[-empyre-] The horse's mouth? / Re: fragile identities / taboo of destroying property

Johannes Birringer Johannes.Birringer at brunel.ac.uk
Tue Feb 21 04:04:49 EST 2012


dear Pauline

without wanting to distract from the new strands of discussion starting today, and Lasse Scherffig's interesting first post
on the research on writing "Human-Computer  Interaction against Cybernetics,"   I was indeed interested in the
in/apparent policies of ARTELEKU to give out the "book" on "Noise and Capitalism"  (with many essays signed as
anti-copyright or open) a) free online  or b) print-copy in exchange with a gift of the same kind to Arteleku.  

I also assumed the writing was published in Basque language, and so I wondered whether and how "Noise and Capitalism,"  and the authors contributing to it, 
appeared (edited? translated back?) into English, and how the dissemination worked and what the "cybernetics" of this non-academic/academic in/comparable book implied,
how it feedbacked into the noise and free improvisation (in sound/music and laptop?performance) scenes local and remote?

If the "book" was referenced, as it wants to be (since it is published in theory-heavy discourse-language
with authors, chapters, pagination, source apparatus, etc), then how did it function in the academic research world, or did it?

I had not worked on sonic matters until just a few years ago, and admit being ignorant of it until seeing a note in a magazine
called  "Neural" [http://www.neural.it/]  which is published in Italy;  I was searching for info on Swiss musician Zimoun and 
his sound sculptures and sound objects (Woodworms), and then stumbled across "ruido y capitalismo'.

was/is the "audiolab' a collective of english-speaking writers and artists publishing this book in basque first?  now that is rather unusual, or am i not getting the point. 

>.
NOISE & CAPITALISM liburuak argia ikusi zuela urte terdi pasa eta gero AUDIOLABek liburu honen gaztelerazko bertsioa argitaratu du: RUIDO Y CAPITALISMO. Zarata, musika, ekonomia, politika eta filosofiaren arteko lotura, elkargurutze eta eztabaidak aztertzeko ahaleginarekin jaio den argitalpen honetan hainbat herrialdetako idazle, kazetari, pentsalari eta musikarik hartu dute parte: Csaba Toth, Eddie Prevost, Ray Brassier, Bruce Russell, Nina Power, Ben Watson, Matthew Hyland, Matthieu Saladin, Howard Slater eta editore lanak burutu dituzten Anthony Iles eta Mattin.
Liburua lortzeko bi modu daude: Bata zuzenean interneten debaldeko deskarga bidez (www.arteleku.net/audiolab/ruido_capitalismo.pdf) eta bertzea paperezko bertsioan, Artelekura eskaera eginez. Azken modu hau nahi izanezkero ez da dirurik ordaindu beharrik, liburua, jatorrizko bertsioa bezala, elkartruke bidez banatuko baita. Hortaz liburuaren ale bat jaso nahi baduzu, bidali zure sorkuntza lanen (idatziak, musika…) ale bat (gero, Artelekuko liburutegi publikoaren artxiboaren parte izango dena) edo hartu liburuari buruz iruzkin bat idazteko ardura eta zuzenean jasoko duzu liburua zure etxean.

>>
RUIDO Y CAPITALISMO
April 13th, 2011 by audiolab

Un año y medio mas tarde de la publicación del libro NOISE & CAPITALISM AUDIOLAB presenta la versión en español del mismo libro: RUIDO Y CAPITALISMO. Esta publicación nacida con la intención de analizar las intersecciones, fisuras y relaciones entre el ruido, la música, la economía, la política y la filosofía esta formada por sendos ensayos de varios escritores, periodistas, músicos y pensadores de varios paises, entre los que se encuentran: Csaba Toth, Eddie Prévost, Ray Brassier, Bruce Russell, Nina Power, Ben Watson, Matthew Hyland, Matthieu Saladin, Howard Slater y finalmente Anthony Iles y Mattin, que además de incluir textos propios han realizado las labores de editores.
Existen dos modos de conseguir el libro: El primero, directamente por descarga gratuita en internet (www.arteleku.net/audiolab/ruido_capitalismo.pdf) y el segundo en edición física de papel, realizando un pedido a Arteleku. Si prefieres esta edición, no tendrás que realizar ningún reembolso de dinero, ya que se distribuirá principalmente, tal y como ocurrió con la versión original, mediante intercambio. Por tanto, si quieres recibir una copia de libro, mándanos algo que represente tu actividad creativa (textos, libros, música…) para que quede en la colección pública de la mediateca de Arteleku o comprometete a escribir algún comentario del libro, y recibirás una copia en tu casa.
[from http://www.arteleku.net/noise_capitalism/]
>>

"from the horse's mouth"?




thanks
regards
Johannes Birringer




>>
As a colleague and friend of their editors/performers, I've been following
your discussions on Noise & Capitalism, and the 'fragile' performance in
Scotland with much interest... also telling those directly involved about
some of the discussions happening here.

Since the interest seems sustained, I asked whether there was something I
could mention or point to, where ideas might have been further
developed... Anthony (Iles) suggested the following, where a N&C blog (as
well as the book's full PDF) are housed.

http://www.arteleku.net/noise_capitalism/

He also mentioned there are plans in the works for a second book, the
editorial process of which is to be initiated by a week-long event
including lectures, workshops and performances.

If any of you would like to pose questions more directly, Anthony's also
happy to sub himself to -empyre-, or whatever might be appropriate :)

Thanks,
Pauline.

>>>


>> what is meant by Mattin and Iles when they speak of digging the grave
>> for "Noise & Capitalism"?
>> And, fascinating as it is, how did (Menotti's curating?) Marie's posts
>> on noise shift our debate to sound performance (from initial focus on
>> in/compatible research)?  What exactly is noise incompatible with, if it
>> in fact is an everyday life experience for all of us continuously and
>> perennially negotiated? And possibly analyzed by Henri Lefebvre in his
>> "rhytmanalysis" as an elementary "rhythm" of and in our lives?  What
>> then does noise resist, or how does it rupture particular medium
>> specificity or particular reception situations in high or low or mass
>> cultures and high or low academias  (how come one never talks about low
>> academia?).
..


>> PS  "Noise and Capitalism" proposes that improvisation and noise contain
>> or can produce emancipatory moments ...   these practices point towards
>> social relations which can extend these moments.
>> It might be good to talk further about these social relations and what
>> is meant by them,  and also define more closely in what sense
>> improvisation emancipates. From what? from order or adhered structure,
>> from   rules, and precise choreographies?

Johannes / Magnus



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