Meet me in my headspace without a telescope.
Meet me on the dance floor while the radios are on
Cat’s pyjamas playing bingo with you!
Pratesk savo dazni mano radiju ir kol kiemas dega!
Play the movement while the radios are off.
Now you take anything what is written and you read it as a whole it is not interesting it begins as if it is interesting but it is not interesting because if it is going to have a beginning and middle and ending it has to do with remembering and forgetting is not interesting it is occupying but it is not interesting.
(Gertrude Stein , 1936)
It is easy to see that it has nothing to do with anything and that most things have not, have not anything to do with anything.
(Gertrude Stein, 1936)
Sounds fall through your body, sound snatches you away, beats ambush your head and they drag you away into another place.
(Kodwo Eshun, 1987)
The satellites are spinning,
a better day is breaking.
The galaxies are waiting
For planet Earth’s awakening.
(Sun Ra)
http://www.blastitude.com/13/ETERNITY/sun_ra.htm
Cabaret Voltaire: “Every night we thrust the triton of the grotesque of the god of the beautiful into each and every spectator, and the wind was not gentle – the consciousness of so many was shaken – tumult and solar avalanche – vitality and the silent corner close to wisdom and folly – who can define its frontiers?”
(Tristan Tzara, 1918)
Continuity
I try to build a body of exhibitions where each exhibition relates to the one before it in a type of sequence. (…) An exhibition can be like the living dead, something that keeps coming back, something you just can’t kill.
(Marc-Olivier Wahler interviewed by Marlyne Sahakian for Artkrush magazine) http://www.artkrush.com/62880
PROXIMITY1
Anyway, these two nuns were sitting next to me, and we sort of struck up a conversation.
(J.D.Salinger, The Catcher in the Rye, 1945)
PROXIMITY2
As long as two buildings share the same space or are in each other‘s proximity, whether the architect wants it or not, or whether anybody cares, they do have a relationship.
(Rem Koolhaas, lecture on OMA’s project for the Hague City Hall at Delfi University, 1987)
Today, the voice you speak with may not be your own.
(…) even in the delirium of archive, part of the creative act is to actually make new stuff. Even a slight shift in frequency pitch or mild sonic flourish changes the original elements you bounce off of. Endlessly reconfigurable and customizable, sampling is dematerialized sculpture.
These days everyone and their mother is Dj-ing, so you don’t want to just send a basic loop. You’ve got to give people a sense of total context and environment, which means you’ve got to be a lot more creative and really open up some new space with your material.
Sampling plays with different perceptions of time. Sampling allows people to replay their own memories of the sounds and situations of their lives. Who controls the environment you grew up? Who controls the situations with which you engage? At the end of the day, it’s all about representing the world around you, and this will happen no matter how hard entertainment conglomerates and an old generation of artists tries to control these processes. We’re in a delirium of saturation. We’re never going to remember anything exactly the way it happened. Memories become ever more fragmented and subjective.
A deep sense of fragmentation occurs in the mind of a DJ. When I came to DJ-ing, my surroundings—the dense spectrum of media grounded in advanced capitalism—seemed to have already constructed so many of my aspirations and desires for me; I felt like my nerves extended all of these images, sounds, other people—that all of them were extensions of myself, just as I was an extension of them. Trains, planes, automobiles, people, transnational corporations, monitor screens—large and small, human and non-human—all of these represent a seamless convergence of time and space in a world of compartmentalized moments and discrete invisible transactions. Somehow it all just works.
(Dj Spooky That Subliminal Kid. Rhythm Science/Paul D. Miller)
