BLOG – Page 15 – Roy Christopher

December 7, 2014

Top 14, 2014

Depending on the fandom, our attention to music can span from the insignificance of wallpaper to the altar upon we sacrifice our days. It can be everything from decoration to downright worship. I probably tend more toward the latter than the former, but you probably already know that.

Of all the things that December brings, year-end lists might be the most polarizing, to some by their contents and to others by their mere existence. Regardless, these are the records that soundtracked my 2014, in no particular order. The links on this post, unless otherwise specified, link to the bands’ Bandcamp page so you can listen to them if you like.

Yob Clearing the Path to Ascend (Neurot): If there’s any band that has yet to get their due, it’s Yob. They’ve been slowly building a stellar body of work for years, and Clearing the Path to Ascend illustrates just how refined their sound has become. It’s heavy and doomy, yet oh so subtle, their most personal and personable release: a near-perfect record.

Nothing Guilty of Everything (Relapse): Nothing came out of nowhere last year promising to update a sound that was all but lost to the past. On their debut full-length, Guilty of Everything, you can hear the presence of various bands from the 1990s: The Jesus and Mary Chain, My Bloody Valentine, Sebadoh, Eric’s Trip, Teenage Fanclub, The Boo Radleys, etc. But Nothing manages to take those sounds and do something all their own with them. For every influence you might trainspot, there’s always something ultimately unique about the way Nothing brings it all together. It’s a mesmerizing mix.

Young and in the Way When Life Comes to Death (Deathwish): The mix of black metal with other genres in not new. Many bands have done it to great effect (e.g., Wolves in the Throne Room, Deafheaven, Panopticon, Myrkur, etc.), and the blackened crust of YAITW is a perfect alloy. The riffs that are usually missing from black metal are here en force. I can never seem to play it loud enough.

White Suns Totem (The Flenser): White Suns, whose last record spent a lot of time in my ears, completely reinvented themselves for Totem. As they said of a show just prior to the record’s release, “You may notice that it is a bit different from our previous work.” The core of what they’ve done in the past is still here, but it’s much sharper, much more piercing. Here’s hoping that abrasive electronics like this and Wreck & Reference, whose Want (Deathwish; See below) was also in heavy rotation around here this year, continue to crush expectations.

Godflesh A World Lit Only by Fire (Avalanche): I’m always wary when a long-defunct, all-time favorite band reunites years later. Not that I doubted Justin Broadrick and Benny Green’s getting back together, but I did have to wonder. The record that resulted, A World Lit Only by Fire, is a welcome return of a monster outfit. It fits well in their catalog and continues what they were doing when they split 12 years ago. The title evokes a flaming planet, cities and nations scorched in ruin, but it’s actually a reference to a book about the darkness of the Middle Ages by the same name. Both visions work well for Godflesh’s sound on this record. It’s dark, brutal, and could come from a tumultuous past or a post-apocalyptic future. Glad to have them back.

Trans Am Volume X (Thrill Jockey): The tenth album from Trans Am, the 21st-century’s own Kraftwerk Plus (Lily calls them “Krautwerk”), is no less confounding than anything in their nine previous lives. From their usual arty Krautrock to the surprisingly frenetic thrash of “Backlash,” Trans Am is well worth exploring if you haven’t already, and Volume X is as good a place to start as any.

Code Orange Kids I Am King (Deathwish): This is another record that just makes you proud to love the band that made it. Code Orange Kids studied up, did their homework, and schooled everyone else trying to make any kind of heavy music. I Am King stays true to its hardcore roots while bringing all kinds of new noise to the network. This is the anthem.

Hail Mary Mallon Bestiary (Rhymesayers): Even if I’ve strayed from Hip-hop with my several year metal kick, there are still a few folks I have to check in on. My dudes Aesop Rock, Rob Sonic, and DJ Big Wiz are among the few, and Bestiary illustrates why. This is just classic beats and rhymes with tight wordplay, the turntable on display, and an atemporal sense that it could’ve been made during any era. Timely, timeless, and right on time.

Wreck & Reference Want (Deathwish): This is the sound of despair. There’s no other way to describe it. Wreck & Reference defy genre conventions with machine-driven noise, anguished vocals, and abject nihilism. Want is as heavy as anything out, but it’s nothing you expect from heavy music: monstrous, wondrous, and somehow beautiful.

Perfect Pussy Say Yes to Love (Captured Tracks): Debates about punk being dead are over. Perfect Pussy keep it alive and kicking so much ass. From The Shoppers to Perfect Pussy, Meredith Graves is a force of nurture.

Panopticon Roads to the North (Bindrune): Panopticon, Austin Lunn’s one-person band, continues to show why he’s such a force in American black metal. Where his work with Seidr is heavy on the heavens, Panopticon tends toward the trees. It’s as rural as it is dark and might be the only black metal in which you’re likely to hear a banjo.

Torch Runner Endless Nothing (Southern Lord): After nearly wearing out Committed to the Ground this year, I found out that Endless Nothing had dropped. It’s a welcome 13 more songs of violent, ugly, hardcore grind. Just what I needed right when I needed it.

Earth Primitive and Deadly (Southern Lord): Earth are the undisputed kings of drone, and they expand their sound in subtle ways with every record. Primitive and Deadly includes more vocals than normal, courtesy of Mark Lanegan and Rabia Shaheen Qazi on two respective tracks, but all of the reasons that Earth is so revered are here in glorious form.

Pallbearer Foundations of Burden (Profound Lore): What else is there to say about Pallbearer’s break-out opus? This is the kind of record you always wish a band you love would release. Foundations of Burden is a beautiful blend of loss, rage, and hope. It’s heavy in every possible way and rewards the repeated listen. It’s a beast of a release.

If This List Were Longer: Boris Noise (Sargent House), Coffinworm IV.I.VII (Profound Lore), Thou Heathen (Gilead), Cult Leader Nothing for Us Here (Deathwish), Falls of Rauros Believe in No Coming Shore (Bindrune), Sguaguarahchristis Der Nacht (This Winter Will Last Forever), Mogwai Rave Tapes (Rock Action), Scott Walker & Sunn O))) Soused (4AD), Full of Hell & Merzbow (Profound Lore), Rob Sonic Alice in Thunderdome (OK-47), Trap Them Blissfucker (Prosthetic), Trash Talk No Peace (Trash Talk/Odd Future), Today is the Day Animal Mother (Southern Lord), Morphinist The Pessimist Session (Throats Productions), Theologian Some Things Have to Be Endured (Crucial Blast), Planning for Burial Desideratum (The Flenser), Panopticon/Falls of Rauros split (Bindrune), Wolves in the Throne Room Celestite (Artemisia), Floor Oblation (Season of Mist), The Atlas Moth The Old Believer (Profound Lore), Run the Jewels 2 (Mass Appeal), Murmur Murmur (Season of Mist), and Myrkur Myrkur (Relapse).

The One I was Mentioned On: My dudes Johnny Ciggs and Skweeky Watahfawls gave me a shout out on their collab record, See Us on the Dancefloor (Gritty City), on the song “Celebrate” (at around the 4:35 mark). The record is dope, and I’m stoked to have been a very small part of it. Can’t wait to see what the fam does next. Rock, rock on!

If I’m Being Honest: It should probably be noted that I listened to Deafheaven’s Sunbather (Deathwish) as much or more than any record from this year. I should also mention that this list was compiled in the shadow of intense anticipation of the new Xibalba record, Tierra Y Libertad, to be released next month on Southern Lord.

