A braindance electronic music, with that distinctive emotional drama provided by layers of synths and glitches. At the core of these tracks stands an inspiration of exploring machinic polyrythms and how they can be used to blur the distinction of what is really inorganic, or not. Below, however, this distinction of natural organism is a false promise, a blind alley, a dead end. We – kitchen appliances, smartphones, cyborgs and humans – are all part of the same machinic phylum. Thinking of privacy, security, transparency in networked world, this EP flows its own melodies and stories, sometimes off-kilter runaway paths and poly-breakbeats, at other times dramatic pads and sustained basslines.
Transport Layer Security (TLS) is a cryptographic protocol designed to provide communications security over a computer network. Several versions of the protocol find widespread use in applications such as web browsing, email, instant messaging, and voice over IP. Websites can use TLS to secure all communications between their servers and web browsers.
supported by patrons via Patreon. thanks to Miha, Črt, and Igor for feedback.
“Requiem aeternam dona eis”, grant them eternal rest! This music comes from an experiment, a performance in which the human body is substituted by animals and machines. Conceptually it is rooted in post-antropocentristic deconstruction of dualism of cartesian perspective on an animal machine. The question is, how can we imagine a dialogue between the animal and artificial intelligence? And how does artificial intelligence see the monstrosity of the human species? Imagine a future-present where only AI and nature devoid of humans exists in its own kind of collaboration. This imaginary sets the general atmosphere.
The water. The Zone and its poetry of wisdom. Atoms, molecules, and everything beyond. Before or after but definitely the cells, and the peculiarity of the awe-inspiring bio-mechanisms. Something not from our time.
“Iz njenega trupla zrase krilati konj / njegovi kremplji jo brazgotinijo / … da bo kasneje vedela kje je bil” // “A winged horse grows out of her corpse / its hooves are scarring her / … So she knows later where he had been”
The ones and zeros, the techne of the artificial, and all the consequences, the integration of flesh into electronic circuits, post-human transcendence, the glitch and its incorporation into the mechanical system, the uncanny perspectives of artificial intelligence far beyond the capitalocene.
“Zaradi vsega kar ji je obljubila, zvezdo umori / in svojo skrivnost zapiše čez njegovo plast neba” // “She kills the star for all she promised her / And writes her secret across his layer of the sky”
A release into the void beyond the planets and back, as a feedback loop of pulsations, a harmony of the spheres, a return to the primordial sound and gravitational forces. Intervals derived from orbital resonances: near-integer-ratios between orbital frequencies of planets of the solar system.
video
tracklist
credits
all music by Luka Prinčič
background rumble by Leopoldina Istanbul
liner notes by Luka Prinčič, featuring Maja Smrekar, Donna Harraway
design & artwork by Tina Ivezić
photography by Wilhelm Joys Andersen
USB & booklet created by Maruša ‘Maruji’ Hren
printed by Janja Baznik, ‘Pri Tiskarskem Škratu’
Created for the piece “Requiem for The Future” directed by Maja Smrekar and produced by Zavod Aksioma and Lutkovno gledališče Ljubljana
released October 31, 2016 by Kamizdat
Media support by Radio Študent Ljubljana
Financially supported by City Municipality of Ljubljana and Ministry of Culture RS
also available via online stores and streamers: Spotify, iTunes, Apple Music, Google Play, Amazon, Pandora, Deezer, Tidal, Microsoft Groove, ClaroMusica
“Transmittance #1.5” is an edited sonic document of a live situation – a broadcast of an audio-visual telematic performance in the summer of 2011. The positions of earth satellites published by NORAD were used in real-time to shape the sound textures and the input from a remote audience was used to structure the chapters of the sonic story.
Transmittance is a project that was active in years 2010-2013 and was conceptualised as an exploration of local, global, networked and broadcasted collaboration. It involved a changing artistic group of performers, visual artists, musicians and computer programmers to research performative possibilities of streaming, broadcasting and telepresence forging new types of performance and audience.
One of many versions, the “#1.5” was realised through a collaboration with ESC Gallery in Graz. Maja Delak and Luka Prinčič took part in a third week of worklab organized by ESC Gallery where the focus was steping deeper into the possibilities of interpretation of data from a nano-satellite. “mur.sat” was an artistic project by “mur.at” to launch a nano-satellite into a low earth orbit. The worklab inspired the process for a Transmittance session where a ‘prediction’ software based the calculations of precise locations of various earth satellites on live data from NORAD and sent them to the local network. This data was combined with the idea of an ‘atmosphere/ambience’ – an idea of a long durational scene, where performer’s body accumulatively interacts with a generative a/v system.
“The Transmittance project tries to rethink the notions of spectatorship and spectacle, ways of watching and seeing and the audience as spectators from the outside. In framework of free telepresence technologies it is a quest to open new spaces of visibility for performance and new media art and while critically deconstruct also actively bypass power structures that have a hold on physical spaces of artistic representation.”
The intro does not leave you hanging: here comes an electro beat, lined with a relentless bassline and supported by a mix-up of samples from a well-known house track and a rhythmic litany by a male voice.
The title track has no refrain, no breakdown, just two long verses that keep on going and going. At first, the lyrics seem to be about those almost “stereotypically sexy” female adornments. The assumption that they are exclaimed with possible sexual aims is soon affirmed, but the lyrics of the second part of the track subverts the arousing into other daily phenomena not so typical of sexual hints.
My desire to talk about a fairly contemporary state of male sexuality – some kind of media programming of a “reptilian” part of the male brain to be sexually triggered with an image – is not so new. Subjective history takes me back to the solo performance called “fiberoptikal” where I wrote a song with verses: “frozen little images / are blocking my sight / making me uptight / they’re like bondage rope”, referring to the sexualized images of female body, including arousing erotic lingerie, specific body parts and their shapes, nail polish, makeup, high heels, specific body poses and movements etc. It was further developed in the performance “Frozen Images” by Wanda & Nova deViator (with Maja Delak), but didn’t make it onto our debut album “Pacification”, so only those that attended the “Frozen Images” concert performance(s) might know about it.
On the other hand, Emanat institute started to develop a new type of feminist and movement-centered burlesque performance. Informed by remix+edit appropriations via electronic dance music and contemporary technological development it was called “Image Snatchers”, a techno-burlesque. In autumn 2014 a workshop with the great performer Ursula Martinez took place, thanks to collaboration with the Ljubljana’s festival City of Women, where the seeds of another take on ‘programming of the male mind’ were planted: a burlesque number called “Turns Me On”. While researching for that piece I subjectively gravitated to a bit of personal history, a popular early house track with a moaning female voice, in my current view another example of voiced embodiment of hyper-sexualized desire, sonic enactment of submission and objectification, in a retrospect a metaphor of manipulation for profit and greed by white male capitalist.
While risking consequences of copyright infringement and a fall to a bootleg obscurity the reference to French Kiss by legendary Lil’ Louis is kept in the clear ear-view – on purpose. It should come as obvious within the context explained above, that this is a quotation, a reference to ponder about and critically reflect the contemporary exploitation of our bodies via frozen, arrested two-dimensional (sound-)images which make us turned on, to which we masturbate, to which we may climax.
Dedicated to all who suffer from erectile dysfunction.
video
playlist
stream/download at Bandcamp:
credits
released August 15, 2016
written, produced and mixed by Nova deViator
vocals by Crucial Pink
mastering by Fred Miller
media & technical support: Radio Študent, Ljubljana
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.
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