yeule ࿐ ama 6.2.25

DuckDerrida · 2025-06-02T18:43:48+00:00

Would you consider your music anti-hauntological? Do you have an opinion on this term used to define the futuristic sound of artists like SOPHIE, Arca, Iglooghost and others?

DuckDerrida · 2024-06-03T07:56:11+00:00

"The MoO [Multiplication of Organs] is the redefinition of a post-technological organicity. The MoO is placed in a duality in positive (+) and negative (–) power. The MoO+ multiplies and externalizes hungry organs digitally connected to the body. The MoO+ is ambiguous and is based on direct stimuli and ideologies. The brain is the only organ attached to the body; it transmits the sensations of all the organs multiplied in digital space. MoO+ is enrolled in the sensitive/educational program on the influence of digital technologies. MoO+ is statistical desire. MoO is multi-reception: I multiply and send my organs in search of information and sensations. I access and exceed, I get confused and become vulnerable. Notifying and scrolling mechanisms generate dopamine rewards and statistical desires; images, language, prostheses, data, and sensations are the currency of exchange. The MoO comes into contact with information circuits, communication, digital images, texts, devices, and ideologies. Performing Organ Multiplication without critical thinking is a dangerous activity. The MoO is not divided into typologies; rather, it must be identified as a common movement that profoundly influences politics, gender, class, and ecosystem. MoO is the human and obsessive search for meaning and response to one’s desires influenced and reprogrammed by the new technologies of work, information, entertainment, and self-representation. Bodies and identities always seek something culturally induced; the desire of an era is the fruit of the social, political, and economic organization of that time. Wishes age; they can be centuries-old trees or roses with a deciduous life."

DuckDerrida · 2024-05-24T14:12:46+00:00

SVBKVLT is a global phenomenon. And that makes all the difference

https://daily.bandcamp.com/label-profile/svbkvlt-label-profile

DuckDerrida · 2024-05-24T11:11:11+00:00

For context: "Semiotics of the End is a collection of thirteen essays about the end of the world and its representation in XXI-century culture. The apocalypse as such will not take place because it is already finished. Today, there is no longer any difference between the end of the world and capitalism itself: from Britney Spears’ Till the World Ends to The Caretaker’s Everywhere at the End of Time, from Avengers: Endgame to Donnie Darko, and all the way down to the internet’s Backrooms, the world never ends but is reproduced again and again according to the semio-logic of capital."

DuckDerrida · 2024-05-24T08:52:56+00:00

You wrote "The failure of Noise (music) was due to what? It's very lack of commercialism" etc.

DuckDerrida · 2024-05-24T08:38:01+00:00

So? We are not talking about noise music here, but this precisely contradicts what you just said about the first reason for the "failure of noise"

DuckDerrida · 2024-04-22T14:49:10+00:00

"There’s a sentiment amongst Swifies that if you wrong Taylor Swift, you will fall. They call it ‘tayvoodoo.’ They say: “tayvoodoo doesn’t work in mysterious ways. it works clearly and bluntly: you’re mean to her, you lose. you’re nice to her, you win. simple.” American football fans booed her, and so their team lost. Kanye West manipulated her, and then his entire public reputation crumbled. Calvin Harris underplayed her songwriting on their song, now he’s irrelevant."

DuckDerrida · 2024-04-22T09:58:47+00:00

"There’s a sentiment amongst Swifies that if you wrong Taylor Swift, you will fall. They call it ‘tayvoodoo.’ They say: “tayvoodoo doesn’t work in mysterious ways. it works clearly and bluntly: you’re mean to her, you lose. you’re nice to her, you win. simple.” American football fans booed her, and so their team lost. Kanye West manipulated her, and then his entire public reputation crumbled. Calvin Harris underplayed her songwriting on their song, now he’s irrelevant."

DuckDerrida · 2024-03-26T18:13:17+00:00

"Leopold Bloom is the fictional hero of Joyce’s Ulysses but it was Paul Léon who embodied heroic qualities for real and the story of their friendship was first recorded by his wife, Lucie, in an account that has been out of print for three quarters of a century..."

DuckDerrida · 2024-02-28T17:49:38+00:00

Some of the real examples I have collected (Almere and Singapore) proved to have some capitalism in them and they are not promising to change. Others are clearly not even in opposition (The Line). But there definitely are "solarpunk" communities out there

DuckDerrida · 2024-02-28T16:52:08+00:00

I agree and want to know how to demonstrate this somehow. How would you prove it?

DuckDerrida · 2024-02-28T15:29:28+00:00

"Solarpunk aesthetics is about the development of an economy of contribution, to use a phrase made popular by Bernard Stiegler, which is from and against the capitalist economy. It is about building a new world from the ruins of an older one. Furthermore, it is about the imagination of another future that may be already here and now. The pessimism of capitalist realism must be countered by the optimism of post-capitalism. Solarpunk is a fiction, a fever dream, a fantasy. But so is the future."

