blissblogger
Well-known member
is the Matrix really your favorite film?
Dematerialisation.
- Thread starter luka
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- abolish the production of weed are we going to a fucking ashram or what are we still in the music forum? ashram flashcore will be cool tho. autotune inna jonestown barty is actually the cult leader barty saved the day barty we miss you please come back bliss blog with the big knob build the escape craft already captain tactful chemsex gabba corpsey gets the bullies on board corpsey's law dirty old rotter dissnesis do not answer the machine external nervous system gaslighting get a room he always does how did you get radicalised? it's a trap joe muggs defends diplo. justice4luka koranic law luka's a crypto-christian marshall 'testicle' mcluhan marxist speedcore tiny cockism muhammad narcissism will never be dematerialised old men. rewind reynolds' wanking habits shut it off si's wanking himself to death skunk leads you to hegel. south east london bum club spunk on his long johns stains on his old man slippers the military industrial bongplex this is what happens without women view tag cloud what are you working for? who are you working for? who's agent are you?
barty u shud give me music that:
im messaging a trans girl (well, woman) who is also a lesbian and jewish and in the states, who I will probably never meet, (who is also disabled) cos my ablebodied normie UK mates are too busy wanking into Corbyn's sock to help me navigate with government bureaucracies so i ain't confined to solitary confinement. anyway this girl is trying to hook me up with her UK comrades to see if something can be arranged but they will probably be everything that my intrusive dad hates. he hates queers, he is antisemitic and even hates most liberal brown people, cisgendered or trans. he hates most people full stop!
also i am worried that if these people see my family's middle class house with an unplayed piano they will think i am bullshitting. but like i don't even know how to open up to these people.
Ok come on barty that's ur challenge. digital music for that weird nexus plz.
im messaging a trans girl (well, woman) who is also a lesbian and jewish and in the states, who I will probably never meet, (who is also disabled) cos my ablebodied normie UK mates are too busy wanking into Corbyn's sock to help me navigate with government bureaucracies so i ain't confined to solitary confinement. anyway this girl is trying to hook me up with her UK comrades to see if something can be arranged but they will probably be everything that my intrusive dad hates. he hates queers, he is antisemitic and even hates most liberal brown people, cisgendered or trans. he hates most people full stop!
also i am worried that if these people see my family's middle class house with an unplayed piano they will think i am bullshitting. but like i don't even know how to open up to these people.
Ok come on barty that's ur challenge. digital music for that weird nexus plz.
firefinga
Well-known member
The "Matrix" reference is very fitting, me thinks. Everytime I use public transport, u got 90% of the peeps staring onto - or rather "into" - their smartphones. It's the moment they get sucked into the Matrix.
Andthose references to "Soul" upthread are also very important - The West is getting more and more secular,and I have the impression even the word "soul" is getting eliminated more and more from usage.
And there is another important issue that comes with Dematerialisation - the feeling for "time" is eroding, also due to the fact of the ubiquituous internet connection via smartphones or tablets. Many people have no real time off from their (office) work, it's getting all blurry - and people get insane over it. Possibly there is a correlation between this "always on" tyranny and mental health issues in the west also.
luka
Well-known member
sorry thirdform. i wasn't aiming the gaslighting thing at you.
but please understand how it feel having people literally trying to deny dematerialisation
WITHIN A DEMATERIALISED AND DISEMBODIED SPACE!!!!!!!!!
you can see how that might feel obtuse to the point of reality-denying
(not that im suggesting that this is a worse fate than being locked in solitary confinement and having your own family try to destroy your experience. of course it is on a very different scale)
but please understand how it feel having people literally trying to deny dematerialisation
WITHIN A DEMATERIALISED AND DISEMBODIED SPACE!!!!!!!!!
you can see how that might feel obtuse to the point of reality-denying
(not that im suggesting that this is a worse fate than being locked in solitary confinement and having your own family try to destroy your experience. of course it is on a very different scale)
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luka
Well-known member
the only problem i have with the soul thing is that it is not period-specific enough.
the soulless has always been with us. if you look at the top 10s all the way down through spiralling time you will see that pop music is soulless by default. what i'm interested in is the features of TODAY'S particular brand of soulessness, in its forward facing as opposed to its reactive elements if that makes sense (so not the acoustic guitars and feigned sincerity to give one example)
the soulless has always been with us. if you look at the top 10s all the way down through spiralling time you will see that pop music is soulless by default. what i'm interested in is the features of TODAY'S particular brand of soulessness, in its forward facing as opposed to its reactive elements if that makes sense (so not the acoustic guitars and feigned sincerity to give one example)
luka
Well-known member
i just want everyone to play with me and this is the game i want to play. it is very inclusive game. there are no barriers to entry. all you need is a body and a consciousness. you don't need any specialised terminology or concepts but if you do have them it helps because they can be plugged in. we can plug in philosophical machinery, we can plug in music theory, we can plug in scientific theory... all of it. i rejected all education like a kind of intellectual anorexic so it's not going to come from me but people can bring what they have and plug it in.
