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== <small>'''Texto'''</small> ==
 
== <small>'''Texto'''</small> ==
  
−
'''NOISE AND POLITICS - TECHNET MIX NOISE AND POLITICS - TECHNET MI'''
+
„Sound invades us, impels us, drags us, transpierces us... it takes leave of the earth...It
 +
makes us want to die. Ecstasy and hypnosis.
 +
Colours do not move a people. Flags can do
 +
nothing without trumpets”
 +
Deleuze & Guattari – Thousand Plateaus
  
−
Our science has always desired to monitor, measure,abstract, and castrate meaning, forgetting that life is full of noise
+
TechNET is a multi-personal affirmation of
−
and that death alone is silent...Noise bought, sold or prohibited („wholly or predominantly characterised by an emission of
+
techno that seeks to elaborate and propel
−
repetetive beats“ - Clauses 58/60 CJB)...Nothing essential happens in the absence of noise.
+
the continued outbursts of psycho-social
 +
tumult that this music is creating. Never
 +
numbered or dated, each issue of Tech-
 +
NET could be the first or the last. Always
 +
at a beginning and always incomplete,
 +
TechNET is a “glorified flyer” that is given
 +
away at parties, deposited in record shops
 +
and sent out along the third rail. What follows are re-mixed and re-connected compositions sampled from TechNET tracks.
  
−
Among sounds, music as an autonomous production is a recent invention. Ambiguous and fragile, ostensibly secondary and of minor importance it has invaded our world and daily life. Today it is unavoidable, as if, in a world now devoid of meaning a background noise were increasingly necessary to give people a sense of security.
+
'''Positive Futurism'''
  
−
Music heralds, for it is prophetic. It obliges us to invent categories and new dynamics to regenerate social theory, which has become entrapped. Music makes mutations audible. It has always been in its essence a herald of times to come...if it is true that the political organisation of the twentieth century is rooted in the political thought of the nineteenth, the latter is almost entirely
+
We could begin anywhere. A history would
−
present in embryonic form in the music of the eighteenth century.
+
be too obvious and would imply that
 +
techno's creative phase was over, that it
 +
was now time to juggle with rarity. Such
 +
attempts at a genealogy of techno, a hierarchical archeology, or a precise pinpointing of musicians would prohibit an
 +
understanding of the simultaneity of multiple codes, the overlapping between styles
 +
and forms. Techno cannot be allotted a
 +
place as either pop or an avant-garde
 +
music – on the whole it doesn't take
 +
refuge in art and slips away from categorisation as the net of naming is unfurled. It
 +
avoids the discipline of nostalgia which
 +
keeps people in the thrall of the past, unable to even think of the future but always
 +
referring back. Nostalgia is a language of
 +
lack, a language that fills people with longings for a past that never happened, a
 +
present that never comes, for the gift that
 +
never arrives.
  
−
More than colours and forms, it is sounds and their arrangements that fashion societies. With noise is born disorder and its opposite: the world. With music is born power and its opposite: subversion. In noise we can read the codes of life, the relations among people. Clamour, Melody, Dissonance, Harmony. It is at the heart of the progressive rationalisation of aesthetics,
+
'''No More Words'''
−
and it is a refuge for a residual irrationality; it is a means of
 
−
power and a form of entertainment.
 
  
−
Any theory of power today must include a theory of the localisation of noise and its endowment with form. Equivalent to the articulation of a space, it indicates the limits of a territory and the way to make oneself heard within it, how to survive by drawing one’s sustenance from it. And since noise is the source of power, power has always listened to it with fascination.
+
Techno music opens up a space for a critique of language or at least it raises the
−
Eavesdropping, censorship, recording and surveillance are weapons of power. The technology of listening in on, ordering, transmitting and recording noise is at the heart of the apparatus. To listen, to memorise - this is the ability to interpret and control history, to manipulate the culture of a people, to control its violence and hopes.
+
issue of power inherent in language. A rejection of words in the form of vocals to a
 +
song allows the listener a far more open
 +
field of exploration, a space where it is
 +
possible to discover those immanent
 +
thoughts that are beyond syntax. For
 +
words guide us to order, they instil in us
 +
the need to have others speak for us; they
 +
make us receptive to the fixity of imposed
 +
meaning...a living and illicit speech where
 +
listening is not judged as passive but part
 +
of a process of communication. The letter
 +
kills the spirit, life in general is mobility itself.
  
