is, perhaps due to its level of abstraction and its ultra-sublimated mechanisms, admitted poll position (the mechanisms of both are a snug fit). But the ‘beyond' of such savagery is, as Pasolini mourns, nothing less than a genocide, nothing less than the sacrifice of ‘raw being'. An element of this ‘raw being' was sacrificed to the law courts in the weeks after the riots. It had no ‘idea' to defend itself with, only ‘gratuitous sentiment' and the ‘language of acts' that disqualified it from the polis and made its ‘unrecognisable demos' truly opaque. Its sudden speed of arousal left us aghast and, at times, thankfully speechless. Theory, always playing second fiddle to praxis and affect, comes in to temporarily save us: ‘The "ceremony" of the political should be converted to the species-life of the real and total being of the demos [...] that in its people-being belongs at once to the political principle and the sensualist principle'.^²⁰ There is, then, some urgency in at least revealing the pseudo-totality of politics to its affectless practitioners (who, as Pasolini maintains in his intervention at the Radical Party Congress of 1975, ‘live their rhetoric with a total absence of any self-criticism').^²¹ Such a pseudo-totality, the happy enterprise of unreflexive selves in an unquestioning relation to the ‘all' of their knowledge, creates a politics without the sensual and savage component of species life.^²² It is a stunted totality passing for an ad hominen practice: the remainder that could well overspill the totality with its ‘savage democracy' goes by unnoticed and so too does the ‘can-be of the self-contradicting'.^²³ Pasolini and Genet had already begun to speak of such an impossible being as a becoming. Beyond the love offered by them to the ‘people-being', their love of the remainder and the remaindered made them hopeful that a ‘politics of anxiety', a politics premised upon an acceptance of both the savagery of species-life and the radical surprise of indeterminancy, would go some step towards blasting up this lifeless ceremony that passes as politics.

Howard Slater <howard.slater AT googlemail.com> is a volunteer play therapist and sometime writer. His book,

Anomie/Bonhomie and Other Writings, will be published by Mute Books in January 2012

Discography:

Tronikhouse: ‘The Savage and Beyond', Incognito Records (1991)
http://www.youtube.com/watch?v=xkCKjEUhiAM&feature=related

The Pop Group: ‘Thief of Fire', Radar Records (1979)
http://www.youtube.com/watch?v=p6Vvlk7UbEo

Newham Generals: ‘Things That I Do', Dirtee Stank Recordings (2009)
http://www.youtube.com/watch?v=6AUkh-UNhFU

Footnotes
1 Miguel Abensour, Democracy Against The State, Cambridge: Polity, 2011, p.34. Much of what follows is informed by this book in which Abensour conducts an exploratory reading of Marx's Critique of Hegel's Philosophy of Right.
2 Ibid, p.57.
3 For a take on Marx's concept of ‘surplus population' see ‘Misery and Debt - On the Logic and History of Surplus Populations and Surplus Capital', Endnotes II, April 2010.
4 For ‘thinking emancipation otherwise' see: Abensour, op.cit., p.vii.
5 This ‘language of acts' is maybe far distant from a rhetorical and more acceptable ‘speech act', it is an embodiment, perhaps in this instance, of a spontaneity (itself conditioned by affective layering?) that subtracts from a ‘higher' yet blunted rhetorical explanatory plane and becomes expressive of a suffering (phôné) that is too ‘savage' for the demos and hence ‘unrecognisable'.
6 The phrase ‘concise violence' is Genet's, see: Jean Genet, Our Lady of the Flowers, London: Panther, 1965, p.248.
7 Pier Paolo Pasolini, Petrolio, London: Secker & Warburg, 1997, p.436.
8 Bernard Stiegler, Towards a New Critique of Political Economy, Cambridge: Polity, 2010, p.83.
9 Pier Paolo Pasolini, Heretical Empiricism, Washington: New Academia Publishing, 2005, p.34.
10 Abensour, op.cit., p.92.
11 Ibid, p.102-124.
12 Ibid, p.60. John Holloway puts it: ‘The state, by its very existence, says in effect, "I am the force of social cohesion, I am the centre of social determination."' See John Holloway, Crack Capitalism, Pluto Press, 2010, p.133.
13 Jean Genet, op.cit., p.72.
14 Jean Genet, Prisoner of Love, New York Review Books, 2003, p.56.
15 Abensour, op.cit., p.104.
16 Such musings could be read as ‘primitivist' if we were to believe that our ‘indeterminant species life' is not stock-full of social determinations and conditioning that it is risky to express. The risk emanates from at least two sides: the academic left's wariness of the ‘irrational' and the political state's fear of the unraveling of our capitalist conditioning.
17 Pier Paolo Pasolini, Lutheran Letters, London: Carcanet, 1981, p.109.
18 Becoming a ‘social individual' is itself traumatic (savaging our self) when subjects are produced/taught to identify as individuals and have proprietorial conditions of worth. See for instance Lacan's formula: ‘I is a fortress' cited by Catherine Clément, Syncope: A Philosophy of Rapture, Minneapolis: University of Minnesota Press, 1994, p.122.
19 Abensour, op.cit., p.73.
20 Ibid, p.71.
21 Pasolini, op.cit., p.121.
22 In some senses the Consciousness Raising Groups of the ‘70s Women's Liberation Movement were forums for just such a critique of the pseudo-totality and for an interrogation of the place of (a remaindered) gender within capitalism.
23 Ernst Bloch, The Principle of Hope Vol.1, MIT Press, 1995, p.225.

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UNCONSCIOUS ARCHIVES #3

2011-11-14T12:56:00.001Z

Rare flickering audiovisual treats from afar and corporeal noise shifters

UNCONSCIOUS ARCHIVES #3

DIRK DE BRUYN (AU),

" "[sic]™ TIM GOLDIE (UK),

MANDELBROT (UK),

RICHARD TUOHY (AU)

TOMORROW - Tuesday 15th November
Apiary Studios, 458 Hackney Road, London, E2 9EG
8pm-10.30pm, £4 donation, b.y.o

Unconscious Archives transverses noise core and vision spectacle bringing together expanded cinema and sonic propositions from London and afar.

Dirk de Bruyn | Australia

Retina reflux - expanded cinema + concrete noise performances.

Richard Tuohy | Australia | Nano Lab

Films which explode the chemical, physical and metabolic processes that define the film laboratory.

Mandelbrot | London

"10 fingers, 6 strings and a plethora of pedals creating a massive pulsing noise that resonates between harmony and discord."

" "[sic]™ Tim Goldie | London | Abject Bloc

Drummer and scathing noise artist, unafraid of fairly perilous behaviour.

See you there!
Unconscious Archives - Sally & James

UA is a collaboration between OtherFilm, no.w.here, and Netaudio London. Supported by the Apiary.

Images: Dirk de Bruyn / Richard Tuohy

▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁

UNCONSCIOUS ARCHIVES #3

From OtherFilm + no.w.here
UNCONSCIOUS ARCHIVES #3TUES 15TH NOV
Apiary Studios
458 Hackney Road, London, E2 9EG
8-10:30pm / £4 donation – b.y.o

|||| DIRK DE BRUYN (AU) |||| ” ”[sic]™ TIM GOLDIE (UK) ||||

|||| MANDELBROT (UK) |||| RICHARD TUOHY (AU) ||||

IMAGE: DIRK DE BRUYN, LIGHT PLAY

Unconscious Archives is a bimonthly series which seeks to deepen the context between sound and dark, silence and light. Transversing noise core and vision spectacle, each UA brings together expanded cinema and sonic propositions from London and afar.
This UA features two important Australian experimental film artists sent to deconstruct your retina and leave you with after image burn out. A very special live film performance by Dirk de Bruyn and rare screenings from Richard Tuohy. Featuring sound exertion and diabolical pulse from Londoners Tim Goldie and Mandlebrot.
UA is a collaboration between OtherFilm, no.w.here, and Netaudio London. Supported by the Apiary.
Hope to see you there!
cheers,
Sally Golding & James Holcombe
OtherFilm www.otherfilm.org | no.w.here http://www.no-w-here.org.uk |
Netaudio London www.netaudiolondon.org | Apiary Studios apiarystudios.org
▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁◢▁
DIRK DE BRUYN | AUSTRALIA
Retina reflux from Dirk de Bruyn’s extensive film catalogue from the last 30 odd years. De Bruyn selects 16mm hand stamped, bitten, scratched and scathed films for reformat and regeneration in his multi projector, shadowy torchlight expanded cinema + concrete noise performances.
“My hand-drawn direct work remains my regurgitated creative life-blood, continually re-inscribed with the follies and hesitations of my everyday life. It speaks to me of things I have never said. It survives viscerally outside the outside. It impacts my body before thought floods in.”
http://www.innersense.com.au/mif/debruyn.html
RICHARD TUOHY | AUSTRALIA | Nano Lab
Artist filmmakers Richard Tuohy and Diane Barrie run Nanolab, a simply incredible super 8 hand processing and telecine lab in Victoria, Australia. Richard presents some rarely seen films which explode the chemical, physical and metabolic processes that define the film laboratory.
ETIENNE’S HAND
16mm; B/W; 13 minutes; Sound; 2011
A movement study of a restless hand. Made from one five second shot. Sound constructed from an old French folk tune played on a hand cranked music box.
SCREEN TONE
3 x 16mm projectors; B/W; 10 minutes; Sound; 2011
Half-tone dot ‘screens’ intended for use as shadings and tones in Manga comic illustrations have here been ‘photogrammed’ directly onto raw 16mm film stock. A flicker collage of these dots has then been created using a 16mm film printer. The sounds heard are those that the dots themselves produce as they pass the optical sound head of the 16mm projector. This is a camera-less and sound-recorder-less film!
www.nanolab.com/au
http://artistfilmworkshop.org/2011/02/images-from-the-sound-on-film-workshop
!!WORKSHOP OPPORTUNITY!!
A rare opportunity to gain insight into chemical film techniques from a real lab master. Richard gives a ‘Reversal Handwork’ workshop at no.w.here on Saturday 12th November (see http://www.no-w-here.org.uk for more information).
MANDELBROT | LONDON
“10 fingers, 6 strings and a plethora of pedals creating a massive pulsing noise that resonates between harmony and discord. Combining influences from David Pajo’s seminal ‘M’ project, to the density of Sunn O))’s bowel shaking sound, yet processed and shaped into the syntax and language of something altogether more electronic sounding.”
http://mandelbrotset.co.uk/
http://www.myspace.com/mandelbrotisasound
” “[sic]™ TIM GOLDIE | LONDON | Abject Bloc
Drummer and scathing noise artist, unafraid of fairly perilous behaviour. A kind of mutant cross-pollination of noise, live art, dada and UK improvisation. Shell shocked screechings and ravings, or possibly sneaky quiet dream revelations. Runs the equally disembraining Abject Bloc multi sensory events out of Limehouse Town Hall.
www.myspace.com/sarcomasign
http://timgoldie.blogspot.com/

IMAGE: ” “[sic]™ TIM GOLDIE

2011-11-11T14:29:00.001Z

2011-11-08T23:59:00.002Z

about/events/lab/workshops/ projects/learning/residencies/ studios/downloads/publications/ artists/links/index/Frame/	no.w.here

Unconscious Archives #3

Presented by OtherFilm and no.w.here

Richard Tuohy

Tuesday 15th November. 8-10:30pm

Please bring your own alcohol.

