Slow-mo.... Capitalisms Remission : Hibernation from the cold speed of now

Firstly, apologies for not posting more ( I know quite a few visit each day ), the Analemma project is taking up the little spare time I have. Fittingly, the subject ahead is mostly concerned with temporality, and the existential catalysts that yield sublime pockets of syrupy drag time amidst an accelerating world. As one lets the years slip by time seems to be running quicker and quicker, there are myriad metaphysical theories around this subject, I won't attempt to any address here, instead I'll focus on the cultural theme of slowing/stretching time that seems to be more and more prevalent in more than one aspect of cultural production as the second decade of the 21st century begins.

Minimal Dubstep, Chopped & Screwed, Witch House, Drag and Hypnogogic Pop are all ( in at least one respect or more ) examples of a creeping taediōsus-chronos at play in contemporary cultural production. Modern music is an obvious realm whereby the drift to slow is conspicuous, amidst the relentless 'New' and voracious MTVian force feeding the solace of a calmer ( or just slower ) experience is an odd interlude that's occurring more and more frequently, arching skywards between the X axis of popularity and the Y axis of ubiquity.... The drag could just be a ploy, a music video whereby nothing happens is often the most eye catching, even the most casual viewer is desensitized to the stale flickering of the established music promo mode: 2 shots a second, 3 back drops, 5 costume themes providing the filling for an ill conceived narrative prologue to feature to epilogue sandwich-type composition. Producing something so slow and releasing it into such a rabidly paced world has a similar effect as that of selective colour in modern film and art works, Spielbergs red girl in Schindlers List being the most obvious example, V/VM's time warped re-animations of time worn 'classics', Burials echos and James Blakes minimal vocoder noodling are all angelic 'red girls' against the grey of today. However, as a trick to gain greater recognition or yield a weightier impression this 'red girl' mechanism would have be exhausted of all potency long ago, possibly in the early 00's, instead the slowing is widening to a pandemic, soft clocks litter todays cultural landscape. Most forms of popular music now harbour a sub-genre of lethargic tempos or are even themselves the genesis of  larger emerging stoned out memes that are gaining greater exposure and popularity. Hip Hop has screwed and chopped, electronica has ambient, metal has sludge and drone, rock has post rock. There are possibly more examples of cross pollination and mutation between genres amidst the slower spectrums of execution rather than the classic(read entrenched)-tempo entities.  

V/VM's time warped remix of Robbie Williams 'Angels'.


Salvage Punk, is perhaps a driving force between much of the creative praxis behind modern cultural productions increasing tendency to decelerate, and hibernate in introspection. The notion of using existing materials is a recurring theme, art and music at the end of history have few options - remix, collage, parody and meditation present themselves as logical economies of production simultaneously for both capital creator and consumer, at the end of history Salvage(punk) is important ( the punkian aspect = the DIY component ) for there will never be another Beatles or Rolling Stones, the cultural significance and gravity afforded to culture past is receding under the horizon behind ourselves, as the expansion of our universe accelerates year on year the cultural gravity of the atoms swirling around us diminishes in correlation. To re-imagine and re-animate yesterdays relics, to find new ( some could argue intrinsically derivative ) methods to re-present is now a worthy talent in the cold desert, post producers are the new artists, necessarily leaching off an established cultural field from a massive relic, piggy-backing upon the gravity of familiarity, soaring out of the dark on a larger orbit ( and reflexive trajectory ) afforded by the source materials inherent potentiality.

As these genecentricist satellites gyrate elliptical, and orbit parasitically the drag emerges, to mine the strata of source material it's necessary to slow down, to dissect, relish and re-live. As this mode of production proliferates and slo-mo salvage becomes ubiquitous, the doppler-effect of the end of history rings in ones ears. Red shift slurrs mournfully for the end of 'new'.     

D.J. Screw's 'chopped 'n' screwed' mix of 'Still D.R.E.'




Nick Lands 'Fanged Noumena' emerges from the darkness....

Fanged Noumena is here at last! Urbanomic and Sequence Press have collaborated and released a beautifully produced 666 page edition ( aptly ) that harbours all of Nick Land's rabid, writhing and contorting texts from 1987-2007. The image opposite is lifted from Jake & Dinos Chapman's infamous 'Disasters of War IV', a similar image from the series is the cover image for Fanged Noumena ( pictured below ). The image I have selected here shows a rather vampiric chiroptera feeding upon a sleeping ( in perhaps any sense ) being. At the back of my mind there is an analogous resonance between a vampiric being's bloodlust and the act of Jake & Dinos Chapman feeding upon the cultural collateral of Francisco Goya's 'Disasters of War' etchings. No doubt the metaphor of the vampiric habit, the nocturnal feeding frenzy, could be extended to academia, in particular philosophy, as well as the Chapman Brothers rather capitalist cannibalism. After reading Land's intensely hallucinatory but razor strict 'Thirst for Annihilation' ( or in fact any of Land's texts ) the lasting impression is that of the authors superiority, he does not 'feed off', or piggy back upon the tsunami of historic thoughts or previous doctrines or paradigms, Land don't name check for kicks. Rather, the tone of his examination and/or implementation of histories scholars and renegades is that of knowing confidence, his efficiency to drop 'Mad, Black Deleuzianism' upon/amidst/around Heidegger and Kantian strata is not a praxis of schizophrenic autodidactism, not a simplistically (bi)polar punkian talent of juxtaposing cyberpunkian themes with cryptography, occult, numerological and grammatological. Land activates strategically, employing only the most poignant and devastating of philosophical devices at his disposal, that history and his expansive learnings have afforded, His writings could well be appreciated merely for the wealth/breath of influences and philosophical avenues re-animated and/or explored but the aspect to cherish most, that which is most Landian, is the talent to re-contexturalise myriad, disparate entities ( each more vivid and alive than that last secondary text wherein they arrived to us ) to re-formulate a coherence of destruction and nihilism, re-mixing and coagulation, his cold, machinic orchestration is but an instrument/vehicle to convey/carry his truly accelerationist and inhumanly progressive thoughts.