Introducción a la música industrial en Canino

«Música industrial, dicen por ahí que eres la más ruidosa y transgresora, la más oscura y grosera, la perturbada que se atrevió a convertir los experimentos de vanguardia más intelectuales en pura provocación gamberra. Pero, dime, ¿de dónde vienes y quién eres realmente?».

He escrito una pequeña introducción a la música industrial, la podéis encontrar en Canino.

Cyberpunk moments where I live. Just warming you up.

Blade Runner cyberpunk GIF tears

Blade Runner (1982)

All those cyberpunk moments where I live. Just warming you up. Walking alone. Walking alone when all of a sudden you look down. Doesn’t make any difference. Maybe you wanna be by yourself. I understand what you mean.

You reach down. It’s a test designed to provoke an emotional response. A new life awaits you in the Off-world. Custom-tailored, genetically engineered humanoid. Climb and maintain. Over the landing threshold.

Sit down, cyberpunk.

Blade Runner cyberpunk GIF sit down

Walking the streets. Stop right where you are. Reaction time is a factor where I live. Three nights ago they tried to break through an electrical field crawling towards you on intergalactic runs. Incept date: 2016. Optimum self-sufficiency.

A basic pleasure model in the outer colonies to copy human beings. Fail-safe device. Go put the machine on it. Fluctuation of the pupil. Involuntary dilation of the iris. Just relax.

Plus the killing cyberpunk.

Blade Runner cyberpunk GIF smoking

I’d take him to the television. I’d kill it. He likes it so much he hangs it on your bedroom wall. A banquet is in progress. Commerce is our goal here. An experiment, nothing more. A strange obsession.

emotionally
inexperienced

Noise is the unconsciousness of music

“The Merzbow noise is abstract, minimal, deprived of mimetic content. Its effect is immediate, an overload of the nervous system, not being able to sort out the information into categories of relevant and irrelevant – hence the normal reaction of fear and discomfort when confronted with Merzbow noise. ‘Noise is the unconsciousness of music’, Merzbow states, in the same way as his other main interest, pornography and bondage, is the unconsciousness of sex.”

The Aesthetics of Noise, Torben Sangild.

Noise is a direct call to action

“‘Le bruit,’ noise with imitative effects, was introduced into art (in this con­nection we can hardly speak of individual arts, music or literature) by Marinetti, who used a chorus of typewriters, kettledrums, rattles and pot-covers to suggest the ‘awakening of the capital’; at first it was intended as nothing more than a rather violent reminder of the colorfulness of life.

(…)

Every movement naturally produces noise. While number, and consequently melody, are symbols presupposing a faculty for ab­straction, noise is a direct call to action. Music of whatever nature is harmonious, artistic, an activity of reason—but bruitism is life itself, it cannot be judged like a book, but rather it is a part of our personality, which attacks us, pursues us and tears us to pieces. Bruitism is a view of life, which, strange as it may seem at first, compels men to make an ultimate decision. There are only bruitists, and others. While we are speaking of music, Wagner had shown all the hypocrisy inherent in a pathetic faculty for abstraction—the screeching of a brake, on the other hand, could at least give you a toothache.

(…)

Bruitism is a kind of return to nature. It is the music produced by circuits of atoms; death ceases to be an escape of the soul from earthly misery and becomes a vomiting, screaming and choking. The Dadaists of the Cabaret Voltaire took over Bruitism without suspecting its philosophy—basically they desired the opposite: calming of the soul, an endless lullaby, art, abstract art. The Dadaists of the Cabaret Voltaire actually had no idea what they wanted.

(…)

Simultaneity is a direct reminder of life, and very closely bound up with bruitism. Just as physics distinguishes between tones (which can be expressed in mathematical formulae) and noises, which are completely baffling to its symbolism and ab­stractionism, because they are a direct objectivization of dark vital force, here the distinction is between a succession and a ‘simultaneity,’ which defies formulation because it is a direct symbol of action.”

En Avant Dada: A History of Dadaism (1920), Richard Huelsenbeck.

If sound is power, then listening seems like submission

We seem thoroughly persuaded that looking is active while listening is passive. So looking is always liable to become a violating, objectifying and diminishing action, while listening is thought of not only as harmless but as positively nurturing and concernful. Looking is proscriptive, listening is permissive. When you look at something, you put it in its place; when you listen to something, you let it be where it is.

(…)

Typically, of course, being a good listener has been thought of as female, the assumption being that women, deprived of the authority of the voice, have become delicately expert in the more passive and pacific arts of the ear.