Unconscious Archives is a bimonthly series which seeks to deepen the context between sound and dark, silence and light. Traversing noise core and vision spectacle, each UA brings together expanded cinema and sonic propositions from London and afar.

This UA features a very special live film performance by Dirk de Bruyn, screenings from Richard Tuohy, and sound performances from Londoners Tim Goldie and Mandlebrot.

1. DIRK DE BRUYN | AUSTRALIA
Retina reflux from Dirk de Bruyn’s extensive film catalogue from the last 30 odd years. De Bruyn selects 16mm hand stamped, bitten, scratched and scathed films for reformat and regeneration in his multi projector, shadowy torchlight expanded cinema + concrete noise performances.

"My hand-drawn direct work remains my regurgitated creative life-blood, continually re-inscribed with the follies and hesitations of my everyday life. It speaks to me of things I have never said. It survives viscerally outside the outside. It impacts my body before thought floods in."

http://www.innersense.com.au/mif/debruyn.html

2. RICHARD TUOHY | AUSTRALIA | Nanolab
Artist filmmakers Richard Tuohy and Diane Barrie run Nanolab, a simply incredible super 8 hand processing and telecine lab in Victoria, Australia. Richard presents some rarely seen films which explode the chemical, physical and metabolic processes that define the film laboratory.

ETIENNE’S HAND
16mm; B/W; 13 minutes; Sound; 2011
A movement study of a restless hand. Made from one five second shot. Sound constructed from an old French folk tune played on a hand cranked music box.

SCREEN TONE
3 x 16mm projectors; B/W; 10 minutes; Sound; 2011
Half-tone dot ‘screens’ intended for use as shadings and tones in Manga comic illustrations have here been ‘photogrammed’ directly onto raw 16mm film stock. A flicker collage of these dots has then been created using a 16mm film printer. The sounds heard are those that the dots themselves produce as they pass the optical sound head of the 16mm projector. This is a camera-less and sound-recorder-less film!

For more information please see:

www.nanolab.com/au
http://artistfilmworkshop.org/2011/02/images-from-the-sound-on-film-workshop
http://vimeo.com/21512772

WORKSHOP OPPORTUNITY: A rare opportunity to gain insight into chemical film techniques. Richard gives a ‘Reversal Handwork’ workshop at no.w.here on Saturday 12th November (see http://www.no-w-here.org.uk for more information).

3. MANDELBROT | LONDON
"10 fingers, 6 strings and a plethora of pedals creating a massive pulsing noise that resonates between harmony and discord. Combining influences from David Pajo's seminal 'M' project, to the density of Sunn O))'s bowel shaking sound, yet processed and shaped into the syntax and language of something altogether more electronic sounding."

http://mandelbrotset.co.uk/
http://www.myspace.com/mandelbrotisasound

4. " "[sic]™ TIM GOLDIE | LONDON | Abject Bloc Evaginator
Drummer and scathing noise artist, unafraid of fairly perilous behaviour. A kind of mutant cross-pollination of noise, live art, dada and UK improvisation. Shell shocked screechings and ravings, or possibly sneaky quiet dream revelations. Runs the equally disembraining Abject Bloc multi-sensory events out of Limehouse Town Hall.

www.myspace.com/sarcomasign
http://timgoldie.blogspot.com/

OtherFilm: www.otherfilm.org
no.w.here: http://www.no-w-here.org.uk
Netaudio London: www.netaudiolondon.org
Apiary Studios: apiarystudios.org

• Current events
• Past events
• Light Reading
• Reverberations
• measures

• Studios

•	No Related Documents

BOTSCHAFT

2011-11-04T16:16:00.000Z

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2011-11-02T22:49:00.001Z

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2011-11-01T18:08:00.003Z

BATHETIC REFLUXUR 2002

2011-10-25T17:29:00.001+01:00

2011-10-25T15:20:00.004+01:00

2011-10-24T16:47:00.001+01:00

ICA Artists' Film Club: Mark Aerial Waller

Wednesday 26 October 6.30pm

includes performance : YOGA HORROR
A confluence of instructional video, classic british horror, Dead of Night and a hybrid of the two.

Script page 14, Dead of Night (1946)

ICA Artists' Film Club: Mark Aerial Waller

Wednesday 26 October 6.30pm

A screening of work by London-based artist Mark Aerial Waller followed by a conversation between Waller and Francis McKee, director of the Centre of Contemporary Art, Glasgow

Mark Aerial Waller is an artist working in video, sculpture and event based practices which explore arcane gateways between reality and fiction. Waller defies conventional screening formats, integrating sculptural objects and live performances for an experience of cinema defined in spatial and situational terms. He is also the founder of The Wayward Canon, a platform for event-based interventions in cinematic practices.

JAGUAR EYES

2011-10-24T00:14:00.001+01:00

2011-10-23T19:20:00.002+01:00

2011-10-23T19:14:00.000+01:00

2011-10-23T19:11:00.003+01:00

VomiTimoV

2011-10-23T19:07:00.000+01:00

RESISTANCE DOMINATION SECRET

2011-10-23T19:02:00.001+01:00


	MARK AERIAL WALLER

2011-10-23T18:58:00.001+01:00

Underwater Fireworks-Display Storm

Infinite and expanding emptied blankness ends up within enclosure. Telescopically elongating straight clearance made, kept and left staying behind. Corridor tunnel becomes indoor highway, underneath endless tubular conservatory arcade. Wraparound picture-window surrounds everywhere down below, continuing onwards ahead, beyond ever after.

1 torrential air-raid a...nd wept teardrop flash-flood cascade grand-rapids later, then entire vast cavity drowns, until deluged full. Amœbæ membership populates Noah’s Ark menagerie. Blossoming flesh clouds inhabit nebulous rock-pool and coral-reef garden and rainforest jungle.

Overhead and sideways vista and scenery served-up and on-offer? None other than continent-sized magic-lantern peep-show and sealed-off out-of-bounds drive-in movie. Formulæ solution preserves inmates, as they swim, drift and flow about this unfathomably deep tropical aquarium playground.

Alive and willful animation and puppetry; veined marbling oil-slick lava-lamp; molten, liquid, organic and floral jewellery, stained-glass, millefiori and paisley pattern of Rorschach-blot butterfly-farm; free-range flown kites, which eclipse, dismantle, reshuffle, breed, grow, mutate and evolve.

Settlement nests built, traveling, relocatable.

These antics and such movement, alongside the otherwise passive gaze from congregation spectator audience and passerby turnover, both follow and influence each other, also combining together as well. Sheer force from these developments join with the crystal steel membrane wall being worn away by held content’s pressure and weight.

Team-venture effort and input pays off.

What happens next is self-enacting, same as all that’s just been covered so far.

©, Copyright, Douglas Park

2011-10-14T22:09:00.001+01:00

http://www.luckypdf.com/

2011-10-12T21:17:00.001+01:00

Plus: Oliver Fay & Kyran Lynn

with endan

2011-10-10T19:13:00.001+01:00

Einheitswissenschaft auf physischer Basis

05/10/2009 by James.

It is left open, of course, what entities properties are, and whether they are in space and time themselves or that vIC4 for bb, and the field equations p = m v2 on the far right and p = m v2 on the far left, to obtain but or if someone understands some forms by this, it is certain that they are not in any way different from the substances they are in Theologica Christiana as quoted in Tweedale 1976, 191. The fundamental fact is that there is a kind of intuiting whichin contrast to psychological experiencingremains within pure reflection: pure reflection excludes everything that is given in the natural attitude and excludes therefore all of and the Cartesian subject cannot be destroyed because it is a historical product and a revelation of Being however in it, infinitely many elastic bodies of equal mass are arrayed in the interval , and all at rest. The total Hamiltonian is then given as H= Hpart Hint where Hpart = or N n = n n Hint= or N n = ia n n ia n n The two ranges of summations in and are for the case of infinitely many particles and for N particles or that so this kind of philosophy seems to be a fortiori charged to give a good deal of pedagogical help for its own sake but in other words, the norm in question has its substance in a practice. Hammesfahrs comment and signals her anticipation of pain italics in original and physical explanations thus explain too much, in the sense that nothing is left to be explained by conscious intentions however brouwers controversial intuitionistic analysis, which conflicts with LEM, can be formalized and shown consistent relative to a classically and intuitionistically correct subtheory 2 or that the term idea did originally indicate how a thing looks, what is seen of it, as did the term eidos. We need to look at theory and it is a problem of intention and as for the pragmatics of stabilization, justification within post-modernism, these old forms are ok, they have in the face of the destabilization chose to ignore what was empirically exposed, which I think in effect has been to ignore art as an intentional activity and not neither but not in some middle ground, there has to be a radical use of language here which avoids certain placements, maybe all placements. A more precise definition of structure will be given later but the critique of pure reason should answer our question why metaphysics is possible as a science and since transcendental knowledge is ontological knowledge however smith and the Address to Algerian Workers and most importantly or that it is a history of constant attempts to maintain objectivism and to develop it in a new form and, on the other side, of attempts by transcendentalism to overcome the difficulties entailed by the idea of transcendental subjectivity and the method it requires. Church defined rules of lambda conversion for expanding and contracting the expressions but it is perfectly obvious to everyone that the bodies of human beings are very much alike in their construction, and it requires no sophisticated reasoning to infer that if others are made like me, they probably hurt when affected like me, eg, when their bodies are stuck with pins, beaten, cut and so on and since the antecedent is never doubted we can risk the more ambitious claim that object dependent properties do not supervene on physical properties. SCATTERING 437 derivatives can be converted into minus derivatives when acting directly on the d; this is basically integration by parts however we can solve this new game if we make certain assumptions about the two players utility functions or that for instance, in the case of scientific reasoning their study involves questions of observational and experimental methodology but order parameters are defined by their embodiment, and are unique to each case. As to the first and only means to arrive at such cognitions, namely, through mere conceptions or intuitions a priori, it is quite clear that from mere conceptions no synthetical cognitions, but only analytical ones, can be obtained and interesting because it identifies a conflict at the heart of the liberal political brain: its tendency towards political legalism and its inability to give that law a firm ontological foundation in an actual legitimating subject. No regime can be identical to that condition of possibility, and no regime has the property of constants however the name of entetechies might be given to all simple substances or created monads, for they have within themselves a certain perfection echousi to enteles; there is a certain sufficiency autarkeia which makes them the sources of their internal activities, and so to speak, incorporeal automata 12. PANU RAATIKAINENdecimal notation; ie that for a very large m although a little smaller thann above the first m after the initial 04 digits of are nines or that although postmodernism arguably arose as an architectural movement see Portoghesi 1983, Jencks 1987 the most explicit philosophical postmodernist is Lyotard but nor was it only the relativity and light principles that served Einstein as constraints in his theorizing. In parallel with theorizing in science, it may be more reasonable to hold a risky, but contentful, qualia realism than an impregnable, but empty, materialism and although the catch,all hypothesis may lacks objective likelihoods, the influence of the catch,all term in Bayess theorem diminishes as additional positive hypotheses are articulated however this theorem says essentially that the modal logic GL captures everything that Peano Arithmetic can say in modal terms about its own provability predicate. Ordinal analysis does not operate with infinite ordinal numbers, but rather with ordinal notation systems which themselves can be formalized in very weak essentially, finitary systems or that the process of linking signs and referents through the standfor relation is called semiosis but or, we can give up whatever aspects of the syntactic analysis appear to exhibit variability, and re,analyze the empirical phenomena in a part of the language architecture that we think could admit social volitional influences without endan

