It would be preemptive to mention D. B. Scroll at this point, but suffice it to say Xenaudial had stumbled onto a preexisting stratagem quite blithely unawares, his happenstance experiment nothing more than the furtive product of stoned divagation. (To be sure, he had been concurrently making large-scale drawings of möbius strips in order to model an understanding of how the increasingly febrile presentism of late late capitalism ends up occulting long-term slippages, erosions and accumulations but hadn’t really thought through their implications and co-implications yet, including—especially—the potential to resume a practice from some point in the near-to-distant past, on picking up a relayed electrical transmission…or momentarily accessing a wormhole, two time periods suddenly superimposed).

Xenaudial had been trained to believe that an artwork’s resilience and effectiveness were in direct proportion to the complexity (and attendant long duration) of its fabrication—his mixes famously dense both horizontally and vertically, collapsing together field recordings, labyrinthine musical systems, and meta-conceptual tactics—so it took him some time to accept the idea that complexity might emerge from a brutally (stupidly) simple maneuver. He returned to constructing his paeans to overstimulation.

Yet the Love-Green conjunction continued to beckon. He hadn’t even bothered lining the songs up in an editing program. He simply started one quicktime file and then the other immediately afterwards—micro-pausing the first to compensate for the lag in start time—then the two files would run unimpeded. It was beautiful. Nothing else to do but listen. The coïncidences began intensifying. Xenaudial reckoned that most pop songs followed a standard intro-verse-verse-chorus-verse-chorus-chorus-(outro) format and were of roughly equivalent duration (somewhere between 2-and-a-half to 4 minutes) so you could expect things would line up, sort of. That a lamenting ballad and a midtempo soul number could enter into contact with one another through this formal collusion was one of the magnificent potentials of this contingency that presented itself to him that balmy Summer evening in the West Loop. But it was much more than that.

An attempt to induce a double earworm through a psychedelic adjacency (success!). The first combines Al Green’s Still in Love with You with the theme from Love Story (!) sung by Andy Williams. Both files were of the same size (MB), and adjacent in my itunes folder. As in We Know What You’re Looking For (situationist comedy), no editing whatsoever took place. The second combo projects The Hues Corporation Rock the Boat through Maria Muldaur’s Midnight at the Oasis.




Second in a series of diagrams illustrating some of the ideas contained in the Preemptive Glossary for a Techno-Sonic Control Society. The series can be accessed at the occulture.

This one takes for granted the colloidal nature of our electrified online/physical acoustic environment and proceeds from there. Primers, superearworms, sonic niching, psychedelic adjacency, timbral micro cocktails, latching / entrainment, minimal abductive thresholds etc. Possibilities for cosubjective ejection via reboning.

Deeper incursions into the affective sedimentation of Chicago. Ghost(ly) voices brought forth by the gating stimuli of speech rhythms, culled from encounters with Michael Esposito and Heidi Harman, a memorable trip to Devon Avenue (Little India) (with an apparition on the bus down Western of a young child resonating with the EVP heard the previous day – see below), the creaking, acoustically ubiquitous floor boards of 119 N. Peoria, the industrial drones and dynamic densities of Pilsen, the post-human tones of an overdriven Zoom recorder surreptitiously (internally) captured during a “no documentation” No Media event at Experimental Sound Studios up in the Edgewater district (thx Jeff).

Listen here.


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