Article for Arthur Newspaper
Article for Arthur Newspaper
Article for Arthur Newspaper
Here is a special treat for those of you who follow my blog. I’ve received numerous emails requesting the book The Subject of Change by Alain Badiou, and I’ve consistently refused to send it. However, there have been significant problems with the distribution of the book (which are, admittedly, no fault of the publisher). I believe that the book should be available for everybody – philosophy is for everybody, as Badiou claims. It has been a year since the book has been published. To celebrate this anniversary, here is the book for free (an earlier version of it). Please, if you like it, support Atropos Press by buying books from them.
My paper on Georges Bataille is included here.
We are proud to announce the first conference proceedings from the 15th Annual MLL Graduate Conference, “Good Laugh, Bad Laugh, Ugly Laugh, My Laugh”. The proceedings are housed at scholarship@Western, an online academic repository supported by the Western University library system, and are searchable through Google Scholar. They can be found at: http://ir.lib.uwo.ca/mllgradconference/.
The proceedings have been considered as pre-publications, meaning that the authors keep the authorship rights and are free to submit versions of their own work to journals, or to post in blogs.
In addition, we will be looking for papers to publish in the conference proceedings for the 16th Annual MLL Conference on Brevity, which will take place on March 6-8, 2014. Those who are interested in presenting a paper and, eventually, be published can submit an abstract at email@example.com by January 1st, 2014.
Finally, we would like to thank Jaime Brenes Reyes…
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At the bar of the Okapi Taberna, I drink a café leche and eat pintxos. The bartender is busy, and frustrated by my lack of Spanish. Through the window across the street, on the second floor, I watch people learning to dance. A man ordering next to me notices too, and we smile at them together.
In the streets, people kick soccer balls, smoke cigarettes, and drink wine. The air is cool, and my knit mitts are not enough to keep my fingers warm as I write. Even back at the Aloha Hostel, with a cup of chamomile in my hands, I still cannot feel the tips of my fingers.
A young man staying at the hostel sits across from me, and we swap stories. Matt. He sets up temporary hostels for festivals all over the world, and is visiting Pamplona to prepare for San Fermines – the…
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Jackson and His Computerband is the pseudonym of Jackson Fourgeaud. This French IDM artist has been cranking out tunes since 1996 and is a smash hit in Europe, performing at various festivals and venues across the continent.
Released this month, Jackson’s newest and second album for Warp Records, Glow, is a mix of electronic genres not crafted into a sound that is uniquely his own but varying with each track depending on his whim. This description may have the ring of a criticism, however, what we get from Glow despite its superficial lack of originality, is quite the opposite.
Jackson showcases his talents with electronic music across a range of tempos, rhythms and beats, with or without vocal tracks. Warp frequently delivers the best and Jackson is part of the label’s excellent roster.
The two opening tracks differ greatly and also set the tone for the pieces to follow. In the first track “Blow,” and later in “Memory,” there is the distinct sound of the early 2000s pop band sensation Pinback. The tracks’ soothing tempo and vocals will lull you into a warm and cozy slumber.
Tracks like “Seal” and “More” remind me of Jackson’s label mate and equally competent IDM musician, Chris Clark. Jackson and Clark have the superb ability to create groovy dance tracks without the annoyance of incredibly loud and overpowering drum and bass. The rhythm, the melody and its variations, as well as the overlapping vocal tracks in these two pieces are exemplary in their innovativeness, providing renewed surprises with each spin and also something for listeners to nod their heads to.
Many of the numbers in Glow take their cue from Battles’s game-changing Mirror (2007), also on Warp. We find this influence in “More,” but it comes out most explicitly in “Dead Living Things.” This tune could not quite find itself on Mirror but could certainly appear on the newest Battles record, the barely audible and electronically saturated singing reminiscent of Tyondai Braxton before his departure. It is no shock then, like the first single “Atlas” from Mirror, “Dead Living Things” is the first official single with a video, from Glow.
The cues from other artists and bands does not stop there. The upbeat “G.I. Jane (Fill Me Up)” could be equally at home on a Daft Punk or Depeche Mode album. When I researched Jackson I was not surprised to find “G.I. Jane” released as a single prior to Glow – the verse/chorus structure should get every listener up to dance. Similarly the quick tempos of “Blood Bust,” “Pump,” and “Arp #1” along with eight-minute closer “Billy,” borrow upon the sound of Toronto’s Holy Fuck, and would not be out of place in a club with a creative DJ.
Two tracks caught me off-guard: the slow (and poorly titled?) “Orgysteria” and the classic-pop inspired “Vista.” The former seems a cross between Imogen Heap’s immensely popular “Hide and Seek (Whatcha Say)” and the relaxed and hallucinogenic sound of Eluvium. The track features a hypnotizing hum and piano which, by the time of the coda, turns into a muffled and fuzzy instrument that should, like “Blow” and “Memory,” leave us with a sense of comfort. On the other hand, “Vista” seems to be a bit of a failure. It attempts to recreate an 80s dance/pop sound and does not do the decade justice. Perhaps for fans of Cyndi Lauper this track would not leave such a sour taste on the musical palette.
Glow is one of the more interesting electronic albums of the last few years, if only for its range. There are at least two tracks here for even the most distinguished of musical tastes. If you are familiar with the Warp Records catalog then add Jackson and His Computer Band to your collection. If you have never listened to the likes of Battles, Squarepusher, Clark, or Jamie Liddell—pick up Jackson and His Computerband anyway. It will not disappoint.
A few years ago now I tried to open up my own (para-)academic space. I think part of its failure is addressed here. What I attempted was less something outside the university than a space which worked in conjunction with it, overlapped, and at times, depending on the event, was indiscernible from it.
What is Para-Academia? I extracted the following definition from an advertisement for a symposium which occurred in New York last year:
The term ‘para-academic’ captures the multivalent sense of something that fulfills and/or frustrates the academic from a position of intimate exteriority. Para-academia is that which is beside academia, a place whose logic encompasses many reasons and no reason at all (para-, “alongside, beyond, altered, contrary,” from Greek para-, “beside, near, from, against, contrary to,” cognate with Sanskrit para “beyond”). The para is the domain of: shadow, paradigm, daemon, parasite, supplement, amateur, elite. The para-academic embodies an unofficial excess or extension of the academic that helps, threatens, supports, mocks (par-ody), perfects and/or calls it into question simply by existing next to it. Following a series of classes organized through The Public School New York on the subject of “Para-Academia and Theory Fiction,” this event brings together a group of editors…
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