−
The theorists of totalitarianism have all explained, indistinctly, that it is necessary to ban subversive noise because it betokens demands for cultural autonomy, support for differences or marginality: a concern for maintaining tonalism, the primacy
+
'''What Is Heard In Sound Is The Non - Face'''
−
of melody, a distrust of new languages, codes, or instruments, a refusal of the abnormal - these characteristics are common to all
 
−
totalitarian regimes. They are direct translations of the political importance of cultural repression and noise control...to make
 
−
music tranquil, reassuring and calm.
 
  
−
Everywhere we look, the monopolisation of the broadcast of messages, control of noise, and the institutionalisation of
+
Techno is an open secret, an anonymous
−
the silence of others assure the durability of power. Musical distribution techniques are today contributing to the establishment of a system of eavesdropping and social surveillance channels for the circulation of orders. The monologue of standardised, stereotyped music accompanies and hems in a daily life in which no one had the right to speak anymore.
+
pool of power. Faceless and from no-place
 +
it encourages us to immerse ourselves in
 +
its dynamism, to be aligned and arrayed
 +
with everyone, to be cut through and enlarged by all that input, all those mute articulations. Records issued under a variety
 +
of names and composed by packs resist
 +
moves to codify and canonise, challenging
 +
the celebrity-machine that functions as a
 +
visible indexation of 'success'. 'Stars'
 +
imply an upward mobility, they spawn
 +
sycophantic imitators, idol builders and
 +
“faces on the scene”. Increasingly now the
 +
music industry attempts to make big time
 +
profits from the previously unmarketable
 +
faceless techno bollocks. Singled out.
 +
Captured. Careering.
  
−
The distinction between musician and non-musician undoubtedly represents one of the very first divisions of labour, one of the very first social differentiations in history, even predating the hierarchy of class. What is called music today is all too often only a dis�guise for the monologue of power. Music now seems hardly more than a somewhat clumsy excuse for the self-glorification of musicians and the growth of a new industrial sector, the channelisation of desire into commodities to such an extreme as to become a caricature.
+
'''Inside the Crowd'''
  
−
But a subversive strain of music has always managed to survive, subterranean and pursued, the inverse image of noise control: popular music, an instrument of the ecstatic cult,and outburst of uncensored violence. Here music is a locus of subversion, a transcendence of the body. At odds with the official religions and centres of power, these gatherings of margin�als have at turns been tolerated, offered integration into official culture and brutally repressed ("13 people were arrested after 70 police in riot gear surrounded a derelict block offlats...barricaded by 200 party goers, some of whom threw missiles" - Liverpool, 1991). Music, the quintessential mass activity, like the crowd, is simultaneously a threat and a necessary source of legitimacy: trying to channel it is a risk that every system of power must run.
+
''Techno parties have no centre, no focal
 +
point.'' Crowds have never written their
 +
own history, crowds are never the source
 +
around which a narrative is built. Individu-
 +
als are said to be the agents of change,
 +
the doers, but this, after all else, is one
 +
more means of seeing the social in short-
 +
hand. Only crowds have acted only
 +
crowds have changed things. This is another area where binary oppositions do
 +
not equip us to go – a sense of the non-ordinary, the uninscribed can be felt from
 +
within a crowd, the stepping out from
 +
everyday cause and effect. Because we
 +
are brought up from day one with, an at
 +
best, muted sense of what collectivities
 +
can achieve but a too heightened sense of
 +
indivuduals as the enactors, we tend to
 +
view the outcome of an event in terms of
 +
the concrete results it achieves. This
 +
blinds us to the unquantifiable, but none
 +
the less, very real effect of being in a
 +
crowd. In a techno party all are equal – no one has the right to give a command.
  