(…)

There is certainly oppressiveness in being forced to listen. If sound is power, then listening seems like submission, even, as Fred Kraus (2004) suggests, a kind of masochistic submission to that power.

Sadistic Listening, Steven Connor.

Retinal pessimism

“…Retinal pessimism is not simply the failure of the phenomena of perception, the physiology of the retina, or the science of optics. Nor is it the conviction that whatever one is seeing is the worst of all possible things that could be seen. Both are intriguing options. But, retinal pessimism is something else, and it is encapsulated in the strange status of black: at once present and absent, at once a fullness and an emptiness, at once the absorption of all light and the total absence of light. Black is at once the foundation of all colour and, in its absence or emptiness, it is also what undermines the substantiality of all colour. If one is willing to go down this path, a retinal pessimism is not just about the non-colour that is black, but it is about the perception of colour itself. It is, ultimately, the suspicion that all colours are black, that all retinal activity is retinal inactivity. Retinal pessimism: there is nothing to see (and you’re seeing it)…”

“Black on Black”, Eugene Thacker, The Public Domain Review.

The frequency of opiates is a special oscillation of ultra sound

“Anything that can be done chemically can be done in other ways…what is missed in withdrawal is a certain frequency

[…]

The frequency of opiates turned out to be a special oscillation of ultra sound. The frequency was quite as habit-forming as morphine but could be gradually shut off over a period of several months resulting in a painless cure […] The discovery that the effects of morphine can be produced by a sound frequency led to realization that the effects of any drug can be so produced and frequency therapy came to supplant drug therapy.”

The Job: Interviews with William S. Burroughs, Daniel Odier.

Símbols franquistes a Tortosa i altres desusos

Núvol ha publicat una bonica crònica del Embarrat i també unes paraules boniques sobre la meva acció/vídeo:

«Blanca Rego (Ferrol) va realitzar una de les accions més interessants i directament vinculades a la inutilitat i el desús. La gran màquina I és la realització d’una curosa recerca per Internet de les bases escrites de la primera edició (2014) del festival Embarrat (que no estaven ja penjades al propi web del festival). D’alguna manera, l’autora posava de manifest la obsolescència mateixa de la creació contemporània, les convocatòries, els premis, els festivals o els propis artistes i les seves obres. Un cop trobades les bases en un document PDF, l’autora inicia una cadena de transcodificacions: de PDF converteix el document a audio, el divideix en fragments i el converteix en arxiu de fotogrames, aconseguint un resultat aleatori i imprevisible. El resultat final és un vídeo HD en bucle de menys de 4 minuts esdevingut artefacte inútil, obsolet i inintel·ligible. Una absurditat amb ple sentit interpretatiu».

«Símbols franquistes a Tortosa i altres desusos», Oriol Martí Sambola.

The female body is a deviation

“Whenever male bodies are represented as monstrous in the horror film they assume characteristics usually associated with the female body: they experience a blood cycle, change shape, bleed, give birth, become pen­etrable, are castrated. Traditionally, the male body has been viewed as norm; the female body a deviation.”

Dark Desires: Male Masochism in the Horror Film, Barbara Creed.

The sexuality of the loud noise

— You made a loud noise.
— You didn’t make umbrage with the loud noise. You made umbrage with the fact that you’ve got a load of gay people in a straight bar. That’s what you’ve got your problem with. Admit it, just admit it.
— No…
— Absolutely admit it.
— The sexuality of the loud noise was not an issue with me, it was the fact that the noise was loud.
— Oh, right, so it’s just merely a matter of decibels.

Weekend (2011).

Poison (1991)

Poison

Poison (1991), Todd Haynes.

I think that Poison was the first film I watched by Todd Haynes, many years ago. I’ve seen all his films and I like all of them, but Poison and Velvet Goldmine hold a special place in my heart (Velvet Goldmine is probably on my top 10 favourite films of all times).

No image. No color. Just blackness

“Dreams getting worse. Usually in nightmares you see what you’re scared of. Not in my case. No image. No color. Just blackness and then in the distance, getting closer and closer, beginning to pierce some strange ever-present roar, sounds, voices, sometimes just a few, sometimes a multitude, and one by one, all of them starting to scream.

Do you know what it’s like to wake up from a dream you haven’t seen? Well for one thing, you’re not sure if you were dreaming or not.”

House of Leaves, Mark Z. Danielewski.