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• Faithful Affixt Enactivist — Box Set Music understood as a radical form of qualitative theory which reaches beyond the confines of human language, including mathematics: music too displays a logical independence, an unprovability despite its truth. Music makes possible new admissions/transmissions of the insufficiency of self, personhood, observation, science, and philosophy; as an ideal generic science, music communes with the concept of the generic itself which: “operates by extracting a minimum invariant from the various scientific disciplines…these invariants have to be superposed, to be introduced as theoretical givens into the mode of superposition: the materials of science or philosophy are thus to be supplied to a material, conceptual formalism, i.e. they are themselves to be put into the mode of superposition as vectors, that is, into the context of generic science, which operates with the (vectorial) notion of wave rather than with notions such as corpuscle and point” Music as generic science, with its vectorial notion of wave, is both sensible and mimetic: what we see or hear in music is ineliminably tied to what we do, to our own bodily awareness of sensed waves. Music as generic science has to operate in such a way as to produce more complex results than the materials it uses from science and philosophy, if it is to develop its own undulatory, superposed practice—music can produce deeper complexity from any and all materials chosen in any composition, by superpositioning its vectors, as waves. Thereby, music provides a complementary image of the Real, a cloning of that which is foreclosed to understanding in all human languages, formal sciences, and interpretations: its genericity of scientific output unites where all other languages can only divide. The subject of musical truth is the subject who can subtract themself from the given state of the situation, leaving behind and adhering to the deviating vector of an event, with this event understood as the withholding of human decision, rather than the realization of it. References: Belevan, Krebs, Loughlin, Laruelle, Wittgenstein, Attali, Szepanski, Faulkner, Gödel, Galloway €20.00
• Michael Speers Ground Drum Poster Impossible drum and environments What in the possible environment of this impossible drum would be the language of a community (fleshy, photosynthetic or air) which is gathered by, sounded through, the gut of these musical ideas? This text inscribes a first part flux or fluctuations of this old future ground. A real, synthetic, notional language for an imagined community of organic life grown out from the site of these sounds: these breathing pit, an actual breþynge fragrance imparting, sinks from. vapour. n’protoluib blad relieving mīcaply lif, ficxio. our grind, membracaer. becauz it ismattering. attends-ÿous, limbs of the trassing plaa, placed. apart we’k ymagin them heaving toned. μεταβολή whip, a fungal hold. something else gaswaljo lip edge wi hekstis gorse fu’molēroot apersuasõx. carbon, or u sunk compression is opening ha s a’ready soil, will happen, again. we knead wheeze of actorz calm charging drifts ripple, wider is organised or grown. how generous bodies have been. into life – Paul Abbott Ground Drum: a predrum membranophone, constructed with an animal skin (membrane) stretched over a pit in the ground (resonator) €20.00
• David Lost, DJ Zero, Mark Cunningham, Rubén Patiño, Vactor anòmia Acció #001 Poster (2012) €15.00