Critical theory is a refuge for clever people who don't like dealing with reality or substance. The style and technique of actual visionaries like Marshall McLuhan or Manuel de Landa is, unfortunately, very easy to emulate for people without any actual vision. Of course, the genre of academic writing is no different from country music or hip hop, in that respect: it's all 99% crap in this modern age.
Critical theory is different, though: like most philosophy, it's much closer to 100% ambient crap saturation. So when critical theory gets used to promote talentless, funk-castrated "electronic music," we're at a whole new level of the game. Suddenly, this stuff is no longer pretentious or irritating: it gets funny as fuck.
Here's an article this kid wrote about himself. He thinks he's claiming the name "Algorhythms," but the sad fact is, he is an unpaid intern writing hilarious ad copy for me. Dylan, I like the direction you're taking this. You should broaden your references outside the safe white-boy territory of Friedrich and D&G, though -- I want more Vadana Shiva and Malcolm X from you in the future, man.
Edited for brevity:
Algorithms are molecular blueprints of nature's randomness. Nietzsche was in awe of nature, he said that nature is no model, it exaggerates , it distorts , leaves gaps. Dylan's music makes inaudible sounds , understood with the help of Deleuze as 'TIME, DURATION and INTENSITY'. His instruments singularly don't make music, they hear the inaudible through their material interventions on the audible landscape.
Music is abstracted from the black hole. Cage believed that nothing is predetermined, and although Dylan uses diagrams of algorithms to conduct his compositions there is similarly nothing predetermined about them. Nature is chance.
I guess thats why Dylan's art-cum-music excites me so much. Dylan creates anti-rhythms, like a lost pioneer creating a new aural landscape , a new sub-terranean-culture ... 'AlgoRhythms'.
LMFAO!!! Solid gold.
Algorhythms is Beyond All Spheres of Force and Matter. Algorhythms was distilled, destroyed, destabilized. I wrote battle raps for years -- insecurity is the catalyst for many a career here in hip hop. Algorhythms was a process of going through almost 100 printed pages and throwing out probably 97 of them. That material grew into "What's This?" - parts of "Blowing Numbers" - and "Audrey Hepburn" of course. Everything else on the EP was written for the beats that Dr. Quandary gave me..."Graph Paper" was done the same day I got it, but it's also the shortest track on the EP.
Since then, all of the material has been more deliberate...slower writing, more consistent and conceptual. Ram Nam Satya Hai was how I started and finished every live show I did from 2007-2009. I like to keep the focus on any given conversation on MEMENTO MORI material. Especially in a bar setting!!
EELRIJUE is ferocious -- definitely destined to be the "Apocalypse Now" of our catalog. On that cymatic, simmering note...here's a classic from the archives:
McKENNA: Jacques Vallee, who is one of the foremost commentators on the phenomenon, has been at great pains to point out that with the flying saucer phenomenon we're dealing with thousands and thousands of incidents per year, throughout the world. Even at our own primitive level of scientific sophistication we can learn a great deal about a planet by sending a single probe to that planet. What kind of scientific program of investigation requires thousands and thousands of appearances? And if we make the assumption that not all appearances are observed, but that in fact only a small number are observed, then the number of appearances that must actually be going on soars toward an astronomical number. It suggests we're dealing with an interpenetration by an alien dimension on an almost industrial scale.
MISHLOVE: Of course a single probe could cause thousands of appearances.
McKENNA: If it were of a sophisticated enough nature, that's right. The approach that I have taken, that has characterized my work with this phenomenon, was first of all to say we have not carried out a sufficiently in-depth survey of the life already on this planet to be able to say that at some time in the past life did not arrive here and thrive here that is not part of the general heritage of life on this planet, but that has somehow come in from the outside. My candidate for that kind of an intrusive extraterrestrial would probably be a mushroom of some sort, or a spore-bearing life form, because spores are very impervious to low temperatures and high radiation -- the kind of environment met with in outer space.
MISHLOVE: In other words, a mushroom spore could conceivably even waft itself up through the atmosphere of our planet and enter into empty space.
McKENNA: Oh, there's no question but what this is happening -- that through what's called Brownian motion, which is sort of random percolation, spores do reach the outer edge of our atmosphere, and there, in the presence of cosmic rays and meteors and rare, highly energetic events, occasionally a very small percentage of these biological objects are wafted into space. We even possess meteorites that are believed to be pieces of the Martian surface, thrown out by impacts on the Martian surface of asteroidal material. In fact I think part of the grappling with the UFO mystery is going to lead to the conclusion that space is not an impermeable and insurmountable barrier to biology -- that in fact planets are islands, and life does occasionally wash in from distant places, and if conditions are correct, can take hold. However, let me say in the UFO phenomenon we are dealing, or we presuppose that we are dealing, not simply with the phenomenon of extraterrestrial biology, but with the phenomenon of extraterrestrial intelligence, and this is a hackle-raising notion.
MISHLOVE: We're dealing with more than mushroom spores.
McKENNA: We're dealing with more than mushroom spores, at least as ordinarily conceived.
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