Monthly Archives: June 2013

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.

the graph first…elaborations later, with caveats and questions…

a gloss on I_L from Towards Indisposition, a text I wrote for a soon to be published collection entitled The Idea of the Avant-Garde (ed. Marc James Léger):

infra-legible procedures: the recasting and repurposing of materials intended for consumption (or to stimulate the same) into unstable entities that perform slow, structural, semiotic guerrilla warfare, seeking to undo – from within the logic of commodity flows – the finely woven twine of ideology and technics, the compact between surface and sediment, making it more difficult for propaganda to operate without being more readily foregrounded in the future. An infra-legible approach provisionally assembles a set of mechanisms into a parasitic response to a specific, singular context, dismantled when the job is done. Like noise, it is purely contingent – not theorizable “in-itself,” assuming a new guise at each occasion, undetectable as such – yet it does not flag itself as oppositional from the get-go. It splits things from each other over time (content from form, content from other content, sound from image), coaxing (through a kind of fractalization) the targeted material to destratify, distend, digress, slip around and haunt itself, engineering a surface duplicity that gradually makes conscious the subject’s cognitive and perceptual role in validating the effects of predatory media (the dark underside of Duchamp’s co-creative viewer). It suspends capture by actively courting it – like an antidote that contains a modicum of the offending poison – refusing to settle into a unitary (legible) contestation, proliferating contradictory modalities while taking place as if conventions were still operative. Rather than coming to the sudden (yet comforting) realization that only a wholesale rejection can offer deliverance – a heart-on-the-sleeve righteousness proper to much experimental work – the listener-viewer of an infra-legible situation is short-circuited into performing a temporary de-reification, a separation requiring a finely tuned ear to the ground. The pitfalls of the Trojan horse principle are well known; the ease with which its subversive tactics might be served up as innovative methods to even further cement compliance makes imperative a constant state of delirium in uncovering blindspots, coupled with a lack of attachment to any particular mode of intervention (which does not exclude recovering some of the excess use-value occulted in historical artworks by the contingent frameworks prevailing at the time of their enactment).


Chart correlating economic data from 1947 to the present. The median point is 1980.

Apologies for the low quality of the reproduction. Click to enlarge, such as it is.

From bottom to top:

BLACK: US prices

RED: Stock Market: Dow Jones Industrial

PURPLE: Dow Jones again, enlarged until 1980.

JADE GREEN: GDP fluctuations in percentage.

DARK GREEN: Federal Funds Rate (Interest Rate set by the Fed) (data prior to 1971 still needs to be filled in)

ORANGE: Inflation

LIGHT BLUE: Unemployment