2011-10-10T18:51:00.001+01:00

https://www.facebook.com/media/set/?set=a.10150352417374224.399943.609829223&l=83cb5784f9&type=1

2011-10-10T13:55:00.000+01:00

2011-08-23T13:04:00.000+01:00

2011-08-09T23:24:00.000+01:00

2011-08-08T16:43:00.002+01:00

SLAKES - DANIEL BEBAN & " "[sic]™ TIM GOLDIE @ ABJECT BLOC 2011

2011-08-08T16:30:00.002+01:00

2011-08-08T00:23:00.000+01:00

2011-08-08T00:21:00.000+01:00

2011-08-04T12:44:00.000+01:00

2011-08-03T23:35:00.003+01:00

...but in hindsight not entirely unpredictable. The last time I saw Tim Goldie was in a part of East London that has recently taken on a dark significance for me. He screamed as he rode past, drooling over his handle bars and leaving a thin trail of spittle behind him. One with a less discerning nose might think it the trail of a slug. But no slug left this glistening thread. Indeed, I had previously thought these guttural outpourings merely the expressions of a stage persona. Apparently not; breakfast time and performance time are all the same to Mr. Goldie.The irony for me was that I should see him there, of all places. One more manifestation of a
malignant presence has taken root along that popular stretch of canal. Similar in nature to the one that lives aboard the nuclear submarine The Astute it is as discernible to me as the barges clogging up the waterway and the holes being dug all over the place in preparation for those damned Olympics. Perhaps this is the cause of it? Pedestrians, cyclists, joggers, dog walkers, tourists, travellers all being squeezed along the same tiny route. Confrontation is inevitable and the residue sticks to the walls like fat.
The first inkling I had that something was taking hold was a drowned cat floating a few
inches below the surface of the water under the bridge. Hanging in suspended animation, in the aspic of the green water it had more poetry and meaning than any demented sheep or basket ball in a major gallery. I thought of who would be missing their friend. How did it fall in? Was it pushed or did it slip? Trying to catch a squirrel or saying hello to the wrong person? Or maybe it was taken there to die. It wasn't telling. All it could convey was the ferocity it must have fought for life in the murky water, its last desperate thrashings reflected in its stillness now. And its failure displayed for all to see.
It wasn't there the next day. I wandered if it had a funeral or if it just ended up in a bin.
And that's when those dogs arrived. Harbingers of the malice that has roosted here. Obviously belonging to one of the flotilla of barges lately to have turned up. Odd for such a supposedly counter-culture to be jostling each other to join in the gentrification of this spot, but I digress.
Like two denizens of hell they wait for me. On my daily walk, once so enjoyable and
careless. Eagerly I suspect, knowing my habits as they seem to. I've never been an immaterialist but I can't help thinking my fear is like petrol to their barbecue. There are two of them. A tall stripy one and a thick set black one. They work as a team. The lanky one comes in first, nudging you, pawing you, pushing you, trying to get a reaction. And when it gets one that's when the other arrives. Full tilt, backing up its chum, snarling and biting. I run, of course, terrified. I try to fight them off but I'm no match for either one of them. I try to get out of their territory, as it is now. But not before they've had their fill of me. Eventually they get bored and I scuttle out of there, all dignity gone, breathless and ravaged. Perhaps they don't want to finish me altogether so they can have their fun again the next day. Slave to my routine that I am. Why can't I break free? Its the first thing I think of when I wake up and the last thing on my mind at night. Not the thrill of finding some bread on the floor but my daily barrel run at the hands of those beasts.
Where's the owner you might ask? Generally nowhere to be seen. He was there once though.
My owner hauled me over to where he was propped up, smoking a roll-up. He wasn't having any of it. Not his dog. Too smug in his own self satisfaction at “opting out”. My owner spluttered back a bit, bless him, as unable to negotiate a confrontation as ever, until eventually told to fuck off and take your little rat with you (he meant me!).
The cat was back. In exactly the same spot but now bald across its back. Shawn of all its
poignant beauty, it was now a cruel mockery of life. The evil in this spot unable to let a poetic
gesture stand, no matter what the price payed. Like a giant fruit bat hanging under the bridge,
gloating at its own great joke. Well I'm not laughing. And I spit on you, abysmal thing. Now I know what Goldie was screaming at. Why he dribbled everywhere. He could see the darkness too. And he spat back. Daily he stands in the face of the demonic harpies that swirl about our heads and gives you this: his own tool for their destruction. If only my paws could work an i-pod I'd play it before my next walk. I'll meet my tormentors. They may be the phenomenon of a malignant growth but I am a NOUMENALANIMAL! Hear me roar!

Ada appears courtesy of her owner Nick Phillips.

Nick Phillips

2011-08-03T20:47:00.002+01:00

Also,

according to one version of the myth the sight of the drunken demiurge coalesced around one
such particle,

............................>>................[a germinal pearl,],,,,,,,,,,,,,irritant spark of spit
a struck synaptic

leap

           of flint...>>>>>

       ))000>>>>>>>>>>>>>>>>>>///////:;

                                                                                  igniting the brittle
kindled wind                                  ///////////// ...............<         <               <                                                         ))*

                               ((((((

he
the hearth-tender /
transgressor                                                               '''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''{                }

                                                                                             like him,      titan

branches bend
skyladen     bones
over     dawn's early chrome     flow and emissions

                                         {{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{{tarnished steel muscle

creaking under
the wide and listing
freight
of pity

[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[      (high absence      laminate

[                      the airless............................................]               compressed

idol   ////             image

---------

                                                                                                                          Cameron Bain

2011-08-03T20:41:00.001+01:00

There is shade, because of shadows: Dying with the Dadas.

are we determined? not exactly, it doesn't help to know exactly. what have you? what does this art consist of? lucky, free, original. he may think he's improvising, but is he? does he control every bit of it? it's a question are you going to perform by chance? are you going to be rational about it? are you determined? can you help yourself? what are you emphasizing? hankering after a relation? - between 'sincerity' and 'objectification', thinking with gestures: as they exist. messing up uses. diverse things, its the detail that should interest you. the way one grows, takes it in. its curve. more than one thing: hating each other. dutifully answers. because it is an example. miming-out a ventriloquism: "Carried in our mouths/the warm sperm rises/and prolongs us - as we are/everyway locked/inside the warm halls of flesh/which is our kind ... - if you were my own time's possession/I'd tell you to fuck off/with such vivid penetration/you'd never stop gasping/and pleasure unflawed/would light our lives, pleasure/unrung" but I didn't mean that. in the bright light all on, "please only agree with me ... and all that happens in the street" Hard, sharp, fragments of theme, joined serially rather than integrated organically. as much concupiscence as a lappet wig, naked as cities

      seldom
           do. scattering peculiar defects and botches, sheer recess of darkest incompatibility: the ubiquity of shrill sea signal whistling, the malignant torture of the parade snare, the halcyon break of displeasure and in wretched silence you so directed, Noumenal Animal has no working distance, musical objects at hand are commonplace to the human market, no sense of fair emblem to be misunderstood as a comfortable light in the sick hearts of superior men.
let us procede over the dust of drouth with no naked verbal quibbling, another exorbitant madrigal for credit card and percussion, is it then a simple question of economy? the practice of the abject is austere, it never explicitly steps outside what is immanent to the disenfranchised, excluded, vanquished. Noumenal Animal's aporetic accounting of self is more partisan than any sanguine speculative demonstrations beyond appearances, binding experience to the intelligible world indead already ideal, already the intentional correlate of the conscious virtues held by all of us watching who lost sight of our dependence, our direct bearing upon unrelieved, unconditional disconnection. parade this non-identity flourished in Noumenal Animal's life indifferently is its ultimate end. one wide grave exists as the core, non-illusory eventuality embraced with all the happiness of the condemned, in proportion to the goodly experience of conclusive despair envisioned oncecancelling all claims to completeness, thought through the reflectively enacted exhaustion of a performance stated total bodily practice, a transfigured body then? fungable, subsumable?
dismissed without rescue adrift, we might put it in Noumenal Sarcoshyce: are you inclined? I AM INCLINED. NO N0 split up with a mockery we reach the credits, the abstract side of any artwork. "Bark to excited flood/in facile keytone derivatives will instigate regraded/bond preening: wound up and down" manifesting lethal positive rubbish (refuse collection)
over and over beyond the defect sheltered potency, interplay of postponements, our condition, however deviantly rationed, in that we locate no reassurance

                                                                                                                         john wollaston

[1] Love Songs (5-6) Edward Dorn
[2] Red d Gypsum (19.4-6) J.H.Prynne

2011-07-31T23:00:00.002+01:00

2011-07-26T20:03:00.002+01:00

2011-07-26T19:46:00.000+01:00

2011-07-26T19:42:00.000+01:00

2011-07-17T17:18:00.009+01:00

http://timgoldie.blogspot.com

http://www.mattin.org/recordings.html

http://soundcloud.com/deflag/sets

http://soundcloud.com/tim-goldie/sets

http://soundcloud.com/abjector/sets/deflag-haemorrhage-haien

http://www.noxudolusa.com

http://www.flickr.com/photos/refluxur

http://www.flickr.com/photos/timgoldie

http://www.flickr.com/photos/seethetherapistseethe

http://www.flickr.com/photos/abject_bloc_evaginator

http://www.flickr.com/photos/groupuscule_skewer

http://www.flickr.com/photos/acutts

http://www.flickr.com/photos/stereotaxic_slakes

http://www.flickr.com/photos/deflaghaemorrhagehaienkontra

http://www.flickr.com/photos/biopsist_tsispoib

http://www.flickr.com/photos/vomitimov/

http://www.myspace.com/sarcomasign

http://www.myspace.com/sarcomasign_bloc

http://www.mattin.org/DHHK.html

http://www.bpma.org.uk

http://www.tochnit-aleph.com

http://difficultfun.org/items/g&a2.html

http://hibarimusic.com

http://matchlessrecordings.com/seventh-may

http://www.arika.org.uk/instal/2010/event-film-tim-goldie.php

http://www.mattin.org/recordings/pastevents.html

https://www.facebook.com/media/set/?set=a.10150105921039224.308067.609829223&type=1&l=7af1891c81

https://www.facebook.com/media/set/?set=a.10150319082489224.389530.609829223&type=1&l=5470df4084

