Tag: music

Monday February 5, 2018

An assortment of tasks, given a spin, directs force toward its center. Bound together thus, like a top or a Tasmanian Devil, these tasks are made harmless, the rooms they occupy cleared for better acts of enjoyment. Luck having turned for once in my favor, a turn for which I shall remain eternally grateful, I now possess the opportunity to teach three sections of a literature course of my choosing. What shall I choose? Given how wary I am of loading myself too heavily with work, I’ll most likely just opt for some variant of my present course. There will be time enough to experiment next spring.

Eyes closed while listening to Grand Ulena’s Gateway to Dignity, I imagine a pair of animated graffiti high tops stepping frenetically across a generic late-80s-videogame-graphic brick wall. Perhaps what I have in mind here is Ghetto Blaster, a computer game I played on my Commodore 64 when I was a kid. Minds orient themselves otherwise than toward disaster.

Sunday February 4, 2018

“Just so long as the universe doesn’t fill me with a bad infinity of sense data,” says he who persists in conceiving action as a thing one chooses. Lights, textures, synthesized rhythms. Modular sets of classifiers readjusting against an inky black background. “By luck one may do as one will,” asserts a high-pitched, as yet unnamed being. I convince myself to grow into a bigger, stronger, better version of myself. Head above headrest, carried forth by wind. Richard Horowitz soundtracks a stretch of my quest with his track “Eros Never Stops Dreaming.”

Frequencies flutter through a field. I’m also taken with the work of Horowitz’s fellow composer and sometime collaborator, Jon Hassell. Let us seek lives fit for Fourth World Vol. 1: Possible Musics, Hassell’s collaboration with Brian Eno.

An unobserved observer observes duplicate faces seeing eye to eye across a mirror. Cat-people march with banners. Selves enter and exit cells by way of windows. Vast stretches of universe await entry into consciousness. A head pokes through an opening, and wakes to another world.

Thursday February 1, 2018

I sense my heart beating as I listen to Overscan’s “The Narrows.”

My mind’s eye cycles through a sequence of images. Time stolen for sensation rather than narrative progression. An octopus swims in a giant underground tank. Beams of sunlight pierce the rafters of an abandoned factory. By conjuration, I acquaint myself with Andrew Weil’s The Natural Mind. The subjective universe continues its slow, bit-by-bit expansion. Marijuana lets me use time to step back from the Agora, the marketplace — the business of everyday life under capitalism. I scatter into platters, platelets, matter: shrinking man, dissolving into panpsychic, object-oriented bliss. I can move up and out, release myself of gravity, transform into a thought bubble floating in a world of sound, as in 15 Corners of the World, a documentary about Polish electronic music composer Eugeniusz Rudnik.  Teaching, on certain days, with the right students and under the proper conditions, needn’t be a burden. We’re like electric ants in that regard. We can change three-dimensional reality by reprogramming ourselves internally. It’s a matter of explaining three dimensions in two-dimensional terms.

Wednesday January 31, 2018

No sense of self, no consciousness of time. Rapt, attentive, hypnotic. “Take notes,” I tell myself. “The one you woo is you.” Synthesized sound effects. Others in this society see that I’m struggling, see that I’m caged, yet none lift a finger to free me. I long for the day when this country is wiped from the face of the earth. Where are the activities and environments that used to give me joy? What became of happier times of yore? Kyle Landstra’s new tape Within/Without from Muzan Editions helps to calm me, abstracts me from matters that don’t matter.

The universe is only as accessible and as comprehensible as we allow it to be. Music can seem made by chance to arrive at one’s doorstep at the precise moment in one’s progress when one needs it. “Sometimes, when I have been high,” writes William Novak, “I have felt like a visitor to another land, a land both familiar and new at the same time, only inches and moments away from the land I normally inhabit, but also remote — and uncharted on any map I have consulted” (High Culture, p. xii). He describes wanting to take notes and send postcards back to the world he normally occupies, thus counteracting the head’s tendency to forget certain parts of the experience upon reentry. So, too, these trance-scripts.

Tuesday January 23, 2018

The mind, invested in a sound or a state, pursues a path, awakening afterwards free of memory. Ash & Herb refer to this process, and in doing so give it shape, on tracks like “Root Awakening.”

Ash Brooks & ML Wah take heads even further into the beyond on their brilliant slow jam, “Deeper Than the Sea”: a long pan along an ever-evolving plot of concrete. Sarah strides beside me wearing her new backpack, reminding me for a moment of Tasslehoff Burrfoot, a character from a series of fantasy novels I read as a kid. Night-walking reveals a different kind of city, one to which I’m more amenable. A space of mystery. Whereas by day, I’m performing ganzfeld experiments, trying to separate psychic signals from mental noise. Suddenly Hamilton’s Pharmacopeia blooms into consciousness, mapping an otherwise invisible community of mind-opened peers.

