the peristaltic gurglings of this gastēr-investigative procedural – a
soooo welcomed addition to the ballooning corpus of slot-versatile bad
eggs The Confraternity of Neoflagellants (CoN) – [users] and
#influencers everywhere will be belly-joyed to hold hands with
neomedieval mutter-matter that literally sticks and branches, available
from punctum in both frictionless and grip-gettable boke-shaped formats.
A game-changer in Brownian temp-controlled phoneme capture, Pan-Pan’s writhing paginations are completely oxygen-soaked, overwriting the flavour profiles of 2013’s thN Lng folk 2go
with no-holds-barred argumentations on all voice-like and lung-adjacent
functions. Rumoured by experts to be dead to the World™, CoN has
clearly turned its ear canal arrays towards the jabbering OMFG feedback
signals from their scores of naive listeners, scrapping all lenticular
exegesis and content profiles to construct taped-together vernacular
dwellings housing ‘shrooming atmospheric awarenesses and pan-dimensional
cross-talkers, making this anticipatory sequel a serious competitor
across ambient markets, and a crowded kitchen in its own right.
The Confraternity of Neoflagellants was founded
in 2009 by Serjeant-At-Law Norman Hogg and joined by Keeper of the
Wardrobe Neil Mulholland. It is a secular and equal opportunities
confraternity bound by choreograph.
La Confrérie de Neoflagellants a été fondée en 2009 par le
Sergent-At-Law Hogg et rejoint par Gardien des Vêtements Mulholland. Il
s’agit d’une confrérie laïque et l’égalité des chances lié par
Blow off all your fun socks. Just PUSH! Make fierce pH and totally gutshaft straight through gelatinous copper. MHzzzzzzzzzzzzzah! Lose your unknown cargo unto the swirling quotidian-circuits that peristaltically convulse the gastro-investigative wambuterus of þan-þan.
þan-þan. Unpasturised horse-class autogenerative REXLLA Plusigone [STATIC] fermented Can-Con dolloromoburþing a relentless low-end patina of vagrant WeRLtd-certified New Forrest Mall mondegreen. þan-þan. Pressure-farmed parasitical panarchic pool of future-dead mould-casts, auditory pareidolia divination, defibrillated [userexperience] and compurgation swarms topped with a steamin’ hot speziality SCOBYGrandeu®.
PUSHH! Beaver-gutslammin’ Oh [UX] Henry! vending phenomenon that faithfully reconstruct all traces of deuterocanonical clickbait ever left in mash by warpy prongs. PUSSSHHHHH! Bloody-edge WrinkleTech™ Can-Crock Pots that put a donk on all ylemmy stick-craft memes and smash the basal buttons of even the grubbiest gossamer silicate dermis. Gyeah!
REDUCE! Engorge the inevitable reversibility of this spore-bearing crescendo by playing the sous-chef vainly attempting to remove the cous from the cous-cous. REDUCE! Redemption by re-viewing review of redemption of Amazon CAD$50 Gift Voucher Redemption Review.
Culture lives; here! gYEAHHHHHHH!!
The Pan-Pan Myth-System (or Psychosis as Method)
What fresh heresy is
this? Is this a joke?? Will no one stop them? Where are the guards, cops, bailiffs,
etc, etc? Has the publisher no self-respect? No editors and censors or sense of
186a Deptford High Street, SE8 3PR London, England
Exhibition continues 30th March – 28th of April
@baojiaxiang, Scrabulous Anomaly in the Re-write Department, Confraternity of Neoflagellants, Department of Decay, Lewis Den Hertog, Plastique Fantastique, Bianca Hlywa, AGF HYDRA, Marija Bozinovska Jones with MBJ Wetware, Natalia Janula, Alexandra Koumantaki, Peter Lee, Christopher Macinnes, Piano Princess, Hannah Rose Stewart, Marta Stražičić, Tea Stražičić, Theo Triantafyllidis, Jennifer Walton.
Whale Fall is the carcass of a fetid dataset by 19 artists working across digital media, installation, performance, fashion, music, film and theory-fiction. At Gossamer Fog, it is remixed and presented as a site-specific film installation.
It is a project by Most Dismal Swamp, an experimental art platform and record label simulating and exploring a contemporary ecology that has come to be defined by the hallucinatory entanglement of multiple logics, systems, temporalities, and realities: a mixed-reality paradigm; a pervasive, horizonless swampscape.
Whale Fall focuses on the diverse bodies emerging from and inhabiting this ‘swampscape’, and how they might pose challenges to orthodox conceptions of personhood, intelligence, corporeality, and life. Do these categories perhaps even harbour assumptions that erase difference and confine the possibility-space of human social, ethical, technological, intellectual, political development? In other words, might an uneven and combined heresy (a revision of the human) possibly emerge from the somatic mutations and social transformations native to the swampscape?
A version of Whale Fall can be watched online at www.mostdismalswamp.com. And a digital release of the music by Jennifer Walton featured in Whale Fall, entitled Winged // Dislocated will also be available via Most Dismal Swamp and across all major streaming platforms.
This exhibition has been made with support from Arts Council England.