Special Thanks: I can’t imagine what it must take to run a record label these days. Many thanks to the people who do, especially the fine folks at Deathwish, Inc., Southern Lord, Profound Lore, The Flenser, Bindrune, Neurot, Sargent House, Thrill Jockey, Crucial Blast, Season of Mist, Rhymesayers, and Relapse: Power to you all.

November 10, 2014

The Indexical Trace: Records and Retrieval

The selection of particular information to be saved or archived is an act that predisposes that information for attention in the future (Weick & Roberts, 1993). What we record receives future attention just by dint of being recorded. Jacques Derrida (1995) called our obsession with recording “archive fever,” writing, “The archivization produces as much as it records the event” (p. 16-17; my emphasis). We think of archives as collections of pieces of the past, but we use them to save those things for future use. The past matters here not because of historical events as they were recorded, but because of the possibilities of those that were not. As Patrick Greaney writes in Quotational Practices: Repeating the Future in Contemporary Art (University of Minnesota Press, 2014), “Quotation evokes those possibilities. By repeating the past, artists and writers may be attempting to repeat that past’s unrealized futures” (p. x). Quoting, cutting-and-pasting, sampling, citing—we use the past to build futures not yet forgotten.

"Poetic absence of pay telephones" by William Gibson — The Poetic Absence of Pay Telephones. [photo by William Gibson]

About this “archival impulse” (Foster, 2004, passim), Andreas Huyseen (2003) asks,

Is it the fear of forgetting that triggers the desire to remember, or is it perhaps the other way around? Could it be that the surfeit of memory in this media-saturated culture creates such an overload that the memory system itself is in constant danger of imploding, thus triggering fear of forgetting? (p. 17).

Hal Foster (2004) ups this fear of forgetting to paranoiac proportions, writing,

Perhaps the paranoid dimension of archival art is the other side of its utopian ambition—its desire to turn belatedness into becomingness, to recoup failed visions in art, literature, philosophy, and everyday life into possible scenarios of alternative kinds of social relations, to transform the no-place of the archive into the no-place of a utopia (p. 22).

Foster’s no-place of utopia is a place without forgetting, a place without the death that forgetting represents. As Paul Ricoeur (2004) wrote, “forgetting is lamented in the same way as aging and death: it is one of the figures of the inevitable, the irremediable” (p. 426). William Gibson (2012) quips, “We are that strange species that constructs artifacts intended to counter the natural flow of forgetting” (p. 51). Artifacts like diaries, journals, books, and recordings are our archives, reminders of events passing by ever-faster. Huyssen (2003) adds, “Some have turned to the archive as counterweight to the ever-increasing pace of change, as a site of temporal and spatial preservation. From the point of view of the archive, forgetting is the ultimate transgression” (p. 26). Not only are we afraid to forget, but we want histories at hand because we fear the future as well.

@remixthebook: Outright appropriation of things is inherently creative. To be uncreative would be to pretend this is not so. [tweeted November 6, 2014]

Unlike the oral testimony, the archive has no addressee (Ricoeur, 2004). “To quote is by definition to use out of context,” writes Hillel Schwartz (1996, p. 246), which Walter Benjamin (1968) contended led to a loss of meaning. “Ripped from its original context,” writes Stuart Ewen (1984), “its original meanings are lost” (p. 93). When the archives move from written and printed documents to digital databases, meanings and contexts hang together more loosely and drift more easily (Ernst, 2013; Smith, 1998). Meaning is transient in quotational practice. Greaney writes,

There can be no radical separation of quotational and nonquotational aesthetic practices, because quotational works just foreground the forms of distance—from the self, from expression, from communication—that are already more or less present in every artwork. Authorship changes when those kinds of distance are highlighted, but it doesn’t disappear (p. xiv).

In The Heretical Archive (Univeristy of Minnesota Press, 2013), Domietta Torlasco (2013) writes, “Cinematographic and phonographic recordings can repeat themselves accurately and indefinitely, bringing about the recurrence of the past of which they are the indexical trace” (p. 92). The “indexical trace” is a semiotic concept in which an object has no resemblance to the object signified yet points to the the signified using a sensory element. Introduced by Paul Kane in 2007, an indexical trace might be the smell of the signified, the sound of the footsteps of a person, or a flag showing the waves of the wind. A sample appropriated and manipulated, a lyric interpolated, a paraphrase or parody—these are all indexical traces owing their originals but not quite resembling them. As they say in forensic science, “Every contact leaves a trace.” (Kirschenbaum, 2008, p. 49). As Norman Klein (1997) puts it, “a memory ‘trace’ may satisfy the urge to remember, but not the urge to remember the ‘facts'” (p. 306; for more on traces, memory, and forgetting, see Ricoeur, 2004). These veiled acts of quotation point as much to the past as they do to possible futures: retrievals without resemblance.

You need to do more deleting and less saving. — Common, “Hungry”

In spite of our hoarding of history, Huyssen (2003) contends that “the past cannot give us what the future has failed to deliver” (p. 27). We have to forget most of what we know in order to move on. We don’t want to shift on the shoulders of giants forever. Against our feverish archival impulse, we want to become those giants.

References:

Benjamin, Walter. (1968). The Work of Art in the Age of Mechanical Reproduction. Illuminations. London: Fontana, pp. 217–252.

Common. (1997). Hungry. On One Day It’ll All Make Sense [LP]. New York: Relativity Records.

Derrida, Jacques. (1995). Archive Fever: A Freudian Impression. Chicago: University of Chicago Press.

Ernst, Wolfgang. (2013). Digital Memory and the Archive. Minneapolis, MN: University of Minnesota Press.

Ewen, Stuart. (1984). All Consuming Images: The Politics of Style in Contemporary Culture. New York: Basic Books.

Foster, Hal. (2004, Fall). An Archival Impulse. October, 110, pp. 3–22.

Greaney, Patrick. (2014). Quotational Practices: Repeating the Future in Contemporary Art Minneapolis, MN: University of Minnesota Press.

Huyseen, Andreas. (2003). Present Pasts: Urban Palimpsests and the Politics of Memory. Stanford, CA: Stanford University Press.

Klein, Norman M. (1997). The History of Forgetting: Los Angeles and the Erasure of Memory. New York: Verso.

Ricoeur, Paul. (2004). Memory, History, Forgetting. Chicago: University of Chicago Press.

Schwartz, Hillel. (1996). The Culture of the Copy: Striking Likenesses, Unreasonable Facsimiles. New York: Zone Books.

Smith, Abby. (1998, May/June). Preservation in the Future Tense. CLIR Issues, (3), 1, 6.

Torlasco, Domietta. (2013). The Heretical Archive: Digital Memory at the End of Film. Minneapolis, MN: University of Minnesota Press.

Weick, Karl E., & Roberts, Karlene H. (1993). Collective mind in organizations: Heedful interrelating on flight decks. Administrative Science Quarterly, 38, 357–381.

November 7, 2014

Clay Tarver: Gone Glimmering

I first came across Clay Tarver in the very early 1990s. His guitar playing drove two of my favorite bands back then: Bullet LaVolta and Chavez. The former was, like a lot of the bands of the time, a hybrid of punk, metal, and some third strain of rock that was brewing but had yet to boil. I noticed producer Dave Jerden’s name on the back of several CD jackets in and near my player: Mother’s Milk, Nothing’s Shocking, Facelift, Symbol of Salvation, and Swandive. Swandive (RCA), Bullet LaVolta’s last proper record, came out the same day as Nirvana’s Nevermind (DGC), September 24, 1991. They broke up not long after.

