borrowed words (power of the commons)

reagan's 3rd sotu

reagan's 3rd sotu2

reagan's 3rd sotu3

reagan's 3rd sotu4

reagan's 3rd sotu5

reagan's 3rd sotu6

reagan's 3rd sotu7

reagan's 3rd sotu8

reagan's 3rd sotu9

reagan's 3rd sotu10

reagan's 3rd sotu11





The source text used here is Ronald Reagan’s Third State of the Union Speech (delivered on January 25, 1984). Nothing has been added. This is not an effort to create a strawman Reagan but rather an experiment to show the creative, poetic, and theoretical potential within contextomy. Reagan was used because he remains a polarizing figure but also because State of the Union addresses are in the public domain. The power of the commons.


plague, superbugs, & the sixth extinction

The other day I saw a headline about a septicemic plague fatality and that started this process. Yesterday, this phrase “(To discredit, promote distrust, disuade, deter, delay or disrupt)” jumped out at me from an article on The Intercept and I began reading Elizabeth Kolbert’s The Sixth Extinction. This morning I was reminded that a bit of garlic, some onion or leek, copper, wine and oxgall can kill MRSA and gator blood is even more potent. I started watching The Last Ship. From these disparate points, I began a thought trail that led to this:

[This will be an exercise in hyperstition, heuretics, and thoryvological associative analysis. The following is not meant to be true but æffective, not inherently factual nor necessarily faithful to the original context/intent. The quotes are kept intact and in, for the most part, complete sentences but they are robbed of their originary order and context and juxtaposed in disparate dissonance and harmony with intent bound by the above impulses and ideas, marked by the passing of this the 23rd day of the month. It is not a question of what it means but what it can do.] 





This is a textual machine designed to produce other machines. What mattered here wasn’t the author(s) or the means of textual production at all, but rather the circulation and the effects of the text in the world. This is, of course, a demand for complicity. I insist on your freedom. Your tormentors will be purified.

There were things in the text I hadn’t been expecting. Uncomfortable, complicating passages. The distortion of a text is not unlike a murder. The difficulty lies not in the execution of the deed but in the doing away with the traces. The thing is easily false. But the meaning, to this day, still escapes us. This is the lesson you forgot.

Of course, words fail.


I love you because there’s nothing else to do. A rage to live, an urge to goodness. Love.

The utterance threw them into confusion or rather angered them further, which often comes to the same thing. Who were these people who could live so placidly while the world fell into an acute global environmental crisis? In our era of natural disasters, climate change, global pandemics, and the ongoing specter of bioterror, we are continually invited to think about humanity in relation to its real, hypothetical, or speculative extinction. Yet to go back is to go forward into uncertainty and invention.

I think there’s still a small block of original quiet that exists in the world. Theory in itself did not free people to reach into a deeper area of sound. Noise also functions in the cybernetic sense, as a result of its viral functioning in the world.

On the universal face of the world, the grand old Pan, the son of all the dead, is dead. The previous habitation of space is a trace that may then go on to constitute it in the future, in its absence. No longer is there a here or appropriation; we live as transients or tenants, deprived of a fixed abode. There is no more space, no more history, no more time. In the end the black river would burst its banks to become a black sea whose centre was everywhere and circumference nowhere.


There is no stillness, only change. A movement unlocked my attention. It was a derelict. A relic of something nine-tenths collapsed. Nothing decays either, moreover; nothing truly perishes. In this case, chance as nonsense is visible in the very insignificance of its result. In neither case would one be left with anything except a radically dysfunctional wreck, terminally shut-down hardware.


There is nothing, and it cannot be known. Either I do not know the world, or I do not know myself. Nothing alive is ever quite in balance.

I know there is no boatman. It was incomprehensible to her: they didn’t want to know. By necessity there are other characteristics that are not accounted for, that are not measured, and that remain hidden and occulted. The shipwreck will preclude the apocalypse.


Without noise, all we do is repeat. The repetition of noise intoxicates as much as violence. Deep thick silence thundered from behind the closed door. And what he finds there is a terrifying abyss, where there is neither certitude nor knowledge, nor even a single thought – just a tenebrous, impassive silence. There was complete silence, intermittently broken by the faintest electronic sounds – something between a distant computer game and muffled speech software. It was like there was this hole in the quiet. Every living creature, animal and human both, was terrified by this cacophony.