Saturday January 13, 2018

Few of my peers seem interested anymore in trying to think in ways that test linguistic limits. Bounce among airy peaks. Speak into silence. Ontology is beginning to seem algorithmically governed, bit-mapped — memories stored on Memorex. “Keep smiling, keep shining,” sings “That’s What Friends Are For.” If only there were some to keep us safe in the jungle. The repulsive alien sheen of creatures from the United States Top 50, like Florida Georgia Line. The oozing, creeping essence of the body politic. I imagine myself and my students trapped in what characters from the film Get Out call the “sunken place.” Consciousness otherwise would know itself as multitude. Pop songs are advanced subliminal technologies. And so much of it, as if by homology, about drugs and altered states of consciousness. The preferred mode of the Culture Industry, if not yet the culture as a whole. I feel like I’m an NPC at the start of someone else’s videogame, receiving instructions for how to sing. “Keep looking,” they say, “and you will find it.” Where I start and end is up to me. I can release some things, and others will take their place. But which point of view is the right one?

Wednesday January 10, 2018

I listen to Klaatu’s “Calling Occupants” in the lead-up to 3:47pm EST while standing atop a nearby mountain, head roughly level with a series of hawks circling above a figure-ground landscape laid out in miniature, the phallic ego a tiny dot in the far distance. I expect something tragic to happen, but it doesn’t and the day is splendid. I top it by watching Come Worry With Us!, Helene Klodawsky’s documentary on Montreal post-rockers Thee Silver Mt. Zion Memorial Orchestra. We all ought to learn how to stand amid a moving universe. But the film is otherwise a terrifying portrait of parenting aboard a Greyhound bus. What would it mean to raise children while awaiting a flood? Wouldn’t a person’s paranoia double? How small the world seems when imagined as a pattern prepared for kids by their parents. Most of the artists I admire live amid simulated, twenty-first-century Dickensian squalor, hustling constantly for money by which to live. Are there still ways to live counterculturally when neoliberal reality evolves into Jurassic Park? Must the song remain the same while getting worse? Let us get back to the splendid anarchy of public assembly each and every instant. Joy on one side, fear on the other. I am committed to a politics of joy. The liminal land visited in waking dreams.

Monday January 8, 2018

There is a long silence as the author engages in self-therapy while reading Aldous Huxley’s underappreciated but highly worthwhile final novel, Island. Receptive heads agree. Let us climb up, they chant excitedly. Let us redeem ourselves. We can do what we want. We can drift apart from history into an eternal present. It’s as simple as listening meditatively to “Parallel Drift” by Insect Factory.

Stoke up rows of fiery pinwheels by breathing deeply. Acquire temporary being as a pulsing cloud of energy, before retracting, the self a spectator separate again from experience, a will-less will borne outward, reimagined as sentient co-creator of its own body-projection. “Mind” (if we wish to call it that) need not be confused with its synchronized audiovisual avatar-body. In fact, this confusion can cause great delay. Dislocate the symbol-maker from the sign-system or one will lucid-dream oneself into a system of representation without exit. Unless the self is the root and ground of the universe — which of course it may well be. What voice-box, what menu, what catalog allows interaction with “feelings” or “experiences”? How are these things made? I have been climbing up the signpost instead of following the road.

Thursday January 4, 2018

There are no rules. Mind can go pretty much anywhere we let it, so long as we feed ourselves a steady supply of new semantic units with which to think. Badges, heralds, insignias, emblems, flash in vertical bars across a screen. This is easily interpretable, I tell myself, as an expression of anguish on the occasion of the Justice Department’s decision today to rescind its so-called “safe-harbor” policy with regard to federal marijuana law. American society is utterly contemptible. The discrepancy between is and ought has made of adulthood a dull dough. “Take a drag, pal,” I tell myself with a light pat on the back. Levitating drum kit taps out subliminal instructions. With Akira Sakata & Chikamorachi with Masahiko Satoh, I go crazy and come back again.

Lightning-fast information processing sounds to the censors like shrieking gibberish. Not for the many, these supreme outpourings of free music. I respond with similar passion and focus to Tashi Dorji & Tyler Damon’s Leave No Trace: Live in St. Louis.

Unusual forces are afloat and at play, but the sun’s gonna shine in my backyard someday.

Tuesday January 2, 2018

Houses, cars, restaurants: all are inhospitable and lined with icicles. Clad with love, though, one can despite it all still have it made. But lo and behold: what kind of fascism is it that parades the Rolling Stones in front of inert, stadium-sized masses in Hal Ashby’s 1983 rock-doc Let’s Spend the Night Together? The film is a cruel parody of rock’s once joyous, raucous, incendiary stirrings. No consciousness-expansion takes places there whatsoever. Arena-rock of that sort served in the fashion of an experimental prototype, a formalization of what has now become our permanent social relation. I admit moments of beauty, however, when the band slows down for “Beast of Burden.” If we try real hard, sings Mick a few songs later, we get what we need. Keith Richards, for his part, manages by way of drink and drugs a kind of sleepy-eyed authenticity in the film’s punked-up version of “Little T&A” — that, too, I admire. The film is ultimately about industrial workers doing what it takes to make it though their shifts as America becomes a bomb-dropping monstrosity. We witness this, for instance, in the haunting use of Hendrix’s “Star-Spangled Banner” at the start of the film’s closing credits. Cinema enables and makes use of a variety of narrative models, meanwhile, in an unrelated 2013 Belgian film called Violet, producing fluctuations across several realities at once. Sonics and visuals reveal a multi-layered ontology: interiors and their external substitutes. Sound sculpted variously around a muted center, as in the song of that name by the band Deafheaven.  Consciousness inhabiting different sound-worlds and temporalities. Every reflection also a distortion. As Robert Anton Wilson reminds us, one should always juggle several. Never commit to just one.