Most Dismal Swamp is a mixed-reality biome, an art platform, a multi-scalar mystic fiction, a forecasting laboratory, a long tail, a transitional ecosystem, a party, a cognitive scaffold, a bad dataset, a curatorial MMORPG, a memeplex aggregator, a planetary weirding studio, and a record label.
It is a model for parsing, navigating, and elaborating a Dank Enlightenment: globally variable synaesthesia across multiple and simultaneous dimensions.
Since the early ’60s, increasingly integrated paratechnical curricula have been (begrudgingly) hosted by monotechnical art and design schools. I outline the key characteristics and limitations of the (modernist) monotechnical art and design curriculum and give some examples of different integrated paratechnical tactics and strategies. From this, I suggest that the paratechnic attempts to pursue the following qualities:
Diversification of methods and communities of practice
Externally-networked dissensus (Bill Reading’s ‘University of Dissensus’)
1:1 scale immediation (non-representational)
Ludic, adaptive flow
Paragogical cooperation and collegiality
An opportunity lies in admitting that the monoculture of art and design education – its internal ethics – still nurtures modernist assimilation and bias, and that, in preventing art and design from realising its educational potential, fachidiots place their own field at risk of redundancy. From this we may begin a productive transformation of the art school’s communities of practice (its variety of staff and students) and their relations with international communities of purpose.
“If art can be said to reflect the conditions of the world in which it is made, art that engages with the vanguard technology of an era can perhaps be said to have a particular purchase on contemporaneous visions of the arc of the future.” Chris Wiley, Beginnings + Ends (post-net art), frieze, Issue 159, Nov-Dec 2013.
We will perform Mobilitas Loci (Muller Ltd.) a multimedia audio-visual work. As neomedievalist artists based in Scotland and Québec, our collaborative work is often fabricated mid-Atlantic in a cloud-workshop using freeware. Where much post-net art tends to rework the forward-thinking modern/postmodern collectives of the 1960s and ‘70s, neomedieval artistic practice adopts ‘backward-thinking’, to identify and develop possible ‘premodern futures’ through a visceral, indulgent, lavish, liturgical and ludic materialism. Given its non-modern condition, contemporary artistic practice has as much in common with the guilds of the middle ages as it does with the avant-garde of the 20th century.
Set in a contemporary passion park, Mobilitas Loci (Muller Ltd.) entangles a number of medieval sources (from the Bestiary of Philippe de Thaon to Foxe’s Book of Martyrs) with the work of living and fictitious artists, knowledge-architects, Ponzi schemers, and philosophers (e.g. Alexandr Petrovsky, Amanda Beech, Ray Brassier, Adam Toffler, www.bobsacamano.dr). The A/V work takes the form of a bestiary entry on the dog-head Muller Ltd., a quasi-human protagonist in our theory-fiction thN Lng Folk 2 Go: Investigating Future Premoderns™ (Punctum, 2013). It is performed in a mixture of middle and modern Scots and middle American mall talk and includes cover versions of electronic voice phenomena recordings of the medieval dead and moving images of Muller Ltd.
Unexpected Encounters with Deep Time: Enchantment
Thursday, 26th November 2015
Andrew Grant Lecture Theatre, Evolution House, West Port, Edinburgh College of Art
Organised by the Edinburgh Environmental Humanities Network
Earlier this year the discovery of homo naledi propelled enchantment into a framework of deep time. The speculation is that early human ancestors, perhaps from as much as 4 million years ago, may have ritually buried their dead in the dark Rising Star caves. The questions of when, where and for whom the world first appeared as enchanted have abruptly shifted from the 200,000 or so years of homo sapiens into a much longer past. Elsewhere, the deep future of enchantment can be gleaned from discussions around the future of nuclear waste. Will future descendants still be enchanted by this ‘new immortal’? If so how do present humans protect them from their own curiosity when conventions of communication are so closely embedded within shallow time? Looking closely at the implications of these questions reveal cracks in the shell of human exceptionalism. After all the questions around nuclear waste are often accompanied by the caveat that these descendants we seek to protect may no longer be human. Yet enchantment is a concept tied to the core of the humanities. Stories of the loss of disenchantment remain central to definitions of modernity and the rise of secularism, and enchantment’s return, via claims of the rise of religious fundamentalism, is central to contemporary geopolitics. Within environmental literatures enchantment has been seen as a way of mobilising ethical responses on an increasingly damaged planet (e.g. Abram; Bennet) and critiqued for contributing to the forgetting of countless ‘unloved others’ (Rose & van Dooren).
Our series focus on ‘unexpected encounters with deep time’ emphasises the way that deep time is encountered in materiality of the everyday. Likewise Jane Bennet has stressed that enchantment arises, unanticipated, in the moment, in the “active engagement with objects of sensuous experience” (5).
The aim of this workshop is to explore what enchantment might become within a framework of deep time. We hope to explore questions such as:
How might deep time and enchantment reframe or challenge each other?
How are their ties to the everyday world to be understood?
How might deep time trouble the humanist frame within which enchantment has primarily been situated?
How might it disturb current understandings of the promises and perils of enchantment for environmental thought and action?
What are the political and ethical implications, positive or negative, of ‘enchanting’ deep time?
How might deep time queer the temporalities of enchantment (cf Burlein & Orr)?