NEW on ILINX - Sublime Frequencies

NEW ON ILINX!!

Thoreau says "I've traveled a lot, in Concord" 



"Even though I've lived in Shepperton for 23 years, if I need an infinitely mysterious place I don't have any problems finding one. All my fiction is based on the perception of that set of mysterious cyphers which in fact constitutes reality. Our central nervous systems provide us with a conventional view of reality that most people accept in order to be able to cope with the day-to-day business of crossing rooms, walking up staircases. I mean, unless one accepted a high degree of conventionalizing, reality would be impossible. You can't start off every second by saying, "What is this white structure beside me? Uh--it's a wall.."The thing about reason is that it rationalizes reality for us. It provides a convenient explanation. Perhaps too convenient. I'm very interested in dismantling every assumption I can see, however trivial it might be. I'm making a whole sort of Christopher Columbus-like discoveries about the nature of floors, windows, carpets and the like. Because often, behind the most trivial things, lie enormous mysteries. I was joking about taking walls too seriously, but in fact the sort of architectural spaces we inhabit are enormously important--they are powerful. If every member of the human race were to vanish, our successors from another planet could reconstitute the psychology of the poeple on this planet from its architecture. The architecture of modern apartments, let's say, is radically different from that of a baroque palace. I'm interested in deciphering the whole system of codes that I see--in dismantling that whole conventionalized apparatus with which our central nervous systems cope with the business of day-to-day living--which of course, is the greatest trap facing us all"

J.G. Ballard in conversation with Graeme Revell

EMT.Termix

noisy beats on this new mix for Ilinx...blown out sidewalk bass, rap show youtube videos, lo-fidelity rave tapes, mutant/broken drum machines

new video w/ sean bradley

mix and ilinxgroup release coming soon!

thunderstrum

play videos scroll click and drag thru music slip around!!


Lickashot.25 by Bryan Sonderman Lickashot.20 by Bryan Sonderman Lickashot.24 by Bryan Sonderman Lickashot.21 by Bryan Sonderman

IlinxGroup: Home of Coyote Jazz

presenting IlinxGroup, a music and technology project I have been working on with David Kanaga. The goal is to inject a bit of chaos into computer music, find new directions for man-machine play.

"coyote brings order to chaos and chaos to order"

"from the foolishness of the coyote, man learns what to do and what not do"

...consider this coyote music...

fdbi - fDXfDI (ilinx-1a) by ilinxgroup ILinx Group Presents 
Indiaset by ilinxgroup

» Coyote Old Man- a fine doctor, a great MEDICINE MAN »

1. coyote was given a scientific name, Canis latrans, only in 1823, two years before missouri made him an outlaw (a ”dillinger” or a ”geronimo”) by putting a BOUNTY on his scalp.

2. coyote is an agent of change- bringing order to CHAOS and chaos to ORDER. He is “the spirit of disorder, the ENEMY OF BOUNDARIES.”

» coyote’s medicine » COYOTE’S MUSIC »

3. chaos will need to be looked at with completely new eyes, and given a different place in our hearts: as midwife for creative solutions, as true “coyote medicine”. This is what some tribes call a medicine that chooses PARADOX as a teacher, DANCES with chaos, and loves to ride the horse facing BACKWARDS. Do we still have chaos in us?

4. coyote’s CREATIVE accomplishments are almost always the result of ACCIDENT, usually in the pursuit of selfish or irrational GOALS. From Coyote’s foolishness, we gain WISDOM— learn what, and what not, to do.

5. coyote, trickster TRANSFORMER, FOREVER cobbling new REALITIES— emerging as drifting collaged SPACES built from the available materials. 

6. in coyote’s music the dominance of the SOLID, as a principle, has given way to the FLUID— rhythmically, texturally, harmonically, structurally. coyote LIBERATES musical OBJECTS at all scales and allows them to dissolve into pure MOTION.

» Coyote Old Man, trickster transformer!

7. we are seeking a new music, COYOTE’S GIFT, totally insane but LIFE-AFFIRMING, & we NEED it NOW.

the map is not the territory

Another walking game, pulled from Guy Debord's "Introduction to a Critique of Urban Geography":

Use a map to disorient oneself, use a map in a way that betrays its purpose, use a map in a way which  reveals its failure to accurately represent the infinitely complex contours of the territory...

To warp a map's representational aspect, as Debord explains, is an effective means to provoking a new and exciting experience of a common place. This shifts the locus of meaning from the object being interpreted to the interpreter. The map's deterministic quality vanishes-- space becomes Open. 

Debord shows that one can accomplish this effect simply by using a map of one place to navigate the territory of another place. This tactic relies on the interpretive leaps the walker makes while engaging with a set of vague directions. The culmination of this interpretative decision making constitutes a unique path, a trace of the walker's moment-to-moment decision-making. 

A walker expresses their particular way of being through their path. A walker simultaneously composes and performs a place through their path.  For instance, a short cut does not exist until someone takes it.

A musical analogy:

Here's a visual score for the ANS Synthesiser. Its by composer / audio engineer Stanislav Kreichi

The visual scores of John Cage, Anthony Braxton and others function similarly to these misused maps, shifting the locus of meaning from the object of interpretation to the interpreter. A visual score is made up of abstract lines, shapes and colors, rather than traditional musical notation: as such, interpretive decisions constitute the piece, rather than a pre-determined formula.

The visual score is less a map than a territory to be explored. It is a composition of sorts, but one to be composed through its performance-- through the interpretative decisions of the players. Similarly, Debord's map of London loses its map-character once transposed on a different place, and becomes a territory unto itself, containing an infinite variety of possible interpretations.  Neither the visual score nor the decontextualized map are actually representational, though both play at it. The impetus for interpretive decision-making springs from this tension. 

A visual score could be walked, a map could be played. To the walker, the lines of the score included above could suggest cadence, duration, or direction. To the musician, the map could represent shape, texture, drones or sharp blasts. Exploring these possibilities only requires an interpreter to connect the map to the territory.