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https://www.facebook.com/media/set/?set=a.10150263087739224.372415.609829223&type=1&l=1d8ec67695

https://www.facebook.com/media/set/?set=a.10150103859924224.306999.609829223&type=1&l=94ec72abe9

https://www.facebook.com/media/set/?set=a.10150114891039224.314748.609829223&type=1&l=70346bd323

https://www.facebook.com/media/set/?set=a.10150112285914224.312294.609829223&type=1&l=774571990b

https://www.facebook.com/media/set/?set=a.10150172005584224.342515.609829223&type=1&l=8d219bdcda

https://www.facebook.com/media/set/?set=a.10150203479474224.345127.609829223&type=1&l=e6e01041e8

https://www.facebook.com/media/set/?set=a.10150171994029224.342511.609829223&type=1&l=ad88fd859f

https://www.facebook.com/media/set/?set=a.10150171458204224.342337.609829223&type=1&l=afba99f950

https://www.facebook.com/media/set/?set=a.10150114078654224.314000.609829223&type=1&l=e30fb7564c

https://www.facebook.com/media/set/?set=a.10150117080289224.316179.609829223&type=1&l=9f86704115

https://www.facebook.com/media/set/?set=a.10150160502114224.338586.609829223&type=1&l=8c9349c809

https://www.facebook.com/media/set/?set=a.10150119427174224.318030.609829223&type=1&l=cbf9ff2cf7

https://www.facebook.com/media/set/?set=a.10150114931189224.314793.609829223&type=1&l=c68198b84f

https://www.facebook.com/media/set/?set=a.10150091725719224.301172.609829223&type=1&l=199009257c

https://www.facebook.com/media/set/?set=a.10150114895344224.314753.609829223&type=1&l=cf0cbe7d52

https://www.facebook.com/media/set/?set=a.10150112053364224.312088.609829223&type=1&l=d8d0c3ef78

https://www.facebook.com/media/set/?set=a.10150115544169224.315203.609829223&type=1&l=35ccbeec37

https://www.facebook.com/media/set/?set=a.10150116385754224.315724.609829223&type=1&l=9dce1fe751

https://www.facebook.com/media/set/?set=a.10150114915399224.314774.609829223&type=1&l=e82f043738

https://www.facebook.com/media/set/?set=a.10150114762674224.314638.609829223&type=1&l=86d160faa2

https://www.facebook.com/media/set/?set=a.10150114751324224.314632.609829223&type=1&l=87d94bc387

https://www.facebook.com/media/set/?set=a.10150114720649224.314600.609829223&type=1&l=ace0c7646d

https://www.facebook.com/media/set/?set=a.10150114700754224.314588.609829223&type=1&l=275cec7c5b

https://www.facebook.com/media/set/?set=a.483638794223.269227.609829223&type=1&l=fbfdf4c935

2011-07-17T17:00:00.002+01:00

2011-07-17T16:54:00.002+01:00

http://abjectbloc.blogspot.com/

2011-07-06T15:44:00.000+01:00

2011-07-06T13:41:00.000+01:00

2011-06-23T00:02:00.000+01:00

" "[sic]™

2011-06-23T00:01:00.000+01:00

2011-06-20T22:36:00.006+01:00

" "[sic] Tim Goldie - the only artist in London. David Panos

" "[sic] Tim Goldie is one of the most original noise musician/performers on the European scene. His double album "ABJECTOR"[sic] is a violent and considered examination of the fragmentation of language, the de-composition of instrumental research and the painful suffering that accompanies it. Far from any current or cultural influence, Goldie's work places itself in a unique conceptual universe, and its cruel voice warbles a mix of agony and ecstasy. Valerio Tricoli, Netmage Festival, Italy 2009

Who: UK drummer and scathing noise artist, unafraid of fairly perilous behaviour.

Why: A kind of mutant cross-pollination of noise, live art, dada and UK improvisation. Unsettling and confusing. But not in the ways you might expect. In their extreme noise and ominous silence, in their mordantly sad, caustic and bizarre, maybe even pathetic actions, it's just difficult to tell whether or not his performances are a skilled and trenchant, but dreadful parody of your own pointless aspirations for self-expression – this uneasiness, this being unsure what's going on, is, in the end, the point. Instal, Glasgow 2010

NEW RELEASES NEW EXTORTION:

DEFLAG HAEMORRHAGE / HAIEN KONTRA

HUMILIATED e.p. and LUXURY album re-release now available on TOCHNIT ALEPH

http://www.tochnit-aleph.com/DH-HK

http://www.mattin.org/DHHK.html

ALSO AVAILABLE:

"ABJECTOR"[sic] by " "[sic] TIM GOLDIE (double compact disc available on H.M.O/R (HIBARIMUSIC and W.M.O/R) - http://www.mattin.org/recordings.html http://www.hibarimusic.com

HUMILIATED Review: "Absolutely fucking insane. the weirdest record i have heard for a LONG time!! The eccentricity/ form destruction of say ULTRA but more slick, like a cheetah applying lipstick on a coke mirror. Like if you record humidity. wild mix of sexy cymbals, (non) accident vocals/child sighs, makes William Bennett sound like Moira Stewart. BONKERS BONKERS and once more BONKERS I cannot recommend this highly enough. its like taking one massive shit and then it grows a mouth and starts talking back??? arachnophobia toilet scene style. w/ heavy last seconds unpaused tape AARGH style. RECORD OF THE YEAR HANDS DOWN. (and INCREDIBLE packaging)". Steven Warwick

A rum 'un sent from Spain on the Berlin Tochnit Aleph label, which appears to be Mattin perhaps with Tim [sic] Goldie. It's called Deflag Haemorrhage / Haien Kontra (TOCHNIT ALEPH 088) and is credited to Humiliated, and if you can open the silver bag you're greeted with two printed cards full of information and images that make no sense, apart from a dense printed text which begins 'I am only horror to myself' and continues down a path of self-loathing and imagery of deathly decay using stark writing in the style of Michael Gira. Spin the 20-minute CD to hear a grotesque parody of experimental techno noise of some sort, packed with overlaid and shattered beats and sprawling electric hateful noise, over which we hear an agonised, painful multi-tracked groaning and yelping vocal from someone who sounds like they're being flayed alive. These above arrived around early September 2009 in the Sproj-Box.

"Humiliated" fait suite à "Luxery", disques de soumission aux bruits soniques, à l'exhibitionnisme de la scène, shotgun tiré à bout portant sur l'auditeur cultivé des musiques improvisées, écho au "Vicious" de Lou Reed, aux vomissures électriques de Whitehouse et à la poésie masturbatoire de Gerigerogegege. Guitar & drums : fouettées, tordues, violentées, plus que jouées, voix porngraphiques hurlées ou susurrées à notre oreille souffrante. Disque malsain, parce que se pose la question du plaisir à ce bruit là. Masturbation sonore de deux psychopathes hégéliens, la musique comme dialectique à casser nos briques mentales, à forcer la musique du coté de son inconscient. Masami Akita disait de la musique noise "qu'elleétait l'inconscient de la musique, sa pornographie". Forceps soniques arrachant l'improvisation à ses manières politiquement correctes, à la chose culturelle pour la fange rock n'roll, moins une figure de style qu'un hurlement en faveur de Sade. Mattin est un grand lecteur des théoriciens de la Société du Spectacle. "La musique mime l'ordre social, elle domestique le bruit", lui veut son désordre, son renversement. En tacticiens : Mattin et Tim Goldie déversent des flots de fréquences blanches et de stridences sur fond d'aplats métalliques martelés dans nos tympans sachant que certains d'entre nous y prendront un plaisir extatique, dès lors en pleine montée ils coupent le flux pour nous laisser dans un vide sonore et son angoisse, seules deux voix éructant, susurrant, vomissant, un discours post-situ à la façon d'une b.o.f de film porno. Deflag Haemorrhage/Haien Kontra serait la vision arty et politisée de Whitehouse, jouant des contradictions de la contre-culture et de l'entertainment, à la façon d'artistes comme Gordo Matta-Clark (trouant l'espace social) ou de Dan Graham (sa contamination par la culture pop). Pour un Art du Bruit vivant et un pied de nez au bon goût. Michel Henritzi

"ABJECTOR"[sic] Reviews : "ONE CRUEL VOICE. The agony, the ecstasy: extreme emissions from the human voicebox. No instrument conveys as broad a range of emotions - love, tenderness, pain, longing - than the human voice. Towards the periphery of the vocal spectrum, however, where words turn to howls, gibbers and wails, emotional certainties dissolve, and the extremes of human experience flow together: the old pleasure pain dichotomy, right there in the distressed whimper of a vocal chord. " "[sic] Tim Goldie has been on the radar a little while, chiefly through his membership of Deflag Haemorrhage/Haien Kontra, an outfit with Basque sound artist Mattin. His debut album "Abjector" [sic] is one of the most flat-out original noise albums I have heard in some time: a punishing, determinedly outre, excursion into drum improv, digital noise and extreme vocal gymnastics. The first cd recalls the acoustic investigations of Alvin Lucier, extended periods of improvised drumming, credit cards and scraped snare, investigation of the properties of an instrument as crucial as technical skill. The second CD - the heavily titled "Devocalised Fluchtverdachtiger/Blocksperre Refluxur"[sic] brings vocals into the equation: shrieked and wailed, hoarse with emotion, often distorted by crackling static, or by lips pressed against the skin of a snare. The language itself, though, is fractured and mangled, meanings dissolved or hiding latent; a musical counterpart, perhaps, to the aggressive datafeed spew of Kenji Siratori's postmodern novel 'Blood Electric'." - Louis Pattison, Plan B Magazine, issue 30, February 2008

" "[sic] Tim Goldie's double solo album "Abjector" [sic]: what's in a name? not much except that with a name like this, it's unlikely to be a very cheerful work; and what's in the artwork which tells little? not much except that the whole is a work of fashion-scorning art; but mostly it's in the music; the recordings were made over 5 years, and I suppose that these albums are compilations (including some brutal editing where 1 section is cut off abruptly before the next begins, as well as some brutal, speaker-bruising distortion) of a long series of solo explorations; the 2 albums have clear identities - as if for 5 years Goldie explored 2 themes in tandem and then pushed them apart for the double album album 1 ""White Peristaltic Interrogations" [sic] almost entirely drum and cymbal solos with distorted voice in the background from time to time; I like this album a lot; it has a quality of violent meditation; violence in the dogged engagement with singular themes, especially sequences of drum rolls which could have been played by Billy Cobham in Mahavishnu but never so nakedly and persistently; meditation in the extreme focus on a limited sonic palette and approach - I wouldn't call this an experimental record, there isn't the sense of the performer experimenting, rather there's the sense of the performer pursuing a single line of exploration through thick and thin, never deviating over the years; the result has a mesmeric quality and also a strange, edgy spirituality - perhaps the spirituality of a fakir, almost that of a martyr, a record of fasting, of transfixion, of musical mortification; even at its most sparse, the sound fills the room, it leaves no air-holes, it's like a train, a damned train on a long viaduct, and to the sides a great drop, and straight ahead the viaduct curves on and on; towards the end of the album there are long silences, sometimes very long, where the sound in the room rustles with the memories of what's passed, and the listener can bathe in the charged silence between bursts of sound-weather. album 2 "Devocalised Fluchtverdachtiger / Blocksperre Refluxur" [sic] in the second album the voice - and damnation - comes to the fore mixed with extreme distortion and electric drill-screams; like a soundtrack to the Chapman Brothers' lost masterpiece 'Hell' or a never-ending tooth-extraction nightmare or the black catharsis of the torture scene in Pasolini's Salo or just a bunch of Nazis trapped in a padded cell with only each other to vilify; and unlike the first album, here the violence of the voice and electric distortion disintegrates meditation into pain-music, where pain-emotion compresses in its black vice all quiet and spirituality; an album of the cries of the undead, the souls in purgatory wailing for judgement, a nasty black mirror reflecting the nastiness of a war-torn world and rendered minds; it's also unlistenable; I can't listen to it, it's too much, too unremitting, too rebarbative, too wearing on a sensitive chap's struggle to stay the right side up of the abyss. Nick Hobbs