it's a great game, very fun to play. and then we build a big machine together which can fly away and leave all the suckers behind for good. so long suckers, we've found the way out
it's a great game, very fun to play. and then we build a big machine together which can fly away and leave all the suckers behind for good. so long suckers, we've found the way out
sadmanbarty
Well-known member
you can use information to manipulate the perception of time. frank miller's very good at this. this is what i wrote to luke a couple of weeks back
"One in a million illustrated the point; the innovation is it’s distortion of time perception. One moment is drawn out only to be followed by a rapid fire sequence. It’s manipulating information and stimuli to stretch and speed time."
sadmanbarty
Well-known member
which music alleviates dematerialisation? which music works counter to digitalisation?
kendric llama (one for tea)? solange? hauntology?
kendric llama (one for tea)? solange? hauntology?
sadmanbarty
Well-known member
close reading please luke:
on the one hand brittle and textural. on the other apathetic, it's colour is kubrik-light like a computer screen.
dematerialistion or the rejection of it?
on the one hand brittle and textural. on the other apathetic, it's colour is kubrik-light like a computer screen.
dematerialistion or the rejection of it?
sadmanbarty
Well-known member
luka
Well-known member
yeah, but im sceptical about this, it's why i invoked jay-dilla at the start. it just seems reactionary.
being reactionary it is necessarily part of the process and unavoidable, but it is the least interesting part.
if you think of what happens when a current pushes forward in a fluid medium... you get displaced water moving in the opposite direction also... that's at the most basic level
sadmanbarty
Well-known member
don't get me wrong, i'm totally against all that. i'm single handedly shifting dissensus aesthetic overton window to the future.
luka
Well-known member
right, ok. i like this song very much but you're absolutely right about it being apathetic. it woulddn't be overstating the case to call it, on some level, just plain pathetic. let me listen again and think
but as you say this isn't purely reactionary, i's a mixed condition, which a fluid medium allows for lool
wait, wait....
luka
Well-known member
now i know im going to say this and youre going to tell me
lol you dick thats all midi synth but right from the
beginning im situated in a material world
i can hear and feel the wuumph of displaced air,
air sucked into a temporary vacuum
and impacts of object on object, force and resistance
wood, metal
strings always signify lush, luxe materiality and expense
upper class notions of elegance and sophistication
rounded, resonant double-bass, it's such a creamy
rich sound environment, expensive moisturiser, and
there's an attitude and a state implied, there's no hurry
or urgency, it's neat and orderly without being fussy, there's
an elasticity and an ease without falling into being sloppy
and slovenly, loose limbed and gracious and the frequencies
operate in the same frame of diction (you offered tact as a useful
synonym) there's nothing that threatens, or overwhelms or
discomforts, it's not pushing too hard or overstepping any
boundaries and it's not scared of spaces, gaps, silences,
so you're not crowded by it
the piano(keyboard?) line works with the repeated aways
to suggest and enact a process of becoming weightless,
gravity (and all gravity stands for as metaphor- duty, worry,
sorrow, responsibility, embodiment) relinquishing its grip
without ever going all the way into space- we go part way,
drifting up and out, but not all the way and then the hook anchors
us to the pain but what it does is it sublimates it and it aestheticises
it so that it is a voluptuous pain, taken away from its specific source
and just felt as that grit, that thing we hang on to, that keeps us here,
that passion, the hurt that makes us stay here on earth in an earth-suit.
that one splinter....
you get that deep, rich note on the piano, which means, in somatic terms,
from deep, dredged up from the deeps, as the hook comes in, that
indication that we are going from floating away to embodied now
right in the pit of the stomach, you can feel it there, the correspondence
is precise, so you have these mutually opposed tendencies- to float away
or to be here more fully, that tension is what energises the song, they dont cancel each other out,
lol you dick thats all midi synth but right from the
beginning im situated in a material world
i can hear and feel the wuumph of displaced air,
air sucked into a temporary vacuum
and impacts of object on object, force and resistance
wood, metal
strings always signify lush, luxe materiality and expense
upper class notions of elegance and sophistication
rounded, resonant double-bass, it's such a creamy
rich sound environment, expensive moisturiser, and
there's an attitude and a state implied, there's no hurry
or urgency, it's neat and orderly without being fussy, there's
an elasticity and an ease without falling into being sloppy
and slovenly, loose limbed and gracious and the frequencies
operate in the same frame of diction (you offered tact as a useful
synonym) there's nothing that threatens, or overwhelms or
discomforts, it's not pushing too hard or overstepping any
boundaries and it's not scared of spaces, gaps, silences,
so you're not crowded by it
the piano(keyboard?) line works with the repeated aways
to suggest and enact a process of becoming weightless,
gravity (and all gravity stands for as metaphor- duty, worry,
sorrow, responsibility, embodiment) relinquishing its grip
without ever going all the way into space- we go part way,
drifting up and out, but not all the way and then the hook anchors
us to the pain but what it does is it sublimates it and it aestheticises
it so that it is a voluptuous pain, taken away from its specific source
and just felt as that grit, that thing we hang on to, that keeps us here,
that passion, the hurt that makes us stay here on earth in an earth-suit.
that one splinter....
you get that deep, rich note on the piano, which means, in somatic terms,
from deep, dredged up from the deeps, as the hook comes in, that
indication that we are going from floating away to embodied now
right in the pit of the stomach, you can feel it there, the correspondence
is precise, so you have these mutually opposed tendencies- to float away
or to be here more fully, that tension is what energises the song, they dont cancel each other out,
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