Clay Tarver

Tarver’s next band, Chavez, recorded two of the best records of the decade, both of which sound as firm and fresh now as they did then. Gone Glimmering (1995) and Ride the Fader (1996) helped Matador Records maintain a hand in the choke-hold on the decade-defining sound (The other hand belonged to Sub Pop). Along with Matt Sweeney’s lilting vocals, it was Tarver’s guitar that formed that sound. I’ve always considered him among players whose guitar sound is their band’s identity. Think John Haggerty, Bob Mould, J. Mascis, Steve Albini. Here, just listen to “Break Up Your Band” from Gone Glimmering (1995):

bKr45j6S_qQ

I saw Chavez play in Seattle in 1996, and after the show I went to say “hi” to Clay. I shook his hand and introduced myself, then noticed that I’d interrupted a three-way conversation-in-progress. There were mildly annoyed dudes standing on either side of me. I soon realized I was standing between Greg Dulli and Donal Logue, two of Tarver’s old friends and stars in their own right. Dulli is the lead singer of the legendary Afghan Whigs, and Logue, though he’s done tons of other things, was the dad on Fox’s Grounded for Life (2001-2005) and currently plays Harvey Bullock on Gotham.

I recently asked Donal about Clay, and he had the following to say:

Clay Tarver is smarter and more talented than anyone I’ve ever met, but the super-human thing about Clay is he’s never been an attention-seeker or used any of his insanely unfair talents in some kind of narcissistic pursuit. He was the last word in any conversation regarding art or politics, but (and this is hard to articulate), he was never a dick about it. He was always just right, and his thinking was always at another level. High school all-state basketball star? I wouldn’t have known it unless his family told me. One of the best guitarists of all time? His own kids didn’t know he played guitar. No one has influenced me more than Clay Tarver. It’s impossible to describe Clay Tarver in a sentence, Roy, so I don’t even want to try!

Donal reiterated that the thing he finds so amazing about Clay is his modesty. “What really blows me away,” Donal said, “is how he avoided any kind of self-serving behavior, despite his gifts and talents.”

Silicon Valley

Toward the turn of the millennium, Tarver made the switch from music to movies and put together some outstanding and memorable clips in a place where it’s difficult to stand out. He directed the “Jimmy the Cabdriver” spots for MTV, which featured Donal as a greasy, fast-talking cabdriver, directed the ubiquitous “Got Milk?” commercials, and co-wrote the feature film Joy Ride (2001) with J.J. Abrams. He now serves as a consulting producer and writer for HBO’s Silicon Valley. Tarver recently signed on to script the sequel to Dodgeball for Fox, but he says that’s not likely to happen. He also owes Greg Dulli a phone call.

Roy Christopher: You’ve been on stage as a guitarist and are now writing scripts and producing. How do the two roles—one out in front of the crowd and one behind the scenes—compare? Which do you like better?

Chavez : Gone Glimmering Clay Tarver: Well, the first question is easy. Being on stage is one hell of a lot more fun. And not because you’re the focus of the attention, of all the applause, etc. To me, it’s more about getting some kind of visceral gratification for what I’m doing as it happens. It’s tremendous.There’s nothing like performing with a group, in front of people, where you’re kind of all in this special moment together. Writing is the opposite. Writing is all about creating that moment for others. Sometimes fool proofing it. It’s about craft and discipline and serious self-editing. And I suppose I enjoy the challenge. I do. Even in music, you can’t get on stage without doing the hard work of writing. But writing’s not fun. Look, I feel very fortunate to be doing what I do. I’m creatively challenged to the hilt. But I’d be lying if I told you I don’t miss playing whenever I wanted to.

RC: Man, the 1990s were a weird time for music. Looking back, it seems like genres were bending and blending in such odd ways. What do you like these days?

CT: Huh. I don’t know if I agree with you. For me, my favorite time of music was the Creem magazine days. Genres were all over the place. Any issue could have Cheap Trick, Aerosmith, The Sex Pistols, Blondie, KISS, Nugent, Elton John, Rick Derringer, and Bowie.

The 90s were more a generational thing to me. I was glad to be a part of it. But it was much more sort of straightforward. What am I into today? Not much new… Tinariwen… Queens… Still listening to a lot of Dennis Wilson and Glen Campbell… Love the Master’s Apprentices… Saw John Prine for the first time recently and loved it.

RC: Fair enough… Donal Logue and Greg Dulli are two guys whose paths have crossed yours at various times over the past twenty-odd years. Tell me about the connection among you three.

CT: Donal was my roommate in college. And he was Bullet LaVolta’s road manager and general best friend. He came on tour with us.

In Champagne, Illinois the day of the World Series Earthquake — 25 years ago last month — we met and have all been friends ever since. In fact, I owe Greg a call right now (he lives right near me), and he gets real pissy when I owe him one.

Donal and I later did the cab driver things. I’d gotten a job at MTV when I moved to New York to start Chavez. That’s actually how I became a writer. They wanted to turn it into a feature so I thought I’d give it a try. I figured if I ever wanted to direct more stuff it would be a good skill to have. The movie never got made. But it gave me my career.

It’s funny. I never wanted to be a writer. I was one of those guys who, when I finished college, was thrilled to never write another paper again. Now fucking look at me…

RC: Ha. Speaking of, you’re a writer and consulting producer on HBO’s Silicon Valley, which is hilarious and accurate as far as my experience in start-ups has been. Have you worked in that world at all?

CT: Nope. Never. But Mike Judge did a million years ago. He’s the creator of the show, and a guy I’ve done feature work with for something like 15 years. (A great musician, by the way. Sick stand-up bass player. A pro before he got into animation.) Also, Alec Berg (our show runner) has a brother who worked in that world. Between us we read, did research, went on trips up there. But we also have really serious advisers who help us. We’re in the midst of Season 2 right now… Really in the trenches.

RC: Awesome! I can’t wait to see where it goes next… Okay, having been successful in two different areas of entertainment, do you have any advice for those aspiring musicians or writers out there?

CT: Ya know, people always want to “break in” to music or film or whatever. But I always found that to be a weird phrase. I think you just do what you want and hope people like it. And now, more than ever, that’s possible. Music’s great because there’s no barrier to entry. You have instruments and guys and you just go do it. If people like it, there ya go. Film is obviously more expensive. But, Christ, there’s so many different ways to get stuff out there. People make shorts and bits and all kinds of stuff. And if it’s good, usually people will find it. I say just keep doing. Keep making stuff. Keep at it.

RC: I know you’re working on Dodgeball 2, but what else is coming up?

CT: I’ve got some stuff in the works. Dodgeball 2 doesn’t seem like it’s going to happen. But I’m hoping to keep at it with Silicon Valley. I have some pretty exciting feature things kicking around. And I’m even making a music-based TV show. But in truth, who the hell knows?

