…Something like an epistemological break as compared to the pristine surfaces of OPN’s synth recordings, OPN’s disintegrated voices were not the breaths of an artist or even a synthesizer. They were both. On Replica, Lopatin united the two basic aesthetics of electronic music: the acousmatic and the cut-up. The acousmatic seeks absolute abstraction in electronic sound, totally without reference to a physical world. This is the mode of the analogue synth, the literally experimental music of the mid 20th century that sought to reform music as a purely non-referential or at least absolutely alien soundscape. The sampling, DJ aesthetic, on the other hand, doesn’t eschew reference so much as overload it, reveling in the shards of modernity, playing with reference in a way that is a replica of nothing in the world so much as postmodern consciousness itself. Replica was composed from 80s TV commercials, strangely sinister sounds of aluminum cans being popped, and totally unsated sighs of “Ahh!” Far from the dreams of a human unconscious, these were rather an insidious capitalist desiring machine. This liberated speech that emerged from the avant garde’s tape recorders could speak only through that machine — or, even more ominously, as Lopatin suggested with his source material of mass-market commercials, it could only speak using the sounds of capital. To a less subversive end, in this essay, I’ve sampled and looped Reid Scott Reid’s stellar review of Replica, but his words are not the beginning or end of this loop. On this year-end list and across the internet underground is emerging a linguistic understanding of this phenomenon of hypnagogic pop, one that hears the jams kicked out at the conceptual level, the looped breaks slipping between different ways of knowing as much as different decades of pop history. Conceptual artist Joseph Kosuth, in his “Art After Philosophy,” writes that the meaning of art is never in the physical object or even the thoughts or intentions of the artist, but instead “the propositions of art […] express definitions of art, or the formal consequences of definitions of art” (emphasis mine). On Replica, Lopatin is frankly inspiring to us as listeners and as writers, looping the spectacle with a damaged grandeur that is, for this reviewer’s understanding of what it means to jam in 2011, close to something like an epistemological break…

https://www.youtube.com/watch?v=hiwi7d0f91Y

Знаешь, друг, Тула - тоже юг

Завтра и до воскресенья буду в Туле (и вам рекомендую)

27-29 сентября кластер «Октава» проводит творй фестиваль «Трансформтаоры. Практика будущего».

Наши рекомендации - ниже.

Вся программа тут: https://fest.oktavaklaster.ru/

29 сентября, 19:00 - накнонец увижу фильм «Сорокин трип».

28 сентября, 16:00 - Публичное интервью с режиссером Талгатом Баталовым.

29 сентября, 14:00 - «Театр и мода. Между кутюром и правдой жизни»: лекция Кати Павелко, стилиста, художника по костюмам и фэшн-редактора.

Всем любителям совриска обязательно к просмотру: выставка «Электробутик: Архив современности» в Музее станка. Находится на втором этаже кластера.

Здравствуйте! Меня зовут Алёна, хотела бы предложить вам новость для телеграм-канала. Новость про ребрендинг фирменного стиля хоккейной команды Узбекистана нашими петербургскими специалистами - агентством OtvetDesign.
____
☺ Российский дизайн в Узбекистане: агентство :OTVETDESIGN разработало бренд для хоккейной команды Humo!

Этим летом брендинговое агентство :OTVETDESIGN разработало платформу позиционирования и визуальную идентичность для новой хоккейной команды HUMO. Птица счастья Хумо, известная каждому жителю Узбекистана, поможет своим подопечным появиться в турнирных таблицах ВХЛ и КХЛ.

Humo стала первым профессиональным проектом, который соответствует высоким амбициям нового руководства Узбекистана. Перед агентством :OTVETDESIGN стояла серьезная задача – разработать бренд, который отражает возложенную на команду миссию. Дизайн-проектированию предшествовала серьезная аналитическая и стратегическая работа.

Все равно Словакия лучше

Когда ты начинающий порнопродюсер

"The Other People Place seem either lost or uninspired," the Canadian magazine Exclaim said of Lifestyles Of The Laptop Café in February 2002. "The experimentation is insignificant and it sounds quite dated." It wasn't alone with this opinion. Released on Warp following era-defining IDM albums from Plaid, Squarepusher and Aphex Twin, the melodic and vocal-heavy Lifestyles Of The Laptop Café may have felt like a step backwards. The LP's subtle genius has since been revealed through the simplicity for which it was criticized. A little over 15 years later, it's reissued as one of electronic music's most essential records.

Produced by James Stinson, a truck driver with seven children and a hand in a string of seminal electro and techno releases as one half of Drexciya, Lifestyles Of The Laptop Café was as accessible as electro came. On other records, Stinson and fellow Drexciya member Gerald Donald explored the powerful fantasy of Afrofuturism. Lifestyles Of The Laptop Café was everyday life. Stinson, who made music from the basement of his family home ("You had to pull his teeth to find out what was going on," his mother Helen said), had never so openly engaged with the universal themes of love and belonging. At the time, The Other People Place was faceless—as with all Drexciya releases, the producer was unknown. But the music had a human touch, and Lifestyles Of The Laptop Café, which was slower and more melodic than any previous Drexciya-related release, connected with people like very little electronic music before or since.