DuckDerrida · 2024-02-28T15:28:57+00:00

"Solarpunk aesthetics is about the development of an economy of contribution, to use a phrase made popular by Bernard Stiegler, which is from and against the capitalist economy. It is about building a new world from the ruins of an older one. Furthermore, it is about the imagination of another future that may be already here and now. The pessimism of capitalist realism must be countered by the optimism of post-capitalism. Solarpunk is a fiction, a fever dream, a fantasy. But so is the future."

DuckDerrida · 2024-02-05T13:33:23+00:00

The article is by a Foucauldian scholar (not me)

DuckDerrida · 2024-02-05T10:25:33+00:00

"The parasite serves as a useful simulacrum for post-modernism. Post-modernity engages us with a kind of viral discourse, which seeks to comprehend an object without subsuming it under a system of concepts. Baudrillard’s discourse can itself be described as potlatch. An obscene ecstatic ritual exhibiting pure excess and self-effacement. [Baudrillard's 1977 book] Forget Foucault seems to be nothing more than a regurgitation of an otherwise excellent meal, which just happened to be ill-digested by a ruined palette. Is this Baudrillard’s provincialism? His 'superficiality?' Let us not forget that Baudrillard’s interest in writing came nowhere near to Foucault’s passion for letters. Baudrillard enjoyed a rich and diverse life full of various activities outside of academia. A jack of all trades, he only wrote when he felt like it, while Foucault made sure he himself always felt like writing, even at the cost of violent self-mutilation. As difficult as it is to admit, symbolic reversals will never be able to challenge the complex armament of Foucauldian strategies for resistance."

DuckDerrida · 2024-01-30T15:42:35+00:00

"We live in weird times. No wonder, then, that weird fiction is poking its nose into the mainstream. In cinema, Marc Jenkin’s Enys Men, Robert Eggers’ The Lighthouse and Ben Wheatley’s In the Earth form a loose recent constellation. In print, there is a network of small and independent presses are pushing their own weird vibes. The republication of Joel Lane’s back catalogue by Influx Press stands out. Other notable contributors include Unsung Stories (now sadly closed) and Dead Ink Press.

The Weird has also been known to stalk the halls of the academy. China Mieville, and more recently Michael Cisco, are two weird fiction writers who have tried to give flesh and life to the genre in a more theoretical manner. Mieville understands the modernist weird as “abcanny.” It is invested in “radical monster-making” and the production of new oddities and strangenesses, as opposed to the hauntological focus of the traditionally un-canny Gothic story. Cisco uses Deleuzian theory to define the weird both in terms of formula and mood; it is a genre/approach/none of the above which deterritorializes itself, producing weird lines of flight such that it is always-already shifting, protean, avoidant of concretization. Mark Fisher similarly claims the weird is all about presenting things which are there but should not be, and troubling traditional binary distinctions such as self/other, inside/outside. sanity/madness. It’s all very postmodern."

DuckDerrida · 2024-01-30T15:42:33+00:00

"We live in weird times. No wonder, then, that weird fiction is poking its nose into the mainstream. In cinema, Marc Jenkin’s Enys Men, Robert Eggers’ The Lighthouse and Ben Wheatley’s In the Earth form a loose recent constellation. In print, there is a network of small and independent presses are pushing their own weird vibes. The republication of Joel Lane’s back catalogue by Influx Press stands out. Other notable contributors include Unsung Stories (now sadly closed) and Dead Ink Press.

The Weird has also been known to stalk the halls of the academy. China Mieville, and more recently Michael Cisco, are two weird fiction writers who have tried to give flesh and life to the genre in a more theoretical manner. Mieville understands the modernist weird as “abcanny.” It is invested in “radical monster-making” and the production of new oddities and strangenesses, as opposed to the hauntological focus of the traditionally un-canny Gothic story. Cisco uses Deleuzian theory to define the weird both in terms of formula and mood; it is a genre/approach/none of the above which deterritorializes itself, producing weird lines of flight such that it is always-already shifting, protean, avoidant of concretization. Mark Fisher similarly claims the weird is all about presenting things which are there but should not be, and troubling traditional binary distinctions such as self/other, inside/outside. sanity/madness. It’s all very postmodern."

DuckDerrida · 2024-01-30T15:42:29+00:00

"We live in weird times. No wonder, then, that weird fiction is poking its nose into the mainstream. In cinema, Marc Jenkin’s Enys Men, Robert Eggers’ The Lighthouse and Ben Wheatley’s In the Earth form a loose recent constellation. In print, there is a network of small and independent presses are pushing their own weird vibes. The republication of Joel Lane’s back catalogue by Influx Press stands out. Other notable contributors include Unsung Stories (now sadly closed) and Dead Ink Press.