November 5, 2014

Gareth Branwyn: Borg Like Me

Gareth Branwyn

Over the past 30-odd years, writer Gareth Branwyn has been amassing an impressive body of work on the fringes of cyberculture. He wrote for bOING bOING when it was still a print zine, did his own zine called Going Gaga before that, was an editor at Mondo 2000, WIRED, MAKE, does book reviews for WINK, has edited over a dozen books, and is a regular contributor to my own Summer Reading Lists. He’s stayed as jacked-in to our current technoculture as one can be, for as long as there’s been a jack. His new book, Borg Like Me & Other Tales of Art, Eros, and Embedded Systems (Sparks of Fire Press, 2014), collects almost 300 pages of his pieces from all over the place. It’s like a cross between a very personal, edited collection on cyberpunk and a zine anthology.

The last time I interviewed Branwyn (in 2001), he told me,

One of the great things about being so bloody old is that I’ve had a chance to experience every flavor of fringe media from the mid-’70s on. I caught the tail end of ’70s hippie media, then the punk DIY movement of the ’80s, then the ’zine publishing scene of the ’90s, and then web publishing in the ’90s.

I finally met Gareth IRL at Maker Faire in Austin in 2008, and we haven’t had a genuine sit-down in over ten years. Once I got my hands on a copy of Borg Like Me, I knew it was time to catch up with him again.

Roy Christopher: After all of these years, what finally prompted the collecting of all of these pieces?

Gareth Branwyn: This is a book I started putting together years ago, before I became the Editorial Director at MAKE. But that job was so all-consuming, I knew the book would never happen if I stayed there. So, I left early last year and immediately launched a Kickstarter campaign. I also thought I had a very fun and innovative idea for a collection of this kind, what I call a lazy man’s memoir. I collected content from my 30+ year career and then wove a new, personal narrative around it, via deep intros to the pieces and new essays that helped flesh out the “story.” These (hopefully) create a narrative arc and a point to this book that makes it more interesting (and far more personal) than just a collection of my best writing.

RC: The title of the collection has a very personal connotation that people don’t necessarily know about. Tell us about your very close relationship with the machine.

GB: Well, as I like to tell people: I have an artificial hip, a rebuilt heart, and I take a biological drug that’s bioengineered from mice proteins. So I am literally a chimera—part man, part machine, part mouse. But as I make the point in the book, we are all so heavily mediated by technology and cutting-edge medical science at this point that we are all now cyborgs–part human, part machine.

The book’s subtitle, “& Other Tales of Art, Eros, and Embedded Systems,” also reveals more than people may be aware about me. Over the course of my career, I’ve written about far more than technology. I’ve written a lot about art, music, relationships and love, the occult and spirituality, and various aspects of underground media and culture. I even wrote a column for a sex magazine many years ago. This book is something of a coming out for me, revealing more about the breadth of my interests than I ever have before to a widespread audience. I’m like an onion, man. Layers.

RC: You’re primarily known as a writer through your writings on technology and technology-influenced cyberculture, yet you claim not to be that into technology. What gives, man?

GB: Well, that subtitle was a little bit of an exaggeration for effect. I’m not in love with technology for technology’s sake. I’m most fascinated by how people actually use technology, and how they bend (and even break it) for their own purposes. As I say in the book (referring to the William Gibson quote “The street finds its own uses for things”), I’m more interested in the street than the things. Because I’ve written extensively on how-to technology, such as robot building, people think of me as a real hacker, a real geek. But I’m not. Most of my geek/hacker friends like to tinker and problem solve tech for its own sake, for the challenge. I don’t. I just want my tech to work. As I once said in a MAKE bio piece once: “I’m more of a puffy-sleeved romantic than a pocket-protected geek.”

RC: One of the images from Jamming the Media that has always stuck in my head is that of you and your then-four-year-old son Blake leaving the darkened room of blinking lights that was your media lab at the time. Tell us about his involvement in Borg Like Me.

GB: That’s from the introduction to Jamming the Media, a piece called “The Electronic Cottage: A Flash Forward.” I included that in Borg Like Me. Because of my work in cutting-edge tech and media, Blake grew up completely immersed in early personal technology tools. They all came completely natural to him. He’s a 27-year old digital artist and game designer now, living in the Bay Area, and I think that early immersion is a reason why. He and I used to do things like create animated cartoons in HyperCard by drawing animation frames by hand, scanning them into the computer, and then creating crude animations by flipping the hypercards really fast. I think we even put music on some of them. And one of the games I got for review, Creatures, had a huge impact on him and made him declare he wanted to be a game designer. Hell, he even did some kid reviews of games and early LEGO Mindstorms in Wired and The Baltimore Sun.   When he was a kid, I actually used to fantasize about him growing up and being some sort of artist, writer, or other creative type, and us collaborating on stuff. So it was was a dream come true working together on this book. At one point, I joked that he was acting as my project manager. So we decided to make it official. He was very pro about it and really did help keep me on track. He also did a ton of incidental art, icons for the book and such, did animation elements for my Kickstarter video, and graphics for the KS campaign. He also co-designed the rubber stamps I created to accompany the book, which I use on all of the mailing envelopes and letters I send out. It really does feel like the book was a collaboration between us. There were so many deeply gratifying aspects of doing this book. Working with him was definitely a highlight.

The book was also something of a “getting the band back together.” I worked with 18 artists from my old zine and early cyberculture mag days, people like Mark Frauenfelder, Danny Hellman, John Bergin, Shannon Wheeler, William Braker. There are some 30 illustrations in all.

RC: The artwork was the next thing I was going to ask about. You beat me to it… Twenty years ago, you wrote that “hackers represent the scouts to a new territory that is just now beginning to be mapped out by others.” How would you adjust or amend your conception of the hacker since?

GB: Well, the territory has certainly been mapped, and settled, and over-developed, and large tracts of it sold to the highest bidder. I’ve told people at several of my talks recently that, in the 1990s when I was writing about the “frontier towns of cyberspace,” I never for a moment could have imagined that my parents would now spend almost as much time online as I do. They are the most un-techie people I could imagine and yet they have his and hers desktop computers, laptops, smart phones, and at least one tablet.   But I think that “hacking the future” process is still happening. I was on a panel at SXSW this year, with Bruce Sterling, Cory Doctorow, and Chris Brown. The subject was basically: What happened to the cyberpunks? Sterling focused on the darker side of things (as he is wont to do): The Silk Road busts, Cody Wilson and 3D-printed guns, Eastern European cybercriminals, and the like. While I think that’s all relevant, I argued that I think lots of cyberpunks became makers. A lot of the people I worked with at MAKE were very involved in early-90s cyberculture. I think, for many of us, we got tired of the overemphasis on virtuality, hyper-mentality, and the denigration of “the meat,” and so there was something of a corrective swing back towards physicality, getting your hands dirty. Mark Frauenfelder (bOING bOING) has an interesting theory about this. In the 90s, when everyone was hacking software and the net, to share your work, all you had to do was send a file or link. But as soon as microcontrollers and other physical computing hardware became readily available and people started hacking with that, suddenly, you needed to show your work off in person. From this grew hardware meetups, hackerspaces, Maker Faires, and the like.

One of the frequent takeaways from Borg Like Me that I’ve heard from readers is that (in the essays about early cyberculture) there’s a palpable sense of frontier spirit, passion, and a sense of just how powerful and potentially revolutionary these democratizing tools can be. These days, when net neutrality is at stake, it’s good to be reminded of the promise and potential that all of this networked tech initially offered. Sure the techno-cultural changes have been deep, and in many ways profound (we take for granted the power of that globally-connected device that we carry, forgotten, in our pockets), but the drift towards mundanity and big media subsumption is insidious and steady. If the “You know, back when I was a cyberpunk…” stories in my book can inspire today’s mutant change agents in even the smallest ways, I’d be thrilled.

