Monday, November 7, 2016

HyperNormalisation- Dir Adam Curtis (2016) and a farewell to election season



Adam Curtis's latest documentary Hypernormalisation is a sprawling opus about the transformation of history from events that unfolded politically to a series of reactionary poses based more in the management of public perception than anything else. It's a great work, connecting many seemingly disjointed narratives from Syria to the creation of the internet to Jane Fonda to LSD to 9/11 to the rise of Donald Trump, and worth seeing in its entirety.

But it's a point from this last throughline that I want to highlight. In the documentary, Curtis connects the Trump campaign's tactics to those of Russia's Vladislav Surkov, a chief of staff at the Kremlin who oversaw a series of bizarre tactics set to create a massive misinformation campaign whose only aim seemed to be complete bewilderment. Surkov used Kremlin money to finance both the left and the right, fascists and liberal human rights groups, the status quo, and the rising opposition. He quotes a politician who referred to him as being party to "a ceaseless shapeshifting that is unstoppable because its undefinable".

Whether Trump is connected to specific actors from Putin's camp or not, what emerges from this election cycle is that we remain at a constant arm's length from the facts. Power continues to be codified somewhere far beyond us. And virtual space, while also presenting a great opportunity to connect us in huge ways, creates new gaps between us and the truth, shuttering us away from the narrowing inner network of power players attending each others's weddings and making decisions about when and how we can drink clean water, get access to healthcare, be protected from monsters with guns in uniform or in red ballcaps, et al.

What the media and the politicians will learn from the circus of this election cycle is that we enjoying eating peanuts, watching the acrobats ride the trembling line of analytics, and hearing the barkers bark. We liked the clowns, because we could both laugh at and be terrified of them. But by the end of the show, with the lights shining in our eyes, and the poofs of smoke signalling the arrival of each new act, it became harder and harder to discern what was all part of the act and what was actually happening.


The election has always been caked in layers of unreality, a stage show whose actors are so hackneyed and stilted they make community theater look like peak TV. But now, the civilized facade that media and the politicians used to portray, a friendly rivalry between two noble Skull and Bones opponents, has been exposed as the sham it is. The trust of the American people in news organizations has faltered. The failure to pony up any accountability over the 2008 crash and the Iraq war has been noted on both sides of the aisle, and Trump was savvy enough to see that slinging shit at both parties would tap into that collective nerve.


But as a result of our mistrust, the public now look to memes and Youtube videos for our news. They share RT stories or arbitrary plants, in ideological shades of liberalism and conservatism, of outrage fodder, dreamed up by minds who know that only an audience whose own reality has been liquified would ever buy. You know, the one where people's homes and savings were put on gambling block and then sold to a pawn shop for bailout money to the casino owners, and then who literally put a two-bit casino-owning charlatan in charge of one of the major political party. You know, the one where the century's biggest war crime was carried out over an invented story about a hypothetical nuclear arsenal that no one ever believed and no one went to jail. Where the 8-year speaker of the house is a pedophile and the multi-count sexual predator who once sexualized his 1-year-old daughter is running tight against the first major female presidential nominee because of sending a bunch of emails no one has seen in a manner that no one clearly understands.


Telejournalism is now fully the realm of a pitiful cadre of the punditry class, whose entire vocabulary is one of strategy, predicting how well each side will be marketing to us issues we don't fully understand and policies they couldn't bother to interrogate. So we've turned our attention elsewhere and in haste to follow the rabbit hole of facebook likes and retweets, we allowed a troll in our midst, who has taken to smearing a stream of fecal consciousness all over the cultural landscape.


Trump has unleashed an awful lot this long, desolate election season, but perhaps the most dangerous is the war he's waged on information. Like Billy Joel, he didn't start the fire. And like that song,we're talking about a morass comprised of a lot of arbitrary shit, slung together as if its part of some beautiful synchronicity but is actually just a chaotic dumpster fire of word vomit. (For those who'd get the reference, it's beautiful m0dnAr). As I tilt my head sideways and ponder the conspiracies at the center of it, I realize that none of us are immune to becoming one of its casualties. This election has made me think of all the weird crooked hands turning all the screws and cranking all the pulleys. It has made people like me question whether this really is rock bottom or whether this is just the way we should have been feeling the whole time. And the fact that this election teeters so close to the verge really does beg the question; is Trump the worst of us, or is Trump what we really look like in the mirror after the magic potion of self-petting for likes and cookie-bred reinforcement algorithms wears off?


