An interface is choice frozen. Let’s shuck the lid and expose the underneath: YOU ARE NOT INNOCENT: YOUR EXPECTATIONS ARE LEADING TO A BAD LISTENING EXPERIENCE. THIS IS TAP WATER. The truth of a text is never really written anywhere: […]
When we think of the history of techno, house, and thus inevitably disco or hip-hop, we always think of the (sub)proletariat, queers & PoCs, the repressed, people who are given neither space nor time, who have to appropriate it themselves;
MOMEM, deutsch mich nicht voll! Wenn wir an die Geschichte des Techno, House, damit zwangsläufig auch Disco oder Hip-Hop denken, dann denken wir immer auch an das (Sub-)Proletariat, Queers & PoCs, an Verdrängte, Leute denen weder Raum noch Zeit gegeben
Written explanation of the bachelor thesis 1. Introduction „The future is dark, which is best thing the future can be, I think.“ Virginia Woolf[1] „A call to arm Ain’t gonna fight no moreDone fought the kitchen clockAnd the master’s clockAnd
Counter-dancing greets the philosophers Felix Guattari and Gilles Deleuze. It resonates with the principle of rhizomatic action. Rhizomatic dancing links one’s selves, joys and desires coupled with capitalistic technology with those of others in a flat manner. Read here and
heavy metal and its anti-exoticist core Palms and distortions: in search of anti-exoticism The sensation of exoticism: surprise. Rapidly dulled. Exoticism is willingly ‘‘tropical.’’ Coconut trees and torrid skies. Not much Arctic exoticism. Victor Segalen, Essay on Exoticism When Victor
I always had a deep enthusiasm for the bands like My Bloody Valentine, Seefeel, Slowdive, Lush, you name it … bands defined in many different ways the genre known as SHOEGAZE. What gravitated me towards this genre was basically the
SHOEDRIFT / SIFIR on Mille Plateaux
0. GOBEKLI TEPE No matter if the scientists, researchers, historians, anthropologists seem to have agreed upon that the ruins in Gobekli Tepe should be considered as a clear proof of a primordial and obscure religion with its temples built around
Corry Shores and Meli̇ke Başak Yalçın 0 Introduction Shortly before his death, Gilles Deleuze discovered a new kind of music: glitch, in particular, Oval’s Systemisch. [Achim] Szepanski contacted Deleuze himself, sending material by Oval and other Mille Plateaux artists, and
From Rhythm to Glitch: Digital Deformation in Deleuze
From November 21, 2021 Synnika Frankfurt presents the installation NONPLUSULTRABLACK in collaboration with the Frankfurt music label Mille Plateaux. Since 1991, the network initiated by Achim Szepanski around the labels Force Inc, Mille Plateaux, Position Chrome, Communism Records and many
NONPLUSULTRABLACK / Installation
What are the tactics of imperceptibility and opacity that appear independent of the forces and relations of capital and are useful for the destruction of this world? The zones of imperceptibility and opacity are less features of reality that can
“Clicks’n’cuts is not a genre”
Die Sicherheitsmechanismen hätten gegriffen, prahlt die Berliner Clubkommission. Was bleibt am Ende bei einer total verblödeten, idiotischen Techno-Freizeit-Kultur: Sicherheit. In den Nächten von Freitag auf Samstag und von Samstag auf Sonntaglassen sich die Freizeitklienten im ganzen Land auf spektakulärsten Feierkurshochtunen;
Clubkommission und Sicherheitskonzepte