Sometimes someone writes somewhere in the internets something that seems very well articulated I just want to re-blog it (oh, times where reblogging was a thing!).
the lore about why that doesn’t work is because it’s not the responsibility of the people they hurt to go and rehabilitate fascists, because they’re the last people the fascists will believe, and the first people they’ll hurt and what’s worse is that if they’re given space to communicate their ideas, it’s more likely that you’ll change than they will. It’s the same reason police departments are never reformed from the inside.
the reason why isolation is an effective tactic is because fascism always spreads by debating it. If you lower your bar to engage with fascist viewpoints to “deradicalize” them, the conversation isn’t “how can I help the marginalized people in my life” it’s “do marginalized people deserve to exist”, which is a very different conversation. and upon that, it’s not a 1v1 debate either. fascism is a spectator sport that thrives on putting down its opponents.
and I think the biggest thing is that fascism is an emotional response and not a logical one. A fascist can’t ever be defeated by enagaging with them, because even by entertaining their viewpoint and beginning a discussion, they’ve won. Their goal isn’t to prove that fascism is better, it’s to encourage an emotional response in the people that hear their arguments, which is very different from what we’re used to.
as a strategy, isolation has worked incredibly well actually. the thing is, far right communities ALWAYS implode when left alone, because when they have no strawman to defeat, they turn on each other immediately. After a while, people realize that everyone in their life has abandoned them, and the only people left are white supremacists who genuinely hate each other, and they’ll have no choice but to leave on their own volition.
I’ve been working more and more in SuperCollider this year. What follows is a couple of things I’ve done lately and some interesting resources I came across recently.
I tried in October with #looptober, but I couldn’t find time one way or another, but there came #noisevember and this works – to a degree. It’s a commitment to make some sort of sound-noise-music recording everyday and post them to your social network (where tags work), but if it’s not everyday, it’s alright too, and if it’s a blog, that’s fine too. No hard rules here. So I managed to make number of SuperCollider patches and posted video recordings and code. Here’s the #noisevember 2020 thread on my mastodon: sonomu.club/@luka/105145827210709919. Each toot has a link to source code on my git. See more: gup.pe/u/noisevember, mastodon.social/tags/noisevember.
At the end of October I played an online AV version of my Rhizosphere project/composition for an online event (but also in Tel Aviv), and the video is here: YouTube, PeerTube share.tube, pretok.tv
The other day, it was about two months ago, I created a whole new plan with regard to my Patreon and Bandcamp subscribers. At the moment there are nine people who are supporting me via Patreon, and none yet on Bandcamp, since I didn’t yet launched that option there. But ever since the option on Bandcamp was there I wanted to review and restart the whole thing with subscriptions and patronage.
My biggest problem with this system, which in essence is ideal for me and I love it immensely, is that I am unable to stick to the plan, to regularity (there are complex reasons behind this). I opened Patreon page in January 2016 with a lot of plans, but at the core of it all was a more or less regular monthly music release. I managed to release three times in 2016 and one time 2017, two releases in 2018, and one in 2019. I have sporadically posted updates to my patrons, and all this seemed far too little for me to promote my subscription to anyone with any real confidence. All the updates and releases seem just too far apart to constitute anything I want to promote (not in a bad way) to anyone.
This morning I noticed that about one hour before the sunrise the stars are already starting to fade and there is light appearing at the east. It comes as a slight dissapointment, today. Looking into this feeling I realize I’m drawn to the idea of that particular time of darkest night and the moment of very first appearance of light, and then further more the whole process, the whole phase, up until the first rays of the sun hit the surface of your face. Only once in my life I have experienced that kind of strike, when sun was rising up from behind a mountain in New Zealand – I was cycling around south island with nothing but a tent – and I just climbed out into the fresh morning and was looking and anticipating the appearance of the sun, and there it was, it shot its first ray into my eye, suddenly, like a switch. This stands in opposition to a slow blur of the dark night, slow fade of the stars, a much less sudden transition from the darkest night to something only slightly brighter that is starting to flicker at the east.
A week ago I made a similar trip to Volavlje, eastern-most part of Ljubljana municipality, but it was during the sunrise. A week ago that meant I was able to see the surrounding landscape on the way: the valley that starts at the end of the basin after crossing a steep hill and then final ascend to the rise, but through weirdly positioned and maintained houses – some obviously weekend holiday types, some rustic ones without the isolation. A peculiar aesthetic experience.
Today I got up at four in the morning, quickly made some non-coffee (rye, chicory) and off I was into the night onto the motorway, the ring around Ljubljana until veering perpendicular from it eastward. I It was a good thirty-five minute drive, and when I arrived to my spot, it was not completely dark anymore. The birds were already loud. There was a light breeze, but nothing substantial. Good conditions for my microphone, which I managed to attach to the top edge of the car’s front windshield. The USB cable then came through only small openning of the side window and into my laptop.
For the last 6+ months I have been doing some research on Artificial Intelligence for an art project. The field is vast and artistic engagement with it is far from simple. Here I’m laying down some quick thoughts about it.
It was a pretty crazy year. It was a hard-working one. Especially autumn was packed with reruns and new productions. Looking back personally I went through some emotional challenges, most strongly dealing with huge amounts of stress. Our work environment – small cultural organization – faced some setbacks in funding at the beginning of the year and loosing an important team member. World political climate is pretty grim, with environmental concerns more pessimist by the day. One feels pressure is on everyone to do something.
While not drinking, smoking or doing any drugs, I continue to be vegan for ethical, health and environmental reasons. I work as an artist and I hope to do so in the future. I’m a feminist, passionate supporter of free/libre software, Creative Commons and idea free cultural works. I consider myself an ally of LGBTQI+ and I support their rights as basic human rights.
Here’s (the good) stuff I did last year that I’m pretty proud of it.
This write-up is an attempt to come to terms how possible online crowdsourced income can (could?) work and what are my personal obstacles. I’m not sure how relevant it is to anyone, so please take it as a personal rambling and self-reflection about my desires, idealistic projections and facing the truth of inevitability of discipline, structure and focus.
As you know, this month I worked with Matija Ferlin on his solo stage piece “Staging a Play: Antigone”. I decided to release a selection of music material that was made through that process. Since I worked mainly with SuperCollider (programming language for algorithmic composition and sound design) I also wanted to give out source code that helped shape that sound. I will be writing/recording about that process soon.
Couple of weeks ago mastodon instance “Mastodon.ART” added icons from Creative Commons project to the arsenal of custom emojis to be used in toots (posts). One user wondered if this use is legally correct, so after some discussion I sent an email to Creative Commons about it and after a week or so got an answer. I’m replicating this correspondence here to put their answer in perspective.
Luka Prinčič: a musician, sound & media artist, engineer and dj. My sound goes from broken bass to noise, drone and sonic experiments. I'm one half of Wanda & Nova deViator, I run Kamizdat label and work at Emanat institute. I'm passionate about critical art expressions, free software, social awareness, cyberpunk, and peculiarity of contemporary human condition.
Like what you hear, see, read? Making music and art takes many hours of hard work and releasing it to the commons means less income from sales. Consider a per-release patronage at Patreon, a regular anonymous donation via LiberaPay, or paying for some free music at Bandcamp. Every single ¢ counts.