Every four years we attempt to ask the question: who are we? And the answer always comes back more monstrous and hideous then the last, a bestial hybrid of acquiescence and intolerance, of denial and diversion. The lie that we sell ourselves coming back to sell ourselves out. At what point do we recognize that maybe America is not great, but it's not quite a lost cause either. It just needs to stop thinking that it's King Shit before it can work on its issues.


With big complicated issues that we need communal buy-in on in order to save us from species-wide extinction, it's hard not to become desolate over what all this gooey postmodern afterbirth of post-truth glut means for the future. Curtis takes his title from a phrase in a book about the end days of the Soviet Union, and how the Soviets knew that their way of life was on its last legs, but they refused to disavow it because they couldn't think of any alternative. 2016 has been a weird ride. At a glance, all the strange appears to be an emergence of what an alternative may shape up to to look like. Yet, a society that is so inundated with novelty and misinformation that they don't know what to believe can't be one long for survival. With this election, we are at the end and the beginning of something. Trump knows this, which is why he's exploited fears of this uncertainty. But he's not prolonging our entrance into this new era, just hastening it and attempting to replace what it could be with broken fragments of what already has been.



Trump is a cancer, not because he could bring about the end times, but moreover because he could make the end times last even longer. Let's end this end, and start a beginning.

Sunday, November 6, 2016

Clipping.- "Shooter"

RIP Jean-Jacques Perrey



for several years in college, I opened my radio show (alternately named Digitrash, Musynchronocity, and Shortcuts That Take Longer) with the elegant sounds of Jean-Jacques's moog on "Carousel of the Planets".  Along with Gershon Kingsley, the duo were like the Hendrix of Moog.  They defined the instrument and opened up its many possibilities.  Of course, it was at times slightly kitsch, which lead to a long history of their work not being taken seriously, but there's something about the range of a group who can make hip-hop waves, perform cosmic ballads, catalogue the isolated terror of outer space, give Smash Mouth a career, inspire the theme to Futurama, and soundtrack a parade at Disneyland...
















This House Has People In It dir. Alan Resnick (2016)




Late on this way, but definitely...disquieting.   Uncanny valley as horror short.






Wednesday, November 2, 2016

Weird 2016



I think often of Warren Ellis's Injection, in which a group of researchers discover that the future was going to be a long trough of stagnation, with no real creative discoveries or innovation on the horizon.  Their (hauntological) solution is to inject the internet with an AI unit to see if it can pull something out of our past that might make things a little more interesting. But all doesn't go to plan and things take a turn for the nightmarish.

Kinda neatly sums up 2016, don't you think?




Friday, October 28, 2016

Stranger Things Season 2 E05-E09



Part 2 of 2 representing the clinching second half the second series

1. Chocolate Watch Band- It's All Over Now Baby Blue
2. Kyle Dixon Michael Stein- Stranger Things
3. Tangerine Dream- Lost in the Dunes
4. Ministry- I Prefer
5. Genghis Tron- Board Up the House (Steve Moore Mix)
6. Jean Michel Jarre- Deserted Palace
7. Bronski Beat- It Ain't Necessarily So
8. Roll the Dice- The New Black
9. The Byrds- I Come and Stand At Every Door
10. Suzanne Ciani- Eigth Wave
11. Ikonika- Completion
12. Patrick Vasori and Jan Yrssen- Fourmis Geantes
13. Mike Oldfield- Evacuation
14. Charles Bernstein- No Escape
15. Factory Floor & Peter Gordon- Beachcombing
16. The Velvet Underground & Nico- All Tomorrow's Parties
17. Skanfrom- Here She Comes
18. Staccato Du Mal- Drowning Still
19. Ralph Lundsten- Paradise Winds
20. David J- I Hear Only Silence Now

Thursday, October 27, 2016

Getting on/Getting Through

Ambient/formless/otherwise abstract tunes

feat. The Lone Bureacrat, Medina/Walsh, The House in the Woods, Yaroze Dream Suite, Ariel Kalma, Emra Grid

























Tuesday, October 25, 2016

Stranger Things Season 2 E01-E04



Happy Halloween. Here's my sneak preview of the imaginary upcoming Season of Stranger Things, at least the first few episodes, a mixture of synthwave, gothy, and psych sounds much like those featured on the show. I'll post the second half of the season's sounds later this week. 