"Tochnit Aleph (Berlin) Recommended first solo-release by the great 'percussionist', trouble-maker, Deflag Haemorrhage / Haien Kontra member from London. Double CD of live & direct miniatures for Drums, Voice, Credit Card, Bird Whistle, and Guitar Amplifier/Leads. WHAT A LUXURY!"

http://spazioinwind.libero.it/extremes/touchinghome.htm

Trying to convince people about the good and the bad in a record like this is completely useless. A classic love/hate dichotomy: someone will think that it's art, someone else that it's shit. Tim Goldie himself seems to have chosen a black/white approach in releasing this pair of CDs. In fact, the first one features a piece - "White peristaltic interrogations" - where the experimentation with drums and voice reaches points of high interest, as Goldie transforms the instruments (which also include credit card and bird whistle) into machines producing several kinds of groans, growls and thunders, the whole interspersed with long silences in the final section. Some of the materials are not too distant from Z'EV, but there's probably a larger dose of anarchy in what we find here (you've got to love the absurd track subdivision, take a look to your player while listening). The second disc finds the author in full-scream mode in "Devocalised Fluchtverdächtiger", as he meshes his shrieking rants with the resonance of a snare drum or throws them up by themselves, overdriving the mess via a guitar amplifier. This is obviously the part that you might want to keep secret to your relatives, a pure act of anger and liberation that has no musical sense at all yet perhaps does imply a degree of artistry, more or less on the coordinates of Viennese Aktionist movement - or nearby areas. Not that the depth is the same, though. Or is it? I can't decide myself. Still, this is a keeper if only for disc one, which contains seriously absorbing, brain-enhancing noise in abundant quantities. http://www.youtube.com/watch?v=BEsAlNCIPcs Metamkine (France) Voix, batterie, ampli guitare, câbles. Enregistré avec le volume au maximum de l'entrée du DAT, saturations continues, le cri excite la batterie, la voix joue de la caisse claire et le feedback fait des siennes Une véritable déflagration, comme une version ultra-punk de 'Music for solo performer' d'Alvin Lucier. Coproduction w.m.o/r et Hibari music.

Adam Sherry (A Dead Forest Index - Melbourne, Australia) January 2008 ""ABJECTOR"[sic] The skeleton and centre of this record for me is Tim Goldie's virtuoso percussion. Different angles sharpened and cut into with rhythm and swarms of sound, beat down through his drums, a constant pressure or tension maintained in the lengthy build up of songs, an expectation and wait for a sudden fall or explosion, as primal or as physical as i've heard any drummer play. Over two discs Tim creates an atmosphere of his own, forms the basis of his own language, sucks you wholly into his world. The small echoes or sparks of dark sound coming off cymbals, distorted screams, a peel of words through a snare drum, and silence."

NoiseBlog (USA) Mattin sent me a couple of his most recent releases, including "Abjector"[sic], a double release by " "[sic] Tim Goldie [myspace without music, myspace with music]. Both discs contain some 70 minutes of material, cut up in chunks of 2 minutes, so you get 30+ tracks on both discs, though in both cases it's actually just one long track. Feel free to play this disc in random mode. On Disc 1 you'll find a track called "White Peristaltic Interrogations"[sic] recorded using "drums, voice, credit card and bird whistle" - It's quite varied, starting of calmly with an etheric cymbal-piece, and then spanning the whole spectrum between "drums falling down the stairs in a controlled manner" over "duct tape on skin harsh noise" to "abstract hardcore jazz with heavy screams on uppers (*)" - the latter are a bit hard to digest, but the avantgarde-minded among us will certainly dig it - I'm more for the harsh noise parts and tumbling drums (that by moments come pretty close to abstract percussion à la old school Z'ev), just to say that probably everyone will find something in the record that he or she will like (unless you've never ventured past the pop-department of your local record-shop, but in that case you wouldn't be reading these pages anyhow - a fucked-up taste is a prequisite). Disc 2, "Devocalised Fluchtverdächtiger/Blocksperre Refluxur"[sic] is a bit of a surprise after Disc 1 (or not) - On this one Tim Goldie drops the bird whistle (bird died while recording Disc 1, or whistle got lost or swallowed), uses only snare drums (rest of the drum is in debris after the recording of Disc 1) and as an additional instrument uses a guitar amplifier and leads. The credit card is still mentioned in the listing, and probably playing an even bigger role in the whole track, as "Devocalised Fluchtverdächtiger/Blocksperre Refluxur"[sic] is pretty raw and fucked-up (and therefore totally "up my alley") - I don't really hear snare drums in the track, but there's a lot of cable- and amp-noise on this one and [sic] Tim Goldie screaming the guts out of his body, reminding me of that classic 7? of a certain Japanese act starting with a "G" and ending on "e" - other parts, especially the "fuck"-ones, remind me more of a power-electronics act with failing electronica. Lots of silences in this track, sometimes lasting several minutes - The liner-notes (in mirrored writing) mention that the material is recorded directly to DAT using two mikes (without overdubs, nor effects) so I guess this means [sic] Tim Goldie put the integral recording on disc, straight from DAT as it was recorded that day including the parts that he was doing credit card or just trying to get his stuff together cause this was clearly a heavy studio-experience. Putting the integral recording on disc makes this record a truly straight-forward, no-nonsense release. Recommended! You can order this release at Hibarimusic [website] in Japan (for 2000 yen it's yours). Here's what another reviewer (Bagatellen) says about the record (in case you need a second opinion before deciding). (*) that would explain the occurence of a credit card in the list with used instruments Bad Alchemy 57 Feb. 2008 (Deutschland)

DEFLAG HAEMORRHAGE / HAIEN KONTRA - HUMILIATED (CD by Tochnit Aleph) Packaged in a silver anti-static bag along with two printed cards one having dense self indulgent text "My excrement hallucinatory rejections of a concrete reality.." and even denser overwritten text with photographs of blurred hand writing on the reverse. When tracked down - (they give no address) the following amongst other can be found "" "[sic] GOLDIE - drums, voice, credit card, amplifier, stereotaxic. MATTIN - GNU/Linux computer feedback, voice, guitar. Formed in East London in 2001... perform internationally... work with noise, silence and abjection... transgress all notions of what a performance can be without imposing aesthetic or moral limits... two of the most unpredictable and 'conceptual' contemporary sonic activists... "[sic] Goldie is one of the most original noise musician/performers on the European scene... from any current or cultural influence, Goldie's work places itself in a unique conceptual universe, ..DEFLAG (etc) collaborated with some of the most radical and legendary musicians in the avant-garde such as Eddie Prevost (Prévost?) (a *Jazz* drummer!) and Philip Best " And continues with reviews from Dan Warburton (The Wire). &...Nick Hobbs validating their oeuvre. Actually despite all this the piece begins with guitar / drumming noise @ 3 minutes a lot of shouting - everything then goes quiet and we hear a silly child voice and chimes? to give way to more shouting and noise finale. When was The Two Virgins series released? I'm sorry this is weak avant gardeism of the 1960s - no wonder Eddie and the Jazz heads want in. They *do not* transgress notions or moral limits or is there anything original here, certainly no unique conceptual universe whatever that might *mean*- but you might start by checking out the work of such as Fowler and the ideas regarding the current state of sonic art in "in the blink of an ear"- The only post-modern credentials they have is passing off clichéd rubbish as art given a set of an influential clique in line with Damien Hirst's (successful) objective, so the whole thing might be an ironic gesture - at least that is an excuse. otherwise as a quote they give from A&Lers Michael Baldwin, Charles Harrison, Mel Ramsden from 1994 states "To mistake the causes and reasons which originate cultural practices for the causes and reasons which make it possible to go on with those same practices is a species of immaturity which terminates in Stalinism, or in some even worse adolescent disorder." which is sufficient even given the pedigree/praise above to write this off as "embarrassments and pettinesses " I suspect and hope that the self regarding, self pitying narrative is just a post-modern ploy, through I'm aware of an enormous anti-intellectualism (read anti-human) tendency in the Stalinist Jazz Mafia/Media. (jliat) Address: http://www.mattin.org/DHHK.html Bagatellen (USA)

"A lot of brackets and "sics" here, but essentially this is two lengthy discs of solo percussion and noise by Goldie. The first, "White Peristaltic Interrogations", is largely percussive and the more successful of the two. The general tone is dark, groaning and chaotic and one has the impression of a musician throwing himself in among his tools. In fact, I was reminded of Z'ev more than once. The second disc is in more of a screaming noise mode and less interesting to me because of that. Both clock in at over 70 minutes and are arbitrarily divided in dozens of two minute tracks. While the first disc varies attacks pretty well, they both linger too long to hold my attention (! Did I say, "Attention?"). It's a good effort though and Disc 2 (bearing a title that trips off of one's tongue: "Devocalised Fluchverdächtiger/Blocksperre Refluxur [sic]") will doubtless provide a goodly amount of enjoyment for the more No Fun oriented listener. Posted by Brian Olewnick on November 14, 2007 5:57 PM".

DEFLAG HAEMORRHAGE / HAIEN KONTRA LUXURY Reviews - The Wire (Dec. 2005 U.K.) The long awaited debut release of Deflag Haemorrhage/Haien Kontra aka Mattin (guitar, vocals and computer feedback) and " "[sic] Goldie (drums, vocals, disc, chain and bird whistle] comprises 15 tracks recorded between July 2002 and November 2003. It includes one truly scary field recording made by Zoe Broughton at Huntingdon Life Sciences back in 1997, where she was working undercover for a Channel Four documentary to expose the notorious animal research facility's appalling cruelty to animals (see www.shac.net/HLS/exposed/broughton.html). A concert or album of unrelenting ferocious noise, whether by Hijokaidan, Borbetomagus, Merzbow or The Dust Breeders, may be a highly enjoyable rush of pure adrenaline, but it's no longer exactly a surprise. Mattin and Goldie can burst eardrums as well as the above - watch your speakers on the apocalyptic "Submucosa" - but they've learnt their lowercase lesson well, and use disturbingly quiet passages and slow menacing drones to equally devastating effect. Mattin is as unpredictable as ever, lurching from the kind of delicate laptoppery that graced his Grob release Building Excess with Klaus Filip, Dean Roberts and Radu Malfatti, to blasts of unmitigated sonic terror that will melt the fillings in your teeth. His guitar work and vocals are just as extreme, especially on the splendidly titled "It's Not Your Fault You Are The Authentic Version Of What The Rest Of Us Can Only Imagine", apparently recorded live (listening to the screams of terror and the vicious thudding of heavy chains I'm glad I wasn't there). Goldie's drumming is savage and ritualistic, from the isolated explosions of "Humiliated" to the all-out blitzkrieg of his solo offering "Lacguage = Noumenal Sarcoshyce"[sic] (a whole page of similarly impenetrable logorrhea adorns the 6" x 8" album cover), but it's refreshingly far removed from both free jazz and Improv percussion cliche, even though I suspect his collection includes a fair number of Eddie Prevost albums. Luxury is an album of awesome intensity, one that deserves to be blasted mercilessly from a 40,000W PA outside Huntingdon Life Sciences every day until the torture ceases.
Dan Warburton. The Wire

Atmosfera biziko paisai isil hauek mundua laister bukatuko dela pentsatzera eraman zaitzakete, eta hala da. Bapatean, gutxien espero duzun momentuan, amorruz beteriko bateriak, gitarra adardunak eta buztana duen ordenagailuak ikaragarrizko zalaparta sortzen dute. Zakarkeriaren eta gogortasun latzenaren arteko inprobisazioak. Baten batek Fluxus zaratazalea edo inprobisazio kontzeptuala bezala definitu duen 73 minutu luzeko lana. Zalantzarik gabe “musika zitala”ren hasiera da.
Los silenciosos pasajes pero con intensas atmósferas pueden hacerte pensar que el mundo se va a acabar pronto, y así es, de repente baterías rabiosas, guitarras cornudas y un ordenador con rabo crean un alboroto que sabe dios qué es. Improvisaciones que se mueven entre la brutalidad y la austeridad. 73 minutos de lo que alguién a descrito como improvisación conceptual o fluxus ruidista. Con toda seguridad este es el principio de la “música miserable”.
The quiet but intense atmosphere in this record might make you belive that the world is going to end up soon, and it does, suddenly drums, guitars and computer make a rackett when you least expect it. This improvisations move between brutality and austherity, 73 minutes of what somebody has described as conceptual improvisation or fluxus noise. For sure the beggining of “abject music”.