RC: Music is another deep interest we have in common. I love the “Immersive Media Notes” spread throughout the book. Diving into media headlong while writing is something I advocate regularly. Do you have specific “writing music,” or do you play whatever you’re into at the time?

GB: Music has always been so deeply interwoven into my life, even before I met my late-wife, a musician, and lived with her for 22 years. I can’t think of many things in my past without thinking of the music that soundtracked those experiences. As I was writing the book, I noticed how many pieces mentioned music, were about music, or had music attached to them in my mind. So I created those “Immersive Media Notes” so that readers could listen to the music associated with that piece before, during, or after. The idea was inspired by the essay “By This River” (and the Eno song from where it gets its name). That song is so hauntingly beautiful to me and completely encodes much of my relationship with my wife. I felt like people HAD to listen to that track to better appreciate the feelings I was trying to convey in that piece. It’s funny though – I actually added the “Immersive Media Notes” at the very last minute, even after the book was in first proofs, and it’s one of the things that always gets mentioned by readers/reviewers.

RC: What’s coming up next for a Borg like You?

GB: I’m working on a number of projects. For my imprint, Sparks of Fire Press, I’m working on two new chapbooks in the Borg Like Me series. The Eros Part is a collection of my writings on love, sex, and muses. I promised this as one of the premiums for my Kickstarter campaign. Then I’m working on a follow up to my popular Gareth’s Tips on Sucks-Less Writing. I’m excited about that. I think there is some great new material in there. I’m also working on a big project I’m not at liberty to talk about, but if it comes through, it’ll be amazing. Oh, and I’ve also been working on Café Gaga, which’ll be a periodic podcast of things that are currently holding my attention. And I continue to do regular reviews for WINK Books, a gig that I really love. So, I’m definitely keeping busy!

November 3, 2014

Keeping Records with Christian Marclay

John Cage once said, “…music instructs us, that the uses of things, if they are meaningful, are creative; therefore the only lively thing that will happen with a record, is, if somehow you could use it to make something which it isn’t.” (quoted in Block & Glasmeier, 1989, p. 73). As much as any legitimate Hip-hop turntablist, Christian Marclay has made a career of repurposing vinyl records. Exhibits that include rearranging record cover art into new pieces, lining a gallery floor with records for patrons to walk upon (and then playing those trampled records later), and of course manipulating records on turntables to create new sound collages have all been parts of his extensive body of work.

Christian Marclay: Tone Arms

The punk movement was a liberating influence, with its energy, its non-conformism, its very loud volume of sound. Its amateurish, improvised side gave me the courage to make music without ever having studied it — Christian Marclay (quoted in Szendy, 2000, p. 89).

Like two of his more obvious forebears, John Cage and Brian Eno, Marclay is more artist than musician. Hew told Kim Gordon (2005), “I went to art school, not to music school. I don’t think like a musician” (p. 10). To wit, he’s worked in many other media besides sound. Readymades, collages, video, and performances all find their way into his work. “The more I worked with records,” Marclay told Alan Licht (2003), “the more I realized the potential of all the sounds generated with just a turntable and a record and started to appreciate all thes eunwanted sounds that were traditionally rejected: skipping, clicks and pops, all this stuff that people didn’t want. I started using these sounds for their musical quality and doing all kinds of aggressive, destructive stuff to the records for the purpose of creating new music” (p. 89).

In On & By Christian Marclay, edited by Jean-Pierre Criqui (MIT Press, 2014), Marclay adds, “I try to make people aware of these imperfections, and accept them as music; the recording is a sort of illusion; the scratch on the record is more real” (p. 42). He questions each medium itself in terms of itself. One of the most extensive explorations of his work, On & By Christian Marclay boasts pieces by Douglas Kahn, David Toop, Zadie Smith, and Roalind Kraus, among many others, as well as several artist statements and interviews with Marclay himself. It’s as good a place as any to start and an essential text for anyone already familiar.

Borrowing term “telegramophony” from Derrida (1987, p. 90), Peter Szendy writes of Marclay’s Telephones (1995), “The fact remains that Christian Marclay does not reject this ghostly, phantasmal telegramophony. He plays with it, trifles with it, turns it into the tacked-on plot of his story/ies. Of his stories without a story, abstract like the color charts of memory, but each time concretely arresting like a call that cannot be delayed” (p. 115). Marclay uses the broken metaphor, “Memory is our own recording device” (quoted in Khazam, 2000, p. 31), but his works can be seen as montages of broken metaphors. There seems to be something damaged or at least slightly off about the connections he makes and breaks. “For a fragment of the past to be able to be touched by the present,” wrote Walter Benjamin (1999), “there must be no continuity between them” (p. 470). This temporal discontinuity and its interstitial ghosts are the raw stuff that Marclay works with. Records, tapes, telephones—the fragmented ghosts of history are in there, speaking out and seeking their way out of the threshold.

Is history simply a matter of events that leave behind those things that can be weighed and measured—new institutions, new maps, new rulers, new winners and losers—or is it also the result of moments that seem to leave nothing behind, nothing but the mystery of spectral connections between people long separated by place and time, but somehow speaking the same language?
— Greil Marcus, Lipstick Traces

Greil Marcus (1989) describes punk as remaining “suspended in time” (p. 2), an unfinished nihilistic revolution. And just as punk has a dubious relationship with Dada and the Situationist International, so does Marclay. Guy Debord‘s first book, Mémoires (1959), was bound in sandpaper to wreck the books filed next to it on the shelf. Noise-punk band White‘s “Life on the Ranch of Elizabeth Clare Prophet” 7″ record (1996) came bound in a self-destructive sandpaper sleeve. Christian Marclay released Record Without a Cover (1985/1999), which is just what its name implies, with the same thought in mind: This record will sound different every time you play it. Its slow decay will become a part of its performance. Leaving the record unsleeved and unprotected was an act of creative destruction.

“The loss of control in music is actually what interests me the most,” Marclay tells Russell Ferguson (Criqui, 2014), “The struggle between control and loss of control is so much the core of improvised music. Many artists have been interested in that threshold between determinacy and indeterminacy, and not just John Cage, but also Duchamp, Pollock, Burroughs, and others” (p. 76).

The exploration of the land between those lines now belongs to Christian Marclay.

———-

Here’s Marclay live on the October 29, 1989 episode of the short-lived music television show Night Music:

IIFH4XHU228

References:

Benjamin, Walter. (1999). The Arcades Project. Cambridge: Belknap Press.

Block, Ursula & Glasmeier, Michael. (1989). Broken Music: Artists’ Recordworks. Berlin, Germany: Berliner Kunstlerprogramm des DAAD.

Criqui, Jean-Pierre. (2014). On & By Christian Marclay. Cambridge, MA: MIT Press.

Debord, Guy. (1959). Mémoires. France: Allia.

Gordon, Kim. (2005). Interview with Christian Marclay. In Christian Marclay (pp. 6-21). New York: Phaidon Press.

Marcus, Greil. (1989). Lipstick Traces: A secret History of the Twentieth Century. Cambridge, MA: Harvard University Press, p. 4.

Szendy, Peter. (2007). Christian Marclay on the Phone. In RE:Play. Zurich: jrp/ringier.