−
We are condemned to silence - unless we create our own relation with the world and try to tie other people into the meaning we thus create. That is what composing is. Doing soley for the sake of doing. Inventing new codes, inventing the message at the same time as the language. Playing for ones own pleasure which alone can create the conditions for new communication. A concept such as this relates to the emergence of the free act, self-transcendence, pleasure in being instead of having.
+
'''Crackdown'''
  
−
Composition thus appears as a negation of the division of roles and labour as constructed by the old codes. To listen to music in the network of composition is to rewrite it. The listener is the operator.
+
In Britain, the new Criminal Justice Act is
 +
testament to the government's need to silence noises that scramble its codes and
 +
lead to its dysfunction These new laws are
 +
a response to the political nature of people
 +
coming together in groups where there is
 +
a greater chance for inspiration, creativity
 +
and disturbance. The Act is not an attack
 +
on our 'civil liberties' as the radical left in
 +
its various shades tell us. Any 'rights' we
 +
are supposed to have a merely granted to
 +
us by the lawmakers to ensure that the
 +
myth of a “free” society may be maintained. Those organisers of opposition to
 +
the Criminal Justice Act focus on the injustice of the state but we wish to explore the
 +
poetics of altered States.
  
−
Composition, then, beyond the realm of music calls into question the distinction between the worker and consumer, between doing and destroying; its beginning can be seen today, incoherent and fragile, subversive and threatened, in techno’s anxious questioning of repetition, in its foreshadowing of the death of the specialist.
+
'''Intensifier'''
 +
 
 +
11pm. Cross the threshold into a countless doorless rooms...the shattering of the
 +
mirror of travel...the fragile skin between
 +
inner and outer has been punctured, a celebration begins where our own energy is
 +
spent freely and limitlessly...instantaneous
 +
explosions and the sudden flare of identity
 +
assassination...paroxysm of speed...nostalgia for an alphabet fading in the rapid
 +
path of strobe lights...bodies enwrapped in
 +
bass, dancing in and out time...escaping
 +
gravity as the mind shifts into dissolution,
 +
cut through by assemblages of sound...fire
 +
consumption and the absurdity of excess...the power of pleasure...the all pervasive ghost mob. 7am.
 +
 
 +
 
 +
Above tracks cut through with samples from: Dead by
 +
Dawn parties, Deuleze and Guattari, Stephen Pfhol,
 +
Henri Bergson, Alex Trocchi, and Elias Canetti
  
 
== <small>'''Contexto'''</small> ==
 
== <small>'''Contexto'''</small> ==
Línea 45: Línea 140:
 
== <small>'''Enlaces'''</small> ==
 
== <small>'''Enlaces'''</small> ==
  
−
'''URL:'''
+
'''Wayback Machine:''' https://web.archive.org/web/20160327090331/http://datacide-magazine.com/wp-content/uploads/TechNet_insert_smaller.pdf
−
'''Wayback Machine:'''  
 
  
 
[[Categoría:Manifiestos]]
 
[[Categoría:Manifiestos]]

Revisión actual del 20:15 28 feb 2022

Texto

„Sound invades us, impels us, drags us, transpierces us... it takes leave of the earth...It makes us want to die. Ecstasy and hypnosis. Colours do not move a people. Flags can do nothing without trumpets” Deleuze & Guattari – Thousand Plateaus

TechNET is a multi-personal affirmation of techno that seeks to elaborate and propel the continued outbursts of psycho-social tumult that this music is creating. Never numbered or dated, each issue of Tech- NET could be the first or the last. Always at a beginning and always incomplete, TechNET is a “glorified flyer” that is given away at parties, deposited in record shops and sent out along the third rail. What follows are re-mixed and re-connected compositions sampled from TechNET tracks.