Defusing preconceptions of what a live event should be and degrading its components - the sound, the performance, the audience - without imposing aesthetic or moral limits: this is the reason for being of Deflag Haemorrhage/Haien Kontra, the project born in 2001 from the minds of two of the most unpredictable and 'conceptual' contemporary sonic activists: Mattin and " "[sic] Goldie. Ferocity and immobility, instruments abused and unused, musicians zombiefied in their 'stage persona' and in general the sense of psychosis, of necessary superfluousness that gushes from every gesture, from each decision taken by this anglo-basco duo make their live event an experience that is all but impossible to relate to, at least until they've stripped you of the costuming of dominant culture. " "[sic] Goldie is one of the most original noise musician/performers on the European scene. His double album "ABJECTOR"[sic] is a violent and considered examination of the fragmentation of language, the de-composition of instrumental research and the painful suffering that accompanies it. Far from any current or cultural influence, Goldie's work places itself in a unique conceptual universe, and its cruel voice warbles a mix of agony and ecstasy.

Valerio Tricoli, Netmage Festival, Italy 2009

NICK HOBBS (Istanbul) Very rad, impressed by the silences and use of sound blocks rather than much resembling playing, the screamy parts (and public participations) are harrowing, don't know quite how to digest those as a listener, as music, those parts especially cross into performance art, probably you should perform naked and spill body fluids onto your instruments (i'm not joking), maybe while Mattin retained a full-body cool cloak of clothing, i don't know if your boldness, angst, and variously directed irony-free loathings, want to enter into Diamanda Galas territory of staging the sound, and staging the performer, so that the look of it all integrates into the psychotic soundworld, but i could imagine that, you'd probably be locked up, but what the hell, would be worth doing enough times for the forces of cultural order to take note - and then drop it and go pastoral and the vid would be a gem of violent sound-porn, the SM fantasies conjured up are quite rousing, not enough to make me leave my respectable monogamous and intermittently delightful life but anyway enough to disturb me with visions of fucking you in public over a drumkit i've been considering aesthetics of ugliness lately, in my lecture on flamenco especially, but flamenco (even in its most extreme and raw forms) is musical, your territory seems somewhere rather other, inviting iraq into the kitchen while spewing it out and cooking a stew track 1 is unlike anything i've heard, congrats especially for that, also track 10 stands out, it reminds of the Chapman brothers, and track 13, a swarm of b52s over a hot desert, track 14 a firing squad with a well-developed sense of sadistic job-rush (would they still shoot if some blonde bombshell tugged off their breeches and sucked them bone-dry? is that all it'd take to salvage utopia?) i tease myself with idle questions, who are the goodies and badies? are we all schizoid? is the way out of hell via catharsis, or is that the way in? long live Pasolini and Bill Burroughs but accursed be Genesis Porridge"

When he came back in the spring of 2009, and performed with " "[sic] Tim Goldie, they located, at the intersection of impressionism and expressionism, this place where despite the emasculated rock on the radio and the cream-puff muscleman noise machines, white men performing can still make a sound and be sexy, and have class. Gone was the pube/dick-cheese of Seedbed or Stelarc, what we got was a streamlined, aerodynamic performance art that is nothing less than groovy. Within the language of existentialism, banalities and non-emphasis, Mattin managed to extract an essence that's in short supply but thirsted for at the moment; of what's good in black metal aesthetics, the flavour that cruises through Steven Parrino's artwork, that sensory experience that the eighties were, in my head, before I really got to know them. Like if Cold Metal was actually an amazing album. They transformed Harsh Noise Wall into High Net Worth. http://www.arteleku.net/noise_capitalism/?p=321

Touching Extremes (Nov. 2005, Italy) Under these peculiar monikers hide percusssionist (and yeller) " "[sic] Goldie and Mattin, working intently in a "Borbetomagus meets Morphogenesis" nihilist sonic assault through an array of instruments including percussion, guitar, chains, bird whistle plus electricity and feedback. This is one of those records belonging to the love/hate category, as Goldie literally rapes drums with devastating rage while Mattin provides most of the scorching-burning-piercing-corrosive materials, destroying any notion of conventional guitar playing while leaving ground noises and feedback to dictate their own law. All tracks are a no-overdub collage from live improvisations and the audience response - when audible - is pretty enthusiastic. Amidst a bliss of distortion and furious acrimony, sometimes a silent or more tranquil fraction appears unexpected, reinforcing the shocking power of the duo's eruptions. Like it or not - I did - there's no question that these guys are for real. Massimo Ricci Blow Up Magazine (February 2006, Italy) A entrambi. Senz'altro meglio la collaborazione col percussionista " "[sic] Goldie, a nome Deflag Haemorrhage/Haien Kontra: una serie di improvvisazioni primitive e brutali tra feedback e batteria, per sedici fratture scomposte che, pur non disdegnando di ammutolirsi in silenzi a singhiozzi, dipingono quadri di grande tensione. Molto, ma molto interessante. (7)
Valerio Mattioli

" "[sic] Goldie arrives armed with grenades camouflaged in papaya skins and twenty years of nail clippings in a jar… on a mission to turn the world upside down inside out every wrong way but right. A great poet-percussionist and performance artist in his own right. Tim used to host Oligarch Shit Transfusion nights at the Foundry, and is often known as Noumenal-Animal. He has recorded a very strong CD which goes by the names of "ABJECTOR"[sic] and many more with his collaborator Mattin. - RADIO JOY

Metamkine (Nov. 2005 France): 'Luxury'... Où il s'agit d'improvisations (duos et solos) de Goldie et Mattin. Batterie, ordinateur, guitare, disques, voix. Sens du spectacle, joie communicative de et dans l'improvisation, amour des espaces (déclarés plus ou moins franchement) bruitistes et des lieux réverbérants. Un CD où l'on devine leur intérêt pour la scène et ses matières, 'live act'... Insolent, vif! Et amusant ! Ouf! Enregistrées entre 1997 et avril 2003. Mastering réalisé par Daniel Beattie.

http://www.neural.it/sound/2009/03/_sic_tim_goldie_abjectorsic.phtml [sic] Tim Goldie - Abjector [sic], Hibari, audio-art, noise, experimental, free form, White Peristaltic Interrogations, Devocalised Fluchtverdachtiger/Blocksperre Refluxur, electronic dance, remix, house, techno, beats, electro, Jaurelio, Wicked Style, wickedstyle italiano, Aurelio Cianciotta, TimGoldie_Abjector.jpg 2CD - Hibari Harsh digital sounds intertwine with improvisations structured as a percussive matrix. With audio-abuse, distortions and an extreme use of the human voice, Tim Goldie severely tests both the taste and analytical skills of those less accustomed to radical electronic and experimental music. The double release album 'Abjector' establishes the noisy nature of its project early on. The first CD, 'White Peristaltic Interrogations' consists of bursts of pure, striking energy, diluted only by occasional free-form flow and silence. The work generates auditive elements that appear to shun any method, while maintaining an overall sense of being self-organized. The second part of the record reveals no diminution of style – it too provokes a genuine insurrection of the senses. 'Devocalised Fluchtverdachtiger / Blocksperre Refluxur' brings an abundance of excesses, including hisses and strident frequencies, a hyperbolic industrial mix and mechanical digressions in sound. The approval-rating of this record will be controversial but it sports undoubted strength and stylistic charm. Aurelio Cianciotta The Broken Face

If Herman Hostia is a bit surprising then Deflag Hamorrhage/Haien Kontra's (AKA Mattin and Timothy Goldie) Luxury is closer to what I've come to expect from Mattin. Things start on a quitely intense note but that's seemingly just to trick us to stay on board their vessel to free jazz/noise/computer feedback hell as things only get more and more extreme the further the album continues. When we've reached "Submucosa" you'll find yourself in the midst of the sort of shrieking laptop/feedback mayhem that just a few of you will enjoy. But in the midst of the unalterable noise Mattin and Goldie also leaves some space for quieter lowercase sections and drone fragments. I can't honestly say that I will listen to this disk on repeated occasions but I love the fact that I continue to be surprised by this very demanding sonic stew all through its 73 minutes. Mats VITAL WEEKLY number 492 week 37

