>>pski

[polinski]

streeeeeeeeeeems

got round to sorting out full bleed to stream in all the usual places, only three years late. e.g:

spotify: https://open.spotify.com/album/3sRKT6trMV80su9mapqTOg

apple music/itunes: https://itunes.apple.com/gb/album/full-bleed/1353242941

deezer: https://www.deezer.com/en/album/57911522

etc.

etc.

[polinski]

Free download of Full Bleed recorded live at A38, Hungary, 290118.

[polinski]

FULLY AUTOMATED LUXURY COMPOSITION

I wrote an essay around a piece of music that has been published in the latest issue of IASPM. It's called 'Fully Automated Luxury Composition'.

It's about generative music, utopia & how capitalism shapes creative thinking.

LINK TO ESSAY.

LINK TO MUSIC.

In case of skim reading—it is pretty dry, I wouldn't blame you—to summarise:

The title is a shameless pun on Fully Automated Luxury Communism. ☭☭☭

Utopian thinking in culture is an urgent task of anybody making music or art. (If we cannot imagine better futures beyond capitalism then how do we make them?)

I do not think that algorithmic, generative music is necessarily a utopian vision for the future of music.

However, endless streams of infinite music that transcend the commodity form and is made by anybody who wants to make it is a useful utopian idea.

Looking at ways for automation and technology to be an emancipatory force is not the same as blindly endorsing the accelerationism of late capitalism we're all being carried along by.

In any case, utopian thinking can serve the negative purpose of revealing the limits of musical imagination under capitalism.

This interrogation hints at a tension when applying utopian thought to models of creative production like music-making. Capitalism does allow for an artistic autonomy and the creation of 'communal solidarities' - this is why pop music can be so great. But through this allowance it is able to subsume the creative act. It traps us inside.

Capitalism is tenacious. It's already trying to co-opt this line of musical utopian thinking. The cutting edge musical machine learning of Magenta might be open source, but it is bank-rolled by Google. Look at this cringey appropration of musical technology and tell me you don't want to burn the whole idea of music to the ground.

Capital is coming. It will try to co-opt this glimmer of utopian resistance. There'll be hammer and sickle t-shirts in Urban Outfitters any day now.

Final note: The music part of this reseach is something I would otherwise have not released were it not tied to this essay. I don't think it is good enough.

[gurafiku]

[tomorrowandbeyond]

[subjectwgtn-blog]

[trash-fuckyou]

[larmoyante]

‘I think about your thighs,’ he wrote in the second letter, ‘and the warm, moist smell of your skin in the morning, and the tiny eyelash in each corner of your eye that I always notice when you first roll over to look at me. I don’t know why you are better and more beautiful than anybody else. I don’t know why your body is something I can’t stop thinking about, why those little flaws and ridges on your back are lovely to me or why the pale soft bottoms of your New Jersey feet that always wore shoes are more poignant than any other feet, but they are. I thought I would have more time to chart your body, to map its poles, its contours and terrains, its inner regions, both temperate and torrid - a whole topography of skin and muscle and bone. I didn’t tell you, but I imagined a lifetime as your cartographer, years of exploration and discovery that would keep changing the look of my map. It would always need to be redrawn and reconfigured to keep up with you. I’m sure I’ve missed things, Bill, or forgotten them, because half the time I’ve been wandering around your body blind drunk with happiness. There are still places I haven’t seen.’

Siri Hustvedt, What I Loved (via larmoyante)

[tomillingworth]

[polinski]

[teensonacid]

[polinski]

People complain that music has so many meanings; they aren’t sure what to think when they are listening to it; and yet, after all, everyone understands words. I am quite the opposite. I feel not only with whole speeches, but even with individual words, that they have so many meanings, they are so imprecise, so easy to misunderstand in comparison with music […] A piece of music that I love expresses thoughts to me that are not too *imprecise* to be framed in words, but too *precise*. So I find that attempts to express such thoughts in words may have some point to them, but they are also unsatisfying.

Felix Mendelssohn (via Music, Metaphor and Metaphysics, Kramer, L. The Musical Times, 2008)

[polinski]

The work I did is the work I know, and the work I do is the work I don’t know. That’s why I can’t tell you, I don’t know what I’m doing. And it’s the not knowing that makes it interesting

Philip Glass

[polinski]

Altermodernism can be defined as that moment when it became possible for us to produce something that made sense starting from an assumed heterochrony, that is, from a vision of human history as constituted of multiple temporalities, disdaining the nostalgia for the avant-garde and indeed for any era – a positive vision of chaos and complexity. It is neither a petrified kind of time advancing in loops (postmodernism) nor a linear vision of history (modernism) but a positive experience of disorientation through an art-form exploring all dimensions of the present, tracing lines in all directions of time and space. The artist turns cultural nomad: what remains of the Baudelairean model of modernism is no doubt this flânerie, transformed into a technique for generating creativeness and deriving knowledge

Bourriaud, N. (2009). Altermodern. London: Tate Publishing. (via A Manifesto of Nodalism)

[polinski]

[gurafiku]

Japanese Theater Poster: Day-to-Day Living. Yuta Tsuchiya. 2012

[shihlun]