1. Kyle Dixon & Michael Stein- Stranger Things
2. Patrick Cowley- Mockingbird Dream
3. Peter Gabriel- At Night
4. Skinny Puppy- Love
5. The Sundays- Here's Where the Story Ends
6. Stellar OM Source- Copper Dream
7. James Asher- Research Specimen
8. Elf Power- Upside Down
9. Oneohtrix Point Never- Parallel Memories
10. The Cure- Perfect Girl
11. Com Truise- Cyanide Sisters
12. The Reds- Lector's Cell
13. Starship- Ron Hays Music Image
14. The Third Bardo- Five Years Ahead of My Time
15. Black Mass- Philo Stone
16. Concrete Blonde- Your Haunted Head
17. Jonathan Elias- The Invasion
18. And Also the Trees- From the Silver Frost
19. FORMA- FORMA211
20. John Carpenter- Tenement-White Tiger
21. Brad Fiedel- "Fuck You Asshole"
22. New Colony Six- The Time of the Year is Sunset
23. The Advisory Circle- Sundial

Friday, October 21, 2016

"In countries where great crimes frequently pass unpunished, the most atrocious actions become almost familiar, and cease to impress the people with that horror which is universally felt in countries where an exact administration of justice takes place" 

-Adam Smith, Theory of Moral Sentiments


https://www.theguardian.com/us-news/ng-interactive/2015/jun/01/the-counted-police-killings-us-database

https://newrepublic.com/minutes/125749/500-kids-died-gun-violence-since-sandy-hook

http://www.slate.com/blogs/xx_factor/2016/10/17/calls_to_a_sexual_assault_hotline_have_surged_following_trump_allegations.html

http://www.nytimes.com/2016/10/16/world/africa/obama-somalia-secret-war.html?_r=0

&on

&on

&on

Thursday, October 20, 2016

Indelible Marx



"Marx was fanatically committed to finding empirical corroboration for his theory. That’s what it meant to put philosophy on its feet. And that’s why he spent all those hours alone in the British Museum, studying reports on factory conditions, data on industrial production, statistics about international trade. It was a heroic attempt to show that reality aligned with theory. No wonder he couldn’t finish his book. 

"Marx had very little to say about how the business of life would be conducted in a communist society, and this turned out to be a serious problem for regimes trying to put communism into practice. He had reasons for being vague. He thought that our concepts, values, and beliefs all arise out of the conditions of our own time, which means that it’s hard to know what lies on the other side of historical change. In theory, after the revolution, everything will be “up for grabs”—which has been the great dream of leftist radicalism ever since.

"...How useful is Marx for understanding this bubble of ferment in the advanced economies? I think we don’t yet know very well the precise demographic profile of Brexit voters and Trump and Sanders supporters—whether they are people who have been materially damaged by free trade and immigration or people who are hostile to the status quo for other reasons. That they are basically all the former may turn out to be a consoling belief of the better-off, who can more easily understand why people who have suffered economic damage would be angry than why people who have nothing to complain about financially might simply want to blow the whole thing up.

"Still, in the political confusion, we may feel that we are seeing something that has not been seen in countries like Britain and the United States since before 1945: people debating what Marx would call the real nature of social relations. The political earth is being somewhat scorched. And, as politics continues to shed its traditional restraints, ugly as it is to watch, we may get a clearer understanding of what those relations are."


-Louis Melnad, Karl Marx Yesterday and Today, The New Yorker 

50 films of the 10s so far

Can't say I've fallen deep into movies, as Kael would have it, over the past 6 years.  TV has been too good and really surpassed the film medium, which itself seems trapped showing dull slow cinema setpieces, superhero yawns, and increasingly intolerable popcorn fare.  Also, as the parent of two young children, the genre I'm perhaps most acquainted with is "animated film for children".   There are doubtless dozens that I just kinda haven't got to. Nevertheless, here's 50 I've seen, in rough order;

1 Tree of Life
2 Ex Machina
3 Black Swan
4 The Master
5 Her
6 Cabin in the Woods
7 Inside Out
8 Martha Marcy May Marlene
9 Cosmopolis
10 Scott Pilgrim vs the World
11 Spring Breakers
12 21 Jump street
13 Kill List
14 The Hunger Games 1-4
15 Zootopia
16 The Duke of Burgundy
17 Beyond the Black Rainbow
18 A Girl Walks Home Alone At Night
19 Attack the Block
20 Moonrise Kingdom
21 The Babadook
22 Inherent Vice
23 Citizenfour
24 Chronicle
25 The Double
26 Inception
27 Map to the Stars
28 The Bling Ring
29 Frank
30 We Need to Talk About Kevin
31 The Lego Movie
32 Doggiewoggiez! Poochiewoochiez!
33 Enter the Void
34 Inside Llewyn Davis
35 Looper
36 Birdman
37 Berberian Sound Studio
38 Kubo and the Two Strings
39 Harry Potter and the Deathly Hollows 1
40 Never Let Me go
41 The Big Short
42 Prometheus
43 Upstream Color
44 The World's End
45 A Field in England
46 Grand Budapest Hotel
47 Frozen
48 Splice
49 Love and Mercy
50 The Muppets