Szendy, Peter. (2000). Le son en Image. L’Ecoute. Paris: Ircam/L’Harmattan.

November 1, 2014

Interfaces of the Word

Designer James Macanufo once said that if paper didn’t exist, we’d have to invent it. Paper, inscribed with writing and then with printing, enabled recorded history (Ong, 1977). Media theorist Friedrich Kittler (1990) wrote that print held a “monopoly on the storage of serial data” (p.245). Even as writing represents a locking down of knowledge, one of “sequestration, interposition, diaeresis or division, alienation, and closed fields or systems” (Ong, 1977, p. 305), Walter Ong points out that it also represents liberation, a system of access where none existed before. After all, we only write things down in order to enable the possibility of referring to them later.

@mathpunk People would make fun of you if you were working on software for communicating with the dead even though that’s half the purpose of writing. [Tweeted, November 1, 2014]

“Written genres,” Lisa Gitelman writes in her latest book, Paper Knowledge: Toward a Media History of Documents (Duke University Press, 2014), “depend on a possibly infinite number of things that large groups of people recognize, will recognize, or have recognized that writings can be for. To wit, documents are for knowing-showing” (p. 2). This “knowing-showing” is the liberation aspect of writing and printing, the enabling of access. She continues, “[J]ob printers facilitate or ensure the pure exchange function. That is, they ensure value that exists in and only because of exchange, exchangeability, and circulation” (p. 48).

“Digital documents… have no edges” (Gitelman, 2014, p. 17). A “document” in digital space is only metaphorically so. Every form of media is the same at the digital level. Just as genres of writing emerge from discursive fields according to the shared knowledge of readers, “the ways they have been internalized by members of a shared culture” (Gitelman, 2014, p. 17), digital documents are arranged in recognizable forms on the screen. The underlying mechanisms doing the arranging remain largely hidden from us as users, what Alex Galloway (2013) calls “the interface effect” (passim). It’s kind of like using genre as a way to parse massive amounts of text, as a different way to organize and understand writing.

Gitelman also rightfully makes an appearance in Comparative Textual Media: Transforming the Humanities in the Postprint Era (University of Minnesota Press, 2013), edited by N. Katherine Hayles and Jessica Pressman, further arguing the importance of job printing and helping define and redefine the fraught term “print culture.” Other pieces include ones by Matthew Kirschenbaum, Johanna Drucker, Jessica Brantley, and an excellent, contextualizing introduction by the editors. In her chapter, Rita Raley outlines what she calls “TXTual Practice,” describing screen-based, “born-digital” works as unstable, “not texts but text effects” (p. 20). Her essay moves away from viewing the digital document and other such contrivances as metaphors and toward employing Galloway’s interface effect. Galloway’s view casts the old argument of interfaces becoming transparent and “getting out of the way” in a bright and harsh new light, writing that their “operability engenders inoperability” (p. 25).

Lori Emerson’s Reading Writing Interfaces: From the Digital to the Bookbound (University of Minnesota Press, 2014) takes on the “invisible, imperceptible, inoperable” interface, starting with ubiquitous computing. Once our devices obsolesce into general use, “those transparent devices that achieve more the less they do” (Galloway, 2013, p. 25), they escape everyday criticism. The interface stuff hides in those edges that aren’t really there. The words I write now float and flicker on a screen in a conceptual space I barely understand. Emerson cites the mass seduction of the Macintosh computer interface and the activist digital media poetics that critique that seduction. Her media archeological approach unearths the hidden mechanisms of reading and writing and the ways we negotiate screen- and print-based texts. It’s no surprise that Reading Writing Interfaces is one of the better recent books on these issues.

Like Judith Donath’s The Social Machine (MIT Press, 2014), Type on Screen: A Critical Guide for Designers, Writers, Developers, and Students (Princeton Architectural Press, 2014), edited by Ellen Lupton, takes a designer’s tack on these issues. Though it’s a guide rather than a scholarly study, the book covers contrivances and conventions like type sizes, fonts, grids, scrolls, spines, wireframes, wayfinding, laundry lines, and designing the written word for different screens, as well as case studies of each. It’s an excellent way to frame one’s thinking on all of the above for critique or the classroom. Or both.

If paper didn’t exist, we’d have to invent it. Would anyone say the same for the screen?

References:

Emerson, Lori. (2014). Reading Writing Interfaces: From the Digital to the Bookbound. Minneapolis, MN: University of Minnesota Press.

Galloway, Alexander R. (2013). The Interface Effect. Malden, MA: Polity Press.

Gitelman, Lisa. (2014). Paper Knowledge: Toward a Media History of Documents. Durham, NC: Duke University Press.

Raley, Rita. (2013). TXTual Practice. In, N. Katerine Hayles & Jessica Pressman (Eds.), Comparative Textual Media: Transforming the Humanities in the Postprint Era (pp. 183-197). Minneapolis, MN: University of Minnesota Press.

Kittler, Friedrich A. (1990). Discourse Networks: 1800/1900. Stanford, CA: Stanford University Press.

Lupton, Ellen (Ed.) (2014). Type on Screen: A Critical Guide for Designers, Writers, Developers, and Students. New York: Princeton Architectural Press.

Ong, Walter J. (1977). Interfaces of the Word: Studies in the Evolution of Consciousness and Culture. Ithaca, NY: Cornell University Press.

October 22, 2014

Alex Chitty’s Artist Talk and Panel Discussion

I am happy to announce that I will be on a panel for Chicago artist Alex Chitty’s artist talk at Latitude on Wednesday, October 22nd, from 6:30-8:00 PM.

According to the announcement,

Former artist-in-residence Alex Chitty comes back to the lab to discuss self-sustaining systems, mutability, and loops. She is joined by panelists who engage with these topics within their own respective fields. These guests include a scientist investigating nanoparticle sheets, a freestyle BMX rider, and a fabricator of machines that create parts for other machines.

Chitty will show work created during her residency at a 2015 exhibition at Adds Donna gallery in Chicago, and we’ll all be talking about how our areas of interest overlap.

Alex Chitty panel

Update: Here’s the panel, post-talk (l to r): Alex Chitty, Alex Kapadia, Steven Kase, and myself. Alex gave us all pomegranates and coconuts to illustrate the complex parts and wholes we had all just discussed. It was a great talk, and I am honored and stoked to have been a part of it.

October 18, 2014

Bedlam and Then Some: This is not the Future

One of the many methods used in futures studies is what is called environmental scanning. “All futurists do environmental scanning,” write Theodore J. Gordon and Jerome C. Glenn, “some are more organized and systematic, all try to distinguish among what is constant, what changes, and what constantly changes” (p. 3). The process, which includes several distant early warning techniques (e.g., expert panels, literature reviews, internet searches, conference monitoring, etc.), helps inform the pursuits of issues management and strategic planning. According to William Renfro, President of the Issues Management Association, issues management consists of four stages: identifying potential future issues, researching the background and potential impacts of these issues, evaluating issues competing for a corporation or nation’s operations, and developing appropriate strategies for these operations (see Renfro, 1993, p. 67).

A little further afield, science fiction is another place we look to “see” the future (Hollinger, 2010; Woodgate, 2004). Citing Marx’s reification and Baudrillard’s simulacrum, Adam Roberts (2006) writes, “Science as simulation is the reason why fictional science, or ‘SF’, is so much more fun to watch than real science…” (p. 113). Spaceships, robots, cyberspace: These all exist in some form in the real world, but the widespread perception of these contrivances come from science fiction books and movies. “In the context of SF,” Roberts writes, “this reification works most potently on the interconnected levels of representation of technology and the technologies of reproduction” (p. 113). At varying levels, we look to science fiction to show us the potential directions in which technology is going.