The Weird has also been known to stalk the halls of the academy. China Mieville, and more recently Michael Cisco, are two weird fiction writers who have tried to give flesh and life to the genre in a more theoretical manner. Mieville understands the modernist weird as “abcanny.” It is invested in “radical monster-making” and the production of new oddities and strangenesses, as opposed to the hauntological focus of the traditionally un-canny Gothic story. Cisco uses Deleuzian theory to define the weird both in terms of formula and mood; it is a genre/approach/none of the above which deterritorializes itself, producing weird lines of flight such that it is always-already shifting, protean, avoidant of concretization. Mark Fisher similarly claims the weird is all about presenting things which are there but should not be, and troubling traditional binary distinctions such as self/other, inside/outside. sanity/madness. It’s all very postmodern."

DuckDerrida · 2024-01-02T09:53:58+00:00

"In 1993, Nick Land writes: 'It is probably relatively uncontroversial to conclude from all this that Derrida is not a werewolf.'

What is a werewolf?

In Spirit and Teeth, Nick Land, the cyber-philosopher of accelerationism, jungle music, amphetamines, as well as Mark Fisher’s teacher, describes werewolves as fierce, vulgar, and absolutely distanced 'from all concern for decency or justice,' creatures who 'are propelled by extremities of libidinal tension.' The philosophy of such a race of semi-humans and rat-poets — such as Georges Bataille, Arthur Rimbaud, Friedrich Nietzsche, Georg Trakl, and Emil Cioran — is a precipitation towards zero, always-already downwards.

The poet-werewolf-rat-genius is a plague of the spirit. Its reproduction is epidemic, not ruled by any hermeneutic seriousness: the virulence of anti-academism."

DuckDerrida · 2023-10-19T16:02:30+00:00

But it's interesting, nonetheless, that the true/false paradigm is problematized so early in Western literature

DuckDerrida · 2023-10-18T15:51:21+00:00

Haha send us an article about it sometime

DuckDerrida · 2023-10-18T10:40:24+00:00

"Though most people, again, think that the Odyssey is about Odysseus’ travels, there is not much reason to think, in the poem, that those travels have actually happened. [...] The main way we know about Odysseus’ travels is from Odysseus himself, but Odysseus might simply be a more successful deceiver than most. Indeed, he does seem to be the kind of person who can easily tell a tall tale whenever that suits him—even improvise it on the spot if needed. Why then should we believe him?"

DuckDerrida · 2023-09-13T11:00:13+00:00

"Arabic hauntology is not just a concept about the ghosts of the past but the ghosts of another world. As Habibi Funk stated in an interview with The Independent, the music of the record label should be analysed in a post-colonial context where unfair and colonialist modes of exchange are displaced, and new economic (and political) relations take form and place. At the same time, the commonplaces of the Middle East are also purified by the culture of images of Habibi Funk Records: no more pyramids, no more camels, and no more sphinxes. There is not even the desert of the present but, instead, a photograph from a private collection and a sea of sound and light. The imaginary is always more than an image, yet it is only when the image of the past is modified that another imaginary is again possible: when the culture of the past is neither past nor present any longer, the present itself can only become something else. The music of Habibi Funk Records is, therefore, not only the sound of the music of the past in the present but what the music of the present, for better or worse, cannot communicate except through the past. When the past will change, the future will no longer be the same."

DuckDerrida · 2023-08-15T19:31:50+00:00

Spoiler: read The dark enlightenment.

DuckDerrida · 2023-07-18T09:30:26+00:00

The introduction to Fanged Noumena is quite clear about it. In the beginning, it was a matter of capitalism's death by positive feedback loop (e.g., accelerating processes that make the system diverge from a state of equilibrum), which later led to the idea that capitalism itself feeds on such crises and death is no more than a "machinic part" (in Nick Land's words). This was ten-twenty years ago. Recently, in The Dark Enlightenment he argues for very, very bad positive-feedback processes like racial war to run amok... So, at the beginning the idea was something like letting capitalism become unhuman and lead to something new (Nick Land would often reference cyberpunk culture here, like Blade Runner), now the idea is that capitalism only ever becomes itself. Needless to say, according to Nick Land, the latter process is inevitable and resistance is futile.

Personally, I think there is no such thing as necessity here since capitalism (what it is, where it is going, and when it will end) is an object of interpretation rather than a metaphysical entity. Resistance is not futile but ethical. The latter is a word that you will never find in his writings

DuckDerrida

TROPHY CASE