25 Albums for 2016 so far


1 Danny Brown Atrocity Exhibition
2 Blank Banshee MEGA
3 Anhoni Hopelessness
4 Rihanna Anti
5 LSDXOXO Fuck Mary Kill
6 David Bowie Blackstar
7 Puce Mary The Spiral
8 SchoolboyQ Blank Face
9 Xosar Holographic Matrix
10 Jessy Lanza Oh No
11 Deiphix Odin
12 Death Grips Bottomless Pit
13 Carlos Nino & Friends Flutes, Echoes, It's All Happening
14 Divoli S'vere NTSU
15 Young Thug Jeffrey
16 Various Apocalypse Survival Kit (A.S.K)
17 James Ferraro Human Story 3
18 Yves Tumor When Man Fails You
19 Gut Nose Citadel Supreme
20 Beyonce Lemonade
21 Mac Quayle Mr Robot volume 1
22 Kendrick Lamar Untitlted Unmastered
23 Chino Amobi Anya's Garden
24 Black Tears The Long Decline
25 Various USSR (Ur Social Status Resistance)

Wednesday, October 19, 2016

The Center's Gated Community



"The reason the Post pundits embrace these tidy sophistries is simple enough. Knee-jerk incrementalism is, after all, a nifty substitute for actually thinking difficult issues through. Bernie Sanders ran for the presidency by proposing reforms that these prestigious commentators, for whatever reason, found distasteful. Rather than grapple with his ideas, however, they simply blew the whistle and ruled them out of bounds. Plans that were impractical, proposals that would never pass Congress—these things are off the table, and they are staying off. 
Clinging to this so-called pragmatism is also professionally self-serving. If “realism” is recognized as the ultimate trump card in American politics, it automatically prioritizes the thoughts and observations of the realism experts—also known as the Washington Post and its brother institutions of insider knowledge and professional policy practicality. Realism is what these organizations deal in; if you want it, you must come to them. Legitimacy is quite literally their property. They dole it out as they see fit." 
-Thomas Frank, Swat Team, The Media's Extermination of Bernie Sanders, and Real Reform, Harper's

Sunday, October 16, 2016

New Order- Play at Home (1984)



Weird BBC Doc where bands were supposed to film themselves "playing at home" with little other stipulations or instructions attached.  What follows is essentially a kind of less surreal Great Rock N' Roll Schwindle for Factory Records.  A naked Tony Wilson is front and center, presented in parodic form as both a cutthroat capitalist and a pretentious Hegel/Che/Gramsci quoting intellectual fart (the effort of which reminded me at times of the insufferable referentiality-as-substance art pose of a James Franco, particularly given how Wilson was a TV personality, albeit one who actually knew his work and used as an, ahem, ideal for living).  Gretton, Hannett, Erasmus and co. also feature, in smaller roles and the film circles about Manchester visiting some of the haunts infamous to any one intrigued by the Factory story.

It's unclear how familiar anyone at the time would have been able to see all this as some giant lark.  How much the Factory/New Order story was disseminated by this point?  New Order were no doubt one of the largest in the world in the year after '83, but how much of that passed on to their manager, label, labelmates (A Certain Ratio, who feature as well), and nightclub (The Hacienda, which if Wilson is to be believed was largely a failure when it first opened)?  It's unclear whether this was just a meaningless spoof, a Situationist plant of misinfo, or just an arbitrary setpiece to the grand saga of substance indulgence?

Certainly, the performances seem like they must either been mistakes or self-sabotage.  The live footage of "Lonesome Tonight" and "Thieves Like Us" is gaaawdawful, like a bunch of drunk amateurs all of the lot except f or power couple Stephen Morris and Gillian Gilbert.  Sumner in particular sounds like he's in some semi-conscious state.

It's not a surprise that this stayed hidden for so long.  It was probably intended to live and die in an era before mass reproduction. Perhaps one reason it never got listed as a Factory Records artifact, as other things such as a hair salon and an imagined but never released computer software game did in the same year.