Derek Woodgate (2004), founder of The Futures Lab, calls this method the “wide-angled lens” approach (p. 52). Analyzing the work of William Gibson, Woodgate (2004) writes, “Here, in the various levels of connectivity, we need to study the patterns and signals suggested by the ‘lens’ and models. More important, we must be able to recognize the patterns and make connections between seemingly unrelated data in a way that will provide us with powerful and effective future leverage points” (p. 60). As much as Gibson denies being a predictor of any stripe, his work is invariably consulted as a map to the future of technology.

The above approaches represent applied systems thinking for future planning. I briefly outline them here in order to analyze a few trends I’ve witnessed in recent science fiction, trends I do not believe are reliably predictive. As a member of the Futurist Board of the Lifeboat Foundation and fancying myself an amateur futurist, I enjoy dabbling in the techniques of futures studies. Pointing out the wrongs is much easier than getting it right, nonetheless, the following are four misrepresentations of future technology that I’ve seen popping up on movie screens:

Holograms: We all remember how futuristic Princess Leia’s message to Obi-Wan Kenobi looked when beamed out of R2D2’s projector in the original Star Wars (1977), and holograms have persisted throughout the series. Dennis Gabor was awarded the Nobel Prize in Physics in 1971 for his invention and development of the holographic technique for 3-D image representation. Since then they’ve shown up all over the science fictional universe in film, television, and novels: Total Recall (1990), Vanilla Sky (2001), Paul Levinson‘s novel The Pixel Eye (2003), The Island (2005), Avatar (2009), the Fringe television series (2008-2013), Spike Jonze’s her (2013), The Giver (2014), and perhaps most famously in the Star Trek series, home of the Holodek, as well as the aforementioned Star Wars films.

The best holograms have the resolution of old, black-and-white television. No one is going to turn away from the high-definition flat-screens found on every surface these days to look at a choppy, transparent, 3-D ghost.

her

Voice-activated Interfaces: This is another invention that’s been used throughout science fiction, from Edward Bellamy’s novel Looking Backward (1888) to Star Trek. While the movie her (2013) uses voice activation throughout, there’s a particularly unlikely scene showing main character Theodore Twombly (played by Joaquin Phoenix) checking his email while riding home on public transportation. That scenario is currently as commonplace as they come, but he’s doing it via a voice-activated interface. It’s like widespread adoption of the Bluetooth headset: Can you imagine everyone everywhere reciting commands to their communication devices? It would be Bedlam and then some!

Using a microphone for information input is the opposite of listening to headphones. The former is impossible to do in a crowded car, bus, train, office, or living room, while the latter is happens more often than not. I’ve also never really seen how modality can be expressed via voice. Without a supplementary input device, how does one, for instance, differentiate between writing, editing, and just talking?

Elysium

Exoskeletons: Robotic and semi-robotic exoskeletons are often shown as military contrivances used to augment human strength and agility. They’ve appeared most recently in Elysium (2013) and Edge of Tomorrow (2014). While these provide nice narrative crutches by keeping humans in the fore, and one can easily envision other uses for them, the future of warfare is largely unpersoned. Remotely controlled devices like missiles, bombs, satellites, and drones are the more likely path of future skirmishes. For an excellent speculative tale on the latter, see Daniel Suarez’s novel Kill Decision (2012).

Cloud Atlas

Round Screens: Outside of a radar room, I’ve only seen round screens in one movie. The Wachowski brothers’ adaptation of David Mitchell’s brilliant novel Cloud Atlas (2013) is full of bad ideas, but this has to be the most wrong-headed. Like the hologram, round screens look futuristic, but the grid as a textual and architectural form predates Gutenberg (see Hurlburt, 1978; Williamson, 1986). Unless we stop using symbolic language, its displays need to be rectangles. Screens, like the pages they emulate, require right angles.

To paraphrase Kenneth Burke (1974), science fiction provides equipment for living in future and alternative worlds — even when it gets it wrong. As Elizabeth Grosz (2000) writes, “History is made an inexhaustible enterprise only because of the ongoing movement of time, the precession of futurity, and the multiplicity of positions from which this writing can and will occur” (p. 1021). Science fiction’s speculative trajectories often show us what’s possible, even if its just by showing us what’s not.

References:

Burke, Kenneth. (1974). The Philosophy of Literary Form. Berkeley, CA: University of California Press.

Glenn, Jerome C. & Gordon, Theodore J. (2003). Futures Research Methodology, V2.0. Washington, DC: AC/UNU Millennium Project.

Grosz, Elizaneth. (2000, Summer). Histories of a Feminist Future. Signs, 25(4), pp. 1017-1021.

Hollinger, Veronica. (2010, March). A History of the Future: Notes for an Archive. Science Fiction Studies, 37(1), pp. 23-33

Hurlburt, Allen. (1978). Grid: A Modular System for the Production of Newspapers, Magazines, and Books. New York: Van Nostrand Reinholt Co.

Renfro, William L. (1993). Issues Management in Strategic Planning. Westport, CT: Quorum Books.

Roberts, Adam. (2006). Science Fiction: The New Critical Idiom. New York: Routledge.

Williamson, Jack H. (1986, Autumn). The Grid: History, Use and Meaning. Design Issues, 3(2), pp. 15-30.

Woodgate, Derek (with Pethrick, Wayne R). (2004). Future Frequencies. Austin, TX: Fringecore Publishing.

————-

Special thanks to my futurist friends Scott Smith, Frank Spencer, Stuart Candy, Jamais Cascio, Bruce Sterling, and Emily Empel for getting me psyched about futures studies in the first place, and to Lily Brewer and Kathleen Tyner for providing additional texts and inspiration.

October 12, 2014

Contested Boundaries and Saturated Selves

In her book The Social Machine (MIT Press, 2014), Judith Donath outlines designs for living online. Echoing George Lakoff and Mark Johnson (1980), she writes, “We are embodied beings, who have evolved in the physical world; our thoughts and imagination are rooted in the sensory experience of our physical surroundings. Online, there is no body; there is only information. We comprehend abstract ideas by reframing them in metaphoric terms that ultimately derive from physical experience” (p. 9). One needn’t look any further that a computer’s desktop to see this in action. “Immersion” was once a strong notion in computer-mediated communication studies, online communities, and virtual reality. Now we are not so much immersed in media as we are saturated by it.

Donath points out that these are boundary issues. Walls, fences, locked doors, online moderators—“the doormen of discussions” (p. 159), spam filters, and other gate-keeping contrivances protect the private from the public and vice versa. Even with such boundaries in place, our embodiedness is still at risk. We are as sieves, filtering news from noise, or as sponges, soaking up information and influence of all kinds. The latter evokes Psychologist Kenneth Gergen’s “saturated self”:

Emerging technologies saturate us with the voices of humankind—both harmonious and alien. As we absorb their varied rhymes and reasons, they become a part of us and we of them. Social saturation furnishes us with a multiplicity of incoherent and unrelated languages of the self (1991, p. 6).