Positive Futurism

We could begin anywhere. A history would be too obvious and would imply that techno's creative phase was over, that it was now time to juggle with rarity. Such attempts at a genealogy of techno, a hierarchical archeology, or a precise pinpointing of musicians would prohibit an understanding of the simultaneity of multiple codes, the overlapping between styles and forms. Techno cannot be allotted a place as either pop or an avant-garde music – on the whole it doesn't take refuge in art and slips away from categorisation as the net of naming is unfurled. It avoids the discipline of nostalgia which keeps people in the thrall of the past, unable to even think of the future but always referring back. Nostalgia is a language of lack, a language that fills people with longings for a past that never happened, a present that never comes, for the gift that never arrives.

No More Words

Techno music opens up a space for a critique of language or at least it raises the issue of power inherent in language. A rejection of words in the form of vocals to a song allows the listener a far more open field of exploration, a space where it is possible to discover those immanent thoughts that are beyond syntax. For words guide us to order, they instil in us the need to have others speak for us; they make us receptive to the fixity of imposed meaning...a living and illicit speech where listening is not judged as passive but part of a process of communication. The letter kills the spirit, life in general is mobility itself.

What Is Heard In Sound Is The Non - Face

Techno is an open secret, an anonymous pool of power. Faceless and from no-place it encourages us to immerse ourselves in its dynamism, to be aligned and arrayed with everyone, to be cut through and enlarged by all that input, all those mute articulations. Records issued under a variety of names and composed by packs resist moves to codify and canonise, challenging the celebrity-machine that functions as a visible indexation of 'success'. 'Stars' imply an upward mobility, they spawn sycophantic imitators, idol builders and “faces on the scene”. Increasingly now the music industry attempts to make big time profits from the previously unmarketable faceless techno bollocks. Singled out. Captured. Careering.

Inside the Crowd

Techno parties have no centre, no focal point. Crowds have never written their own history, crowds are never the source around which a narrative is built. Individu- als are said to be the agents of change, the doers, but this, after all else, is one more means of seeing the social in short- hand. Only crowds have acted only crowds have changed things. This is another area where binary oppositions do not equip us to go – a sense of the non-ordinary, the uninscribed can be felt from within a crowd, the stepping out from everyday cause and effect. Because we are brought up from day one with, an at best, muted sense of what collectivities can achieve but a too heightened sense of indivuduals as the enactors, we tend to view the outcome of an event in terms of the concrete results it achieves. This blinds us to the unquantifiable, but none the less, very real effect of being in a crowd. In a techno party all are equal – no one has the right to give a command.

Crackdown

In Britain, the new Criminal Justice Act is testament to the government's need to silence noises that scramble its codes and lead to its dysfunction These new laws are a response to the political nature of people coming together in groups where there is a greater chance for inspiration, creativity and disturbance. The Act is not an attack on our 'civil liberties' as the radical left in its various shades tell us. Any 'rights' we are supposed to have a merely granted to us by the lawmakers to ensure that the myth of a “free” society may be maintained. Those organisers of opposition to the Criminal Justice Act focus on the injustice of the state but we wish to explore the poetics of altered States.

Intensifier

11pm. Cross the threshold into a countless doorless rooms...the shattering of the mirror of travel...the fragile skin between inner and outer has been punctured, a celebration begins where our own energy is spent freely and limitlessly...instantaneous explosions and the sudden flare of identity assassination...paroxysm of speed...nostalgia for an alphabet fading in the rapid path of strobe lights...bodies enwrapped in bass, dancing in and out time...escaping gravity as the mind shifts into dissolution, cut through by assemblages of sound...fire consumption and the absurdity of excess...the power of pleasure...the all pervasive ghost mob. 7am.


Above tracks cut through with samples from: Dead by Dawn parties, Deuleze and Guattari, Stephen Pfhol, Henri Bergson, Alex Trocchi, and Elias Canetti

Contexto

Autoras

Fuentes

Enlaces

Wayback Machine: https://web.archive.org/web/20160327090331/http://datacide-magazine.com/wp-content/uploads/TechNet_insert_smaller.pdf

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