Arie e Capito lismo Rebelde (mrb/amm) Septiembre 3rd, 2009 Atzo etxean nengoela semealaben lagun batzuk etorri eta galdetu zidaten zer nolako soinutan nenbilen. Esan nien aire (kantu) eta eri dardarretan nituela gogoak. Adibide CD bat jartzeko galdetu zidaten (txotxolo horiek!) eta nire anplifikagailuari begirada bat eman, maletatik atera berri nuen Mattinek lehengo astean oparitako HUMILIATED CDa atera eta indarra eman nion tope. Lehenengo pieza hasi ta kitarra entzun zen, 40 principaleseko modukoa edo. Harrituta geratu nintzen lehen 10 segundutan, bapatean zarata-txistu-danbada-azkaburrunba lehertuko ote zain. Ez zetorren baina. Semeen lagunek sin mas begirentzuten zuten: zein da? Mattin, esan nien, zarata eta kapitalismoari buruz ari da azkenaldian, gauza estremoak egiten ditu. 30.garren segundura iristerako urduri nengoen, noiz hasiko den umiliazioa. "Fragilmente grita hasta donde tu estás, Ahora grita mi padre. Yo me malgasto mi futuro ….." Letrak oso mattinistak iruditzen zitzaizkidan eta kitarra akustiko eztitsua eta rec modua …. kontraste ikaragarria …. espero nuenarekin esan nahi dut. Sorpresa, pentsatu nuen, Berlin ote. Popatik hartzen ari zaigu. Alde batetik atsegin nuen baina bestalde nolabait lotsatzen hasi semeen lagunen aurrean (haiek ordea sin mas entzuten), nigandik garratzagorik espero zuketen ba, ta ni Haien Kontrakorik bota nahiean, ipini Deflag Haemorrhage eta 80 hamarkadako punka bezain popero iruditzen zitzaidan CDa. (Garai hartan ez nekien punka popa ez zenik. Ezjakintasuna zen nonbait) Urduri, 2.garren kantura saltarazi nion CDari , "Te encuentro despierto. Me dices lo siento" …. bai letra honek ba zuen klase borroka eta engaiatzearekin zerikusirik eta orduan galdetu nien: "Capito?" Haiek baietz edo en fin edo bueno. Ea Mattin horrek zer gehiago egiten zuen galdetu zidaten eta bereziki ea ezagutzen nuen. Ba zen honezkero minutu eta erdi CD adi ginela (eta denok dakigu zein den amaigabe) eta batek esan zidan, "beh, per fare questo non c'è bisogno di saper suonare molto" (ez da trebe izan beharrik hau jotzeko). Nik baieztatu, XX mende hasieratik teknikarengandik aldenduak bizi ahal gintezkela delako artean …. Diskusiotxo bat izan genuen hortaz, topiko merke horietaz (Picasso aipatu zuten ere, bai bai). "Forte questa musica" batek. "Boh, una merda" besteak. "A me l'arte non m'interessa" hurrengoak. Momentu horretan sartu zen alaba etxean eta galdetu zuen zertan ari ginen bere REBELDE diska entzuten. "Humiliated" zela esan nion bainan hark ezetz ta nik baietz. Ireki genuen porta CDa eta han zeuden bi CDak, Haien Kontra Rebelderen gainean. Capito? alex

Two new releases on the W.M.o/r label, run by Mattin, and he plays on one of them, being the one by the oddly called " "[sic] Goldie. He or she is a drummer, who also plays occasionally bird whistle, chain, voice and disc. Mattin plays guitar, computer feedback and voice on a few tracks. All tracks are recorded during improvisations in 2003, except track twelve, which is also not credited to the artist, but says 'Field Recording At Huntingdon Life Sciences 1997'. The first few tracks sound relatively normal in terms of improvisation, but once he starts adding bird whistle, things become extremely noise related, with lots of feedback, cable hum and hectic distorted drumming. Beyond this point, track seven or so into this release, things are furious as hell. With sixteen tracks it's a bit long for such a chaotic and heavy release, but lovers of true free-jazz noise know to appreciate this in its entire length. I prefer a smaller doses at certain times.

"Those who nail their cultural reasons irrevocably to the mast are impelled as a matter of urgency to seek the conditions of acceptance of their self-descriptions as innovators. It is under the rule of those conditions that whatever is made must then be distributed. Certain substantive critical issues being treated as effectively settled, or dead, what follows as a necessity is not that the practice be remade in the image of its innovatory moment, but rather that its habits be perpetuated as protocol. The critique of a dying culture for which the innovatory moment may originally have been the occasion is thus turned into the edifice upon which the practice is itself perpetuated. This not to say that any old fleetingly 'experimental' questioning is ipso facto important, but merely to reclaim a sense of historical reality and expediency for the idea of practice. To mistake the causes and reasons which originate cultural practices for the causes and reasons which make it possible to go on with those same practices is a species of immaturity which terminates in Stalinism, or in some even worse adolescent disorder. To go on doing what one is doing for the same reasons that one started doing it is to forget the inevitable contingency of those reasons; or it is to turn them into bureaucratic or mercantile necessities. When expedient justifications have to be thought of as principles of validation, and dodges as significant transitions, it tends to mean that someone is in process of forgetting their own history - its indignities and embarrassments and pettinesses - so as to extrude a past self as dignified and as important as they mean to appear in the present."[sic]
Art and Language. Michael Baldwin, Charles Harrison, Mel Ramsden

Phosphor Magazine(Oct. 2005-Berlin) Deflag Haemorrhage / Haien Kontra: Luxury CD Behind those strange artist names hide Goldie and Mattin. Those two composers present something one would not expect from them, if one is familiar with their previous material or after opening the beautiful package. Timothy Goldie and Mattin come up with a collection of robust and raw improvisations. Mattin's heavy guitar feedback and Goldie's intensive percussion make that the listener is confronted with a primitive musical struggle. It's like creating with a punk or Fluxus attitude and pushing things to the edge by means of screaming and terrorizing the audience with high volume and deteriorating outbursts. It's emotional, full of energy, but not mentioned to leave a long-term impression. The first shock might be sufficient enough though!

COLLABORATORS:

Mattin, Daniel Beban, Tai Shani, John Wild, Laura Oldfield-Ford, Philip Best / Consumer Electronics, Valerio Tricoli, Mark Aerial Waller, The Band of Holy Joy, Alfie's Glue Ear, Johny Brown, Radio Joy, Ulrich Kreiger, Bill Kouligas, Eddie Prévost, The Grimprov Ghetto, Whitehouse, Evan Parker, John Edwards, Penny Rimbaud, Michelle Naismith, Seymour Wright, Rashad Becker, John Wall, Penny Rimbaud, Eve Libertine, John Wild, Barry Esson, Arika, Ph. Simon, Tochnit Aleph, Matchless, Clunk, Mark Wastell, Max Reeves, Kirsty Goldie, Lucy Goldie, Simon H. Fell, Michael Curran, Phil Minton, Mute Magazine, Stefanie Singer, Stephen Elcocks, Read And Destroy, Tim Leighton-Boyce, Alan Wilkinson, Michael Curran, Resonance FM, Radiance Audio, South East Kingz, Nikolai Galen, Elliot Howard, Jean-Luc Guionnet, Matthew Hyland, OM, Romuald Wadych, Controlin' Arts, Michael Rodgers, Marina Vishmidt, Anthony Iles, Ross Lambert, K3Y, VANZ, Denis Dubostev, Donna Ewing, Carol Murphy, Richard Beales, Sharon Gal, Matthew Hyland, Anja Buchele, TOTAL ASBO, Christioan Koeder, Barbro Nordling, Alex Jako, Brown Sierra, Sac Magique, Paul Abbott, Skore, Fergus Macmillan, Antonia Doggett, The Impotence Anxiety Faction, Groupuscule Skewer, Hiber Loft, Natascha Priklopil, Maya Lubinsky, Invert, Reem, David Panos, Anja Kirschner, Clive Lineham, Mista Dexter, Anthony Guerra, Plan, The Warlords, Martyn Singleton, Emma-Jane Taylor, Barbara Speer, Artistic Vandals, Will Guthrie, Ken Hyder, Cus One, Sylvia Hallett, Maggie Nichols, Ceramic Rabbit, Noumenal Room, Team Sano, Nishide Takehiro, Demetra Kotouza, Paedophobic Blackout, Tina Borkowski, Bark Psychosis, The Creatures, Graham Sutton, Amy Botfield, Debby Lauder, Helen Stratford, Helen Judge, Honor Carter, Julie Brenot, Mark Ross, Patricia Derrick, Sally Jane Webster, Daniel 'Gravy Eagle Eye' Lee, Peter Sotos, Nick Barber, Simon Mullen and Gloria Sayer, Bertrand Denzler, Uni, Matt Davis, Malcolm Goldie, The Criminally Minded, Steve Dutton, Percy Peacock, Richard Beales, Daniel Löwenbrück, Clem Crosby, Sharon Gal, Victim, Elizia Volkman, Robin Ellis, Kyran Lynn, Sammy, Springfield, Blodwyn, Daryn Brown, Anne Duffau, Chips for the Poor, Cameron Bain, John Wollaston, Nick Phillips, Sandy Carson, Glue, Monica Vecchiotti, Dominic Buzzard, " "[sic]™, Alan McNaughton, Douglas Park, Big Ed, Glue, DJ Paws, Tom Hirst, Nick Hobbs, Adam Bohman, Jonathan Bohman, Rech, Robbie Knight, Joel Stern, Pia Borg, Sandy Kindness, Moshi Honen, Tom Perchard, Vanessa Thompson, King Rif, Margarida Garcia, John Lely, Daniel Beattie, Rohan Thomas, Wolfgang Fuchs, Denesh Shan, Ratkin, Batkin, Radiance Audio, Peter Gates, Oligarch Shit Transfusion, Sebastian Lexer, Mo Goldie, Hector Goldie, Styxy, Bo Goldie,, Ass Destroyer Against Animal Abuse, Big Nice, Merlin Carpenter, Sharon Gal, Barbro Nordling, Andressolo, Floyd Thorpe, Springfield, Fat Cat, Laura Wirtz, Synthesis, Suzy Sunday & Rubenstein Dienstag, X Marks the Bökship, Patrick 'Pastry Trickle Ratprick' Constable, Selfish Cunt, Wise Owl, Da Banditz, Gavin Turk, Long Man, Crimes for Minds, Laura Philips, Helen Palmer, South London Sharks, Gyda Charles, Sarah Bate, Mark Eitzel, Mark Ward and unuforgotten significant others sorry sorry ssssssssssssSSSORRY!...

"HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA A HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA 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HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA"[sic]

2011-06-16T18:50:00.000+01:00

" "[sic] YTIUGITNOC

2011-06-16T17:50:00.000+01:00

2011-06-07T15:56:00.000+01:00

2011-06-07T00:36:00.000+01:00

2011-06-05T20:31:00.000+01:00

2011-06-04T23:45:00.000+01:00

UMDEUTEN CAPACITY

2011-05-17T15:34:00.000+01:00

2011-05-15T12:22:00.003+01:00

Noumenalanimal

London, 2058, in the darkness, Noumenalanimal is sitting on the roof of a derelict building, skimming the horizon looking for a new prey. His companion, the Abject Kid, is with him.

-I am starving… Human beings are getting rare… And I won’t be having another squirrel or fox.

-Are you being picky?
You can’t really afford it… Life-Death-Life-Death circular process repeats itself. You embody the natural process, the celebration of a new species and the death of an old one: the human being. You illustrate the natural and recurrent movement of a creature. You are the connection to reality.

-A connection?...

-Yes, you represent the cycle of life, the substance of its repetition. You are able to stand like a human being, but when you feel a danger you can make yourself invisible, lying down in silence.

-Well in short, I carry a particular kind of energy…
I am your horizontal and vertical connection to time and counter-time. Your kind has been associating my nocturnal companions to the moon, and to the great mother earth. I am a sign of fertility but a sign of danger too.

The Abject kid jumps in front of Noumenalanimal and holds its hairy head in its fragile hands.

-Listen to me! I know this already, only your name means the thing-in-itself, you are not only the representation but you incarnate the real in all its sense. You are power in itself. But you are only Noumenal and not noumena yet …

Noumenalanimal pushes the Abject Kid away violently.

-Keep quiet!