Nearly twenty years ago, Nicholas Negroponte (1995) pontificated on the fading boundaries of the “post-information age,” writing,

In the same ways that hypertext removes the limitations of the printed page, the post-information age will remove the limitations of geography. Digital living will include less and less dependence upon being in specific place at specific time, and the transmission of place itself will start to become possible. In the post-information age, since you may live and work at one or many locations, the concept of an “address” now takes on new meaning (p. 163).

The history of the internet is largely a story of broken-down boundaries (see Grodin & Lindolof, 1996; Jenkins, 2006; van Dijck, 2013). Its architecture “rests upon principles of convergence, which enable multiple and overlapping connections between varieties of distinct social spheres” (Papacharissi, 2011, p. 305). The inherent irony of Negroponte’s observation is that since physical location no longer matters in the digital, post-geographic workday, it makes it matter even more. If you can work from anywhere, where you live means more than ever. You can live wherever you want regardless of where your work is. The old boundaries are gone.

The overwhelming irony now is that where we are matters less than the digital wares with which we saturate our selves. On the commute, at school, at work, at home, on a trip, visiting friends—the smartphone usurps all of these with a persistent and precise hold on our attention. In William Gibson‘s term, the online world has “everted” itself into physical space. The fact that it is now inescapable is what writer Michael Harris calls “the end of absence.” His is an example of what I have called the Advent Horizon. We feel a sense of loss when we cross one of these lines. From the Socratic shift from speaking to writing, to the transition from writing to typing, we’re comfortable—differently on an individual and collective level—in one of these phases. As we adopt and assimilate new devices, our horizon of comfort drifts further out while our media vocabulary increases. It takes 30 years for a full, generational change and with that a full shift in advent horizons. Harris notes, “If you were born before 1985, then you know what life is like both with the internet and without. You are making the pilgrimage from Before to After” (p. 15).

Reaching across one of these divides, Thomas de Zengotita (2005) writes of digitally zombified youth,

… It was if they were somnambulating, hypnotized, into some newborn zone of being where hallowed custom and bizarre context were so surreally fused that the whole tableau seemed poised to shimmer off into the ether at any moment (p. 155).

Ours is a chronic presence in a chronic present. Donath (2014), writes of our online personal presences, “The stranger, as we think of him now, may cease to exist” (p. 336). But Harris (2014) adds, “Before all memory of those absences is shuttered, though, there is this brief time when we might record what came before. We might do something with those small, barely noticeable instances when we’re reminded of our love for absence. They flash at us amid the rush of our experience and seem to signal: Wait, wasn’t there something…?” (p. 8).

Well, was there?

References:

de Zengotita, Thomas. (2005). Mediated: How the Media Shapes Our World and the Way We Live in It. New York: Bloomsbury.

Donath, Judith. (2014). The Social Machine: Designs for Living Online. Cambridge, MA: The MIT Press.

Gergen, Kenneth. (1991). The Saturated Self: Dilemmas of Identity in Contemporary Life. New York: Basic Books.

Grodin, Debra & Lindlof, Thomas R. (1996). Constructing the Self in a Mediated World. Thousand Oaks, CA: Sage.

Harris, Michael. (2014). The End of Absence: Reclaiming What We’ve Lost in a World of Constant Connection. New York: Current.

Jenkins, Henry. (2006). Convergence Culture: Where Old and New Media Collide. New York: New York University Press.

Lakoff, George, & Johnson, Mark (1980). Metaphors We Live By. Chicago: University of Chicago Press.

Negroponte, Nicholas. (1995). Being Digital. New York: Knopf.

Papacharissi, Zizi. (2011). A Networked Self. In Zizi Papacharissi (Ed.), A Networked Self: Identity, Community, and Culture on Social Network Sites (pp. 304-317). New York: Routledge.

van Dijck, José. (2013). The Culture of Connectivity: A Critical History of Social Media. New York: Oxford University Press.

October 11, 2014

Conjuring Infinity: The Dark Reach of Black Metal

At barely thirty years old, black metal is a relatively young musical genre. Its roots running back to such thrash acts as Celtic Frost, Venom, Bathory, and Slayer, it finally found fertile ground in Scandinavia in the late 1980s/early 1990s. This second wave, including such bands as Mayhem, Darkthrone, Burzum, and Emperor, is what most are referring to when they utter the words. As author Ulrike Serowy puts it, black metal is “music that touches the inmost depths, goes beyond words, music that conjures infinity” (p. 33). Dayal Patterson points out that black metal “will surely continue to innovate and evolve, and this should be celebrated” (p. 484). Serowy’s new novella and Myrkur’s new EP both show how far this style has spread since its spiked-leather beginnings.

Serowy’s Skogtatt (Hablizel, 2014), is the first piece of fiction to capture the spirit of black metal. It tells the story of a young man lost in a wintery forest, his car having left him stranded after band practice, a black metal black mass: “Together they create an invocation, ever and again, over and over they call on something for which they yearn, something they never the less fear.” His struggles in the dark reflect the struggles of black metal as a genre and of humans as a species: nature versus technology, humanism versus misanthropy, love versus hate, silence versus sound. The protagonist’s long, lonely walk in the woods gives way to the introspection so central to the appeal of black metal. The rhythm of the story is reminiscent of a song. It’s no surprise that Serowy also plays guitar.

With illustrations by Faith Coloccia and a logo by Aaron Turner, (both of Mamiffer) and an English translation by Samuel Willcocks, Skogtatt is a true metal artifact without ever directly mentioning metal. It’s the perfect bedtime read as winter approaches here in the West. It’s as scary as it is unsettling, as dark as it is daring, as mysterious as it is moving, an intoxicating visit to the cold land of death. Couple it with Cult of Luna’s Eviga Riket (2012), and you’ll have all-metal dreams.

Screaming is one of the rewarding parts about black metal, both to listen to and to do myself. It releases a fraction of the anger and hatred I have inside me. — Amalie Bruun, Myrkur

Myrkur’s self-titled debut EP (Relapse, 2014) alloys black metal’s core aesthetic (e.g., frenetic, tremelo strumming, blast beats, screaming vocals) with haunting female choral arrangements. Before becoming a model and a musician in other genres, Amalie Bruun grew up with this music. She told Wyatt Marshall, “I was born and raised on the northern coast of Denmark. I have written this music for years by myself in my house in Denmark. Black metal comes from my part of the world, Scandinavia, and has its roots in the Nordic nature that I hold so dear and also our ancient pagan religion of Norse Mythology and our folk music.” Patterson continues, “it should also be remembered that many of the most powerful efforts have come from bands utilizing conventional black metal frameworks and traditional ideologies…” (p. 484).

In the short film embedded below, Bruun explains, “I always dreamed about becoming a Huldra, an elf girl, a valkyrie, or the goddess Freja. There are these powerful women in Norse Mythology that have both an element of beauty and mystery, but they are also deadly.” That’s exactly how Myrkur sounds: beautiful, mysterious, deadly. My only complaint is that there isn’t more of it.

Here is a very short film about Myrkur featuring the song “Nattens Barn” [runtime: 2:44]:

VlbiXBEkNiE

References:

Marshall, Wyatt. (2014, September 16). Shedding Light on the Darkness of Myrkur. Bandcamp Blog.

Patterson, Dayal. (2013). Black Metal: Evolution of the Cult. Port Townsend, WA: Feral House.

Serowy, Ulrike. (2013). Skogtatt: A Novella. Lohmar, Germany: Hablizel.