Walking about at night

“In England, walking about at night was a crime for a very long time. William the Conqueror ordained that a bell should be rung at 8 p.m., at which point Londoners were supposed to put their fires and candles out and their heads down. Again and again, until modern times, Matthew Beaumont tells us, specifically nocturnal laws were promulgated against draw-latchets, roberdsmen, barraters, roysterers, roarers, harlots and other nefarious nightwalkers — including those ‘eavesdroppers’ who stood listening in the close darkness where the rain dripped from a house’s eaves.

Beaumont reads such laws as being designed to exert political and social control. To walk the city streets at night, by contrast, is to make ‘a libertine assault on what might be called the ideology of good hours’, to pose ‘an intrinsic challenge to the diurnal regime on which, from the end of the Middle Ages, Protestant ideology and the political economy of capitalism partly depended’. Nightwalking is sticking it to the Man.”

Dickens’s dark side: walking at night helped ease his conscience at killing off characters, The Spectator.

Nightwalking: A Nocturnal History of London by Matthew Beaumont.

Splice in your body sounds with the body sounds of your best friend and see how familiar he gets

“The realization that something as familiar to you as the movements of your intestines the sound of your breathing the beating of your heart is also alien and hostile does make one feel a bit insecure at first. Remember that you can separate yourself from the ‘Other Half’ from the word. The word is spliced in with the sound of your intestines and breathing with the beating of your heart. The first step is to record the sounds of your body and start splicing them in yourself. Splice in your body sounds with the body sounds of your best friend and see how familiar he gets. Splice your body sounds in with air hammers. Blast jolt vibrate the ‘Other Half’ right out into the street. Splice your body sounds in with anybody or anything. Start a tapeworm club and exchange body sound tapes. Feel right out into your neighbor’s intestines and help him digest his food. Communication must become total and conscious before we can stop it.

The Ticket That Exploded, William S. Burroughs.

Modern man has lost the option of silence

“Modern man has lost the option of silence. Try halting your sub-vocal speech. Try to achieve even ten seconds of inner silence. You will encounter a resisting organism that forces you to talk. That organism is the word.”

The Ticket That Exploded, William S. Burroughs.

A tentative shape flickering in and out of focus to the sound track

“On a stone table was a tape recorder – The monk switched on the recorder and sounds of lovemaking filled the room … He danced around the table caressing a shadowy figure out of the air above the recorder – A tentative shape flickering in and out of focus to the sound track – The figure floated free of the recorder and followed the monk to a pallet on the floor … the monk twisted through a parody of lovemaking as the tape speeded up: ‘Oh darling i love you oh oh deeper oh oh fuck the shit out of me oh darling do it again’ … His bones were shaking, vibrated to neon

All the tunes and sound effects of ‘Love’ spit from the recorder permutating sex whine of a sick picture planet: Do you love me?”

The Ticket That Exploded, William S. Burroughs.

I consider my position as that of a parasite

“I consider my position towards commercial cinema as that of a parasite … in order to get where you want to be, you need to have some sort of a relationship with those who pay for the medium. The only way I thought I could do this was to become a criminal – I stole all my films. I accepted commissions, but then didn’t really execute them in the way that those who paid for them had anticipated. What gave me the moral assurance that I was right, was to believe that I gave them something much better than what they really wanted.

I was sued [by the brewery Schwechater] and I had to leave the country. I went to Sweden and worked as a dish washer and God knows what else. It was the only way for me to survive. Schwechater was very influential, so I couldn’t stay and work in Vienna. Even the film lab would no longer do prints for me because Schwechater was their client. All in all I paid very dearly for my films, because I lost all my friends, I lost my social and work environment many times. I lived about 14 years of my life without a clue how to survive until I came to America and started teaching.”

Monument Film: An Interview with Peter Kubelka, Close-Up.

That really gives me pleasure, unlike so-called “art”

“If some people leave when they see my films … that really gives me pleasure. It proves that they can provoke a reaction, unlike so-called ‘art’ which has turned into something close to social entertainment, where people will accept anything.”

Monument Film: An Interview with Peter Kubelka, Close-Up.

Framework Radio #503: 2015.03.15 [blanca rego]

Today Framework Radio has published #503: 2015.03.15 [blanca rego], which is my third rain remix—the first one is unpublished, the second one was made for Détour.

In this case, all sound recordings are from Galicia (mainly A Coruña) and Catalunya (mainly Barcelona), the two places were I’ve lived during long periods of time—in fact, the podcast starts with a recording made at my childhood/teenage bedroom and ends with a recording made at one of my last places at Barcelona, the only flat where I’ve lived alone.

You can listen to the podcast and find more information about it at Framework Radio.

Thanks to:
Patrick McGinley | Iago González | Chiu Longina | Marco Maril | Carlos Suárez | Justin Bennett | Philippe Faujas | Pedro Montesinos | Pablo Sanz | Mikel R. Nieto


In psychology and psychiatry, anhedonia (/ˌænhiˈdoʊniə/ an-hee-doh-nee-ə; Greek: ἀν- an-, “without” and ἡδονή hēdonē, “pleasure”) is defined as the inability to experience pleasure from activities usually found enjoyable, e.g. exercise, hobbies, music, sexual activities or social interactions. While earlier definitions of anhedonia emphasized pleasurable experience, more recent models have highlighted the need to consider different aspects of enjoyable behavior, such as motivation or desire to engage in an activity (“motivational anhedonia”), as compared to the level of enjoyment of the activity itself (“consummatory anhedonia”).


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