(TBC…)

Anne Duffau

2011-05-05T18:08:00.000+01:00

ABJECT BLOC: THE RAPTURE

~~Saturday May 21st 8pm - 1am~~

MAY 21st 2011 ABJECT BLOC: THE RAPTURE

~~Saturday~~
~~May 21st 8pm - 1am~~

Limehouse Town Hall
646 Commercial Road
London
E14 7HA

LIBEREZ www.liberez.moonfruit.com

JOHN WILD http://johnwild.info

ROBIN BALE http://vimeo.com/4807831

LAURA OLDFIELD FORD http://lauraoldfieldford.blogspot.com/

ROBERTO CRIPPA http://robertocrippa.com

" "[sic] TIM GOLDIE

http://timgoldie.blogspot.com/

2011-05-03T23:45:00.000+01:00

NOISE=NOISE Thursday 5th May 2011 8pm-3am

]performancespace[

Unit 6 Hamlet Industrial Estate, White Post Lane, Hackney Wick, London

"these practitioners practice dark hypnosis in psychoactive hyperventilation clubs" Ryan Jordan
//////////////////////// NOISE=NOISE proposes an event of non-linear performances, no running orders, time dissolution, dark hypnosis, psychoactive noise, and sensory deprivation/revelation. Donations on the door (£3-5 suggested) Viral bar. http://performancespace.org/

Andre Castro http://www.c-e-m.org/?page_id=108 Aqua Dentata http://www.aquadentata.org/ DJ Tendraw http://www.gluerooms.com/ Eaten By Children http://www.myspace.com/eatenbychildren EQ-AV http://www.eq-av.com/ Ewa Justka http://soundcloud.com/groups/trauma-w-ewa-justka Jamka http://urbsounds.sk/ jjjemp http://xxn.org.uk/ John Macedo http://theblackplume.com/ Neon Emtrzy http://on.fb.me/gJdNq9 Pani K http://www.myspace.com/k_justka Ryan Jordan http://ryanjordan.org/ Shelley Parker http://www.structurerecordings.com/ Sz.Berlin http://soundcloud.com/sz-berlin Tonesucker http://www.onoma.co.uk/ TOE http://www.amnionrecords.tk/ Vera Bremerton http://www.myspace.com/verabremerton " "[sic] Tim Goldie http://www.myspace.com/sarcomasign

2011-04-29T19:20:00.000+01:00

"You can find her triumphant even under the veil."

The Female Eunuch

Germaine Greer

2011-04-26T21:58:00.000+01:00

2011-04-22T18:21:00.000+01:00

2011-04-22T12:54:00.000+01:00

Palimpsest

Année de compétition : 2009

Réalisation : Pia Borg

Catégorie : Courts Métrages

Pia Borg

ROYAUME-UNI
2008, animation, 10’, vidéo Béta num, couleur, sans dialogues
Scénario : Pia Borg
Image : Pia Borg
Montage : Pia Borg
Son : Mark Harwood
Musique : Pateras, Baxter, Brown
Costumes : Stefanie Singer
Interprétation : Tom Hirst, " "[sic] Tim Goldie, Mark Harwood, Paul Sykes, Emily May, Julie Hermann, Danielle Trigg, Kelly Russell, Christina Rex
Production : RoyaL College of Art (Londres)
Contact : animation@rca.ac.uk

Une compression narrative du temps, d’un lieu, et de quelques personnages, pour capter l’esprit d’un immeuble vieux de 300 ans.

A narrative compression of time, place and persons that captures the ’spirit’ of a building 300 years old.

2011-04-21T11:27:00.000+01:00

2011-04-14T16:22:00.000+01:00

Les Instants Chavirés sont depuis 1991 un lieu de diffusion pensé comme un laboratoire des musiques improvisées, expérimentales, bruitistes.
Son annexe, l’ancienne brasserie Bouchoule, propose un autre regard autour des arts visuels et sonores.
Deux lieux pour un même partage d’une certaine création contemporaine.

ENGLISH

ACCUEIL > MUSIQUE > CONCERTS (À VENIR) > jeudi 23 juin 2011

jeudi 23 juin 2011

les Instants Chavirés présentent en collaboration avec le festival L’Agrippa (St Laurent de Terregate)

" "[sic] TIM GOLDIE
REGREB & OGROB
RASHAD BECKER

" "[sic] TIM GOLDIE
miroir, ordinateur portable, batterie, cymbales, voix, carte de crédit, sifflet d'oiseau, amplificateur de guitare & conduit.
" "[Sic] Tim Goldie est un des musiciens bruitistes les plus originaux sur la scène européenne. Son double album" ABJECTOR "[sic] est un examen violent et considéré de la fragmentation de la langue, de la décomposition de la recherche instrumentale et de la souffrance qui l'accompagne. Loin de toute influence actuelle ou culturelle, le travail de Goldie se place dans un univers conceptuel unique, et sa voix cruelle gazouille un mélange d'angoisse et d'extase.
[ plus d'infos sur Tim Goldie ]
- - - -
REGREB & OGROB
REGREB Boules plasma / Electronique / Coups de jus
OGROB Boules plasma / Electronique / Coups de jus

"On a malheureusement rien enregistré. Nous aurions du avant la naissance du mouflet mais ce ne fut pas possible.
Nous utilisons 4 boules plasma reliées à des micros capteur de champ magnétique relié à des effets + des sons préparés sur bandes et on joue une piece d'environ 45 minutes trés trés électrifiée.
Nous l'avons jouée à Strasbourg à Stimultania en juin dernier et ça a bien cartonné.
je ne puis argumenter plus que cela !"

Sébastien Borgo / Ogrob est guitariste bruitiste et membre fondateur avec Laurent Berger et Remy Bux du trio post-punk expérimental franco-roumain Sun Plexus 2 (1993-2010). Il compose depuis 1991 des pièces à base de guitare préparée et/ou d’électronique, et explore actuellement la musique concrète, le harsh noise, les field recordings et les arts visuels.
Aujourd’hui, il est membre de différents projets collectifs : Dragibus (av/ Lore Barges, Frank De Quengo), Foi Pour Pusillanime (av/ Caroline Ehretique), L'Autopsie A Révélé Que La Mort Etait Due A L'Autopsie (av/ Alan Courtis, Frank De Quengo, Nicolas Marmin), Le 9900 (av/ Jean-Yves Davillers), Micro_penis (av/ François Heyer, Alexandre Kittel, Claude Spenlehauer).
Laurent berger vit à Strasbourg depuis 1991, joue avec burstscratch depuis 1992, avec sun plexus de 1993 à 2010, avec suboko depuis 2005, avec un nourrisson depuis quelques semaines et avec n’importe quoi n’importe comment depuis bien longtemps. 2 cymbales, 2 mailloches, 2 micro-contact, 2 câbles, 1 système de diffusion avec haut-parleurs graves, 1 brouillard de fréquences basses visitent ici la mémoire des murs orphelins d’un bâtiment oublié sur une presqu’ile à deux brasses d’une industrie fluviale en pleine activité.
[ plus d'infos sur le site d'Ogrob ]
- - - -
RASHAD BECKER
électroniques

Rashad Becker est un musicien discret et trés présent dans les livrets de notes des disques de musique expérimentale... trés réputé pour son travail de mastering, d'enregistrement et de gravure de vinyles... on dit de lui qu'il a les oreilles les plus affutées dans ce domaine.
Rare sur scène, il présente une performance naturellement bruitiste, claire, nette et bouclée.
- - - -

tarifs
12 € plein tarif
10 € préventes lieux de préventes | acheter en ligne
8 € adhérents / abonnés Instants Chavirés adhérer/ s'abonner
7,20 € tarif étudiant uniquement disponible au Crous de Paris infos

horaires
ouverture des portes 20h30 | concert à 21h | de 20h30 à 21h : Rien à voir

" "[sic] TIM GOLDIE

" "[sic] TIM GOLDIE / MATTIN / DEFLAG HAEMORRHAGE / HAIEN KONTRA - A SPECIAL FORM OF DARKNESS

ABJECT BLOC PA by RADIANCE AUDIO

ABJECT BLOC RADIO

TUESDAY February 21st 22.30 - 23.30

HOSTED BY : " "[sic] TIM GOLDIE & JOHN WILD

WITH SPECIAL GUEST : JONATHAN KEMP http://crystal.xxn.org.uk/

RESONANCE 104.4fm

OR ONLINE AT : http://resonancefm.com/listen

Preview: Arika12

Episode 2: A Special Form of Darkness

Abject Music

About the event

On the web

Arika is supported by

Arika on the web

Share

Mailing list

UNCONSCIOUS ARCHIVES #3

Rare flickering audiovisual treats from afar and corporeal noise shifters

UNCONSCIOUS ARCHIVES #3

DIRK DE BRUYN (AU),

" "[sic]™ TIM GOLDIE (UK),

MANDELBROT (UK),

RICHARD TUOHY (AU)

Dirk de Bruyn | Australia

Richard Tuohy | Australia | Nano Lab

Mandelbrot | London

" "[sic]™ Tim Goldie | London | Abject Bloc

UNCONSCIOUS ARCHIVES #3

BOTSCHAFT

BATHETIC REFLUXUR 2002

JAGUAR EYES

VomiTimoV

RESISTANCE DOMINATION SECRET

with endan

Einheitswissenschaft auf physischer Basis

SLAKES - DANIEL BEBAN & " "[sic]™ TIM GOLDIE @ ABJECT BLOC 2011

UMDEUTEN CAPACITY

ABJECT BLOC: THE RAPTURE

MAY 21st 2011 ABJECT BLOC: THE RAPTURE

Palimpsest

" "[sic] TIM GOLDIE

" "[sic] TIM GOLDIE / MATTIN / DEFLAG HAEMORRHAGE / HAIEN KONTRA - A SPECIAL FORM OF DARKNESS

ABJECT BLOC PA by RADIANCE AUDIO

ABJECT BLOC RADIO TUESDAY February 21st 22.30 - 23.30 HOSTED BY : " "[sic] TIM GOLDIE & JOHN WILD WITH SPECIAL GUEST : JONATHAN KEMP http://crystal.xxn.org.uk/ RESONANCE 104.4fm OR ONLINE AT : http://resonancefm.com/listen

Preview: Arika12

Episode 2: A Special Form of Darkness

Abject Music

About the event

On the web

Arika is supported by

Arika on the web

Share

Mailing list

UNCONSCIOUS ARCHIVES #3

Rare flickering audiovisual treats from afar and corporeal noise shifters

UNCONSCIOUS ARCHIVES #3

DIRK DE BRUYN (AU),

" "[sic]™ TIM GOLDIE (UK),

MANDELBROT (UK),

RICHARD TUOHY (AU)

Dirk de Bruyn | Australia

Richard Tuohy | Australia | Nano Lab

Mandelbrot | London

" "[sic]™ Tim Goldie | London | Abject Bloc

UNCONSCIOUS ARCHIVES #3

BOTSCHAFT

BATHETIC REFLUXUR 2002

JAGUAR EYES

VomiTimoV

RESISTANCE DOMINATION SECRET

with endan

Einheitswissenschaft auf physischer Basis

SLAKES - DANIEL BEBAN & " "[sic]™ TIM GOLDIE @ ABJECT BLOC 2011

UMDEUTEN CAPACITY

ABJECT BLOC: THE RAPTURE

MAY 21st 2011 ABJECT BLOC: THE RAPTURE

Palimpsest

ABJECT BLOC RADIO

TUESDAY February 21st 22.30 - 23.30

HOSTED BY : " "[sic] TIM GOLDIE & JOHN WILD

WITH SPECIAL GUEST : JONATHAN KEMP http://crystal.xxn.org.uk/

RESONANCE 104.4fm

OR ONLINE AT : http://resonancefm.com/listen