Melody is key to this. Arpeggios and organ-style keys and chords float over basic 808 patterns—usually a 4/4 kick-snare combination with a light smattering of hi-hats—while melodic basslines, ranging from hyperactive and complex ("It's Your Love," "Moonlight Rendezvous") to short and simple ("Lifestyles Of The Casual"), plod underneath. There are never more than a few elements at play, which increases their potency and highlights Stinson's knack for effective composition.

Then there are the vocals. Single sentences—"you said you want me," "let me be what I wanna be"—become poetry when paired with Stinson's synths. Anyone with a basic grasp of English can relate to them, which helps explain Lifestyles Of The Laptop Café's broad appeal. How many listeners have pondered their own place in the world while listening to "Let Me Be Me," wondered "what if?" after locking eyes with a stranger like in "Eye Contact," or recalled past relationships during "You Said You Want Me?"'s forlorn call and response?

The simplicity of the lyrics also obscures their meaning. Knowing Stinson, there's more to Lifestyles Of The Laptop Café than love and identity. The hints, some say, are in the cover art, where modern technology meets nature, and in "Eye Contact"'s café monologue, interpreted as a comment on internet culture. We'll never get an explanation from Stinson, who passed away from a chronic heart condition following Lifestyles Of The Laptop Café's release, aged 32. In his final interview, he said that when heard in full, Drexciya's seven "storms"—a string of seven albums produced over one year—would give the listener a "complete feeling." Lifestyles Of The Laptop Café's meaning, then, may be elsewhere. 15 years from now, we'll still be trying to figure it out.

https://www.youtube.com/watch?v=8VI7nM5A9Jc

Спонсор вечера тульского творческого индустриального кластера "Октава"

https://www.youtube.com/watch?v=wlljMxd65dQ&feature=youtu.be
Что я думаю о рэп-концертах

Придумали шоу Youtube в стиле украинских телешоу. Если вы современный художник, то напишите на @mstbwct

Шанс учиться у великих

Мы вам ещё не успели пересказать хорошие новости из нашей дистанционной арт-школы Среда Обучения. С этого семестра у нас открывается набор в мастерскую главного авангардиста 1990х — Авдея Тер-Оганьяна. Искренне верим в безусловную ценность возвращения легенды. Авдей заслуженный педагог, без которого сектор отечественных mid career художников был бы сильно слабее. Надеемся, к новому поколению, делающему первые шаги в искусстве, он тоже приложил руку. Just in case — у нас в мастерской тоже ещё есть места. В общем, будем рады видеть (на самом деле много состав преподавателей очень достойный, всех не будем перечислять, посмотрите самостоятельно, кому интересно https://art.sredaobuchenia.ru/ )!

Завтра, 5 октября Алексей Таруц покажет новый перформанс Ratmir Vanbuuren Taruts «Измена Катит 2020» на блицфестивале экспериментальной музыки и звукового перформанса «Ткани», который пройдет в московском клубе Mutabor.
Сами пойдём и вам советуем.
Если не знакомы с творчеством Таруца советуем прочитать статью на кольте

https://m.colta.ru/articles/art/13669-vperedi-stolko-novyh-i-noveyshih-sobytiy

https://www.facebook.com/events/623663194707273/?ti=icl

Nothing, nothing moves any longer.

Nothing human has ever mattered to this world, says the one who stands outside it. Nothing human as ever excited the interest of river or flowers, says the one. Everything fades away in the specks of this blurred haze that the fire of the music has added to the heat of the sound, says the one. The music begins to decline. Nothing human has ever mattered to the tones and timbres that dazzle under their closed eyelids while they watch them, ignore them, and sleep.

https://www.youtube.com/watch?v=rXpZ2811ZLU

никто:
абсолютно никто:
Кулик Ирина:

Увидела тут у ММСИ анонс выставки Йоко Оно и предложение женщинам, пережившим домашние насилие, присылать анонимно свои истории для того, чтобы включить их в работу. Так вот: это то, как в искусстве о домашнем насилии (да и о любом насилии) говорить НЕ НАДО. Судя по анонсу, получается, что те, кто предложат истории, будут все также лишины агентности да еще и их истории будут использованы для того, чтобы сделать чужую художественную работу. То есть рассказчицам это все никак не поможет, зато здорово поможет символическому капиталу художницы. Учитывая, что в России декриминализированы побои это, извините за выражение, полный пиздец. Чтобы не ругаться голословно вот, например центр "Насилию. нет"https://nasiliu.net/