Following the shaman into the cave. We’ve never lost any of that. We are swept on by a whirlwind which dates back to the dawn of time; and if this whirlwind has assumed the aspect of an order, it is only the better to do away with us. The world was spun out of a blade of grass: the world was spun out of a mind. Except never to see or feel that black river that cannot be crossed, but flows like a nothingness through the hole of you. Chaos? Chaos is rejecting all you have learned, chaos is being yourself. The seduction of the arbitrary alarms us. Thought that stumbles over itself, at the edge of an abyss. It is a kind of mysticism that can only be expressed in the dust of this planet. After having sought to be a sage such as never was, I am only a madman among the mad.


While looking for the light, you may suddenly be devoured by the darkness and find the true light. Our luminescent, naked bodies dissolve into a swarm of obscure creeping things, and we are a mass of glutinous coiling worms, endless. How we would conduct ourselves if dragged to its depths, where eternal darkness is punctured only by its bioluminescence, remains to be seen. We do not dislike everything that shines, but we do prefer a pensive luster to a shallow brilliance, a murky light that, whether in a stone or an artifact, bespeaks a sheen of antiquity. Something strange slowly washed over and enveloped me like the black ink of an octopus, as I stood there in the stand, and I felt above all like screaming out the story of my experience, such as they were. The man who has never imagined his own annihilation, who has not anticipated recourse to the rope, the bullet, poison, or the sea, is a degraded galley slave or a worm crawling upon cosmic carrion. For now, at least, it is only with its help that we can hope to orient ourselves in the darkness of the abyss.



Once again he felt that he had crossed over into a space where the real world had taken on all the qualities of a dream, becoming as glossy and surreal, as unlikely and beautiful, as stuffed to a dark sheen with ungraspable meaning. What spell had been cast around me to make my hold on reality feel so tenuous? I didn’t know if the noise had been part of some dream I’d been having or a real, external thing. A world whose margins would become capricious, but this caprice would not refer to any hidden intention. Rather, it involves the generation of memory outside of and apart from any possible experiential event. Dark traces of the past lay in his soul, ready to break through into the regions of consciousness. That interference covers the sense with non-sense by scrambling it and making his words into waste, or by covering it up with other words. It was as if I was in a madness and a frenzy and a depression that older and wiser peoples may once have denominated the descent of a god, which seized me and for which, though I had no control, I am nevertheless to blame.This truth law has no more reality than the world. Roaring dreams take place in a perfectly silent mind. Now that we know this, throw the raft away.


Flux is.


Do you think the emptiness of the sky will ever crumble away?



Sources (in the order by which I claimed them):

Kim Stanley Robinson, Forty Signs of Rain

Justin Clemens & Helen Johnson, The Black River

Michel Serres, Malfeasance

Critical Art Ensemble, Marching Plague

Vilém Flusser, Vampyroteuthis Infernalis

Jun’ichirō Tanizaki, In Praise of Shadows

Naomi Oreskes & Erik M. Conway, The Collapse of Western Civilization

E.M. Cioran, A Short History of Decay

Jack Kerouac, The Scripture of the Golden Eternity

Sigmund Freud, Moses and Monotheism

Eugene Thacker, An Ideal for Living

Quentin Meillassoux, Science Fiction and Extro-Science Fiction

Ed Keller, Nicola Masciandaro, Eugene Thacker (eds.), Leper Creativity

Quentin Meillassoux, The Number and the Siren

Joe Morris, Perpetual Frontier

Nick Land, Fanged Noumena

Steven Hall, The Raw Shark Texts

Eugene Thacker, In The Dust of This Planet

Eugene Thacker, Starry Speculative Corpse

Eugene Thacker, Tentacles Longer Than Night


Post:Noise is the umbrella term (it is not exactly a genre in the way that no ()holistic non-totalizing work can ever truly be classified in a codified ‘genre’) that I use to define my sonic and video/spectacle work. It is an application of thoryvology into the arts.

Briefly, it is a category that describes work undertaken with the received methods and practices of Noise but with goals beyond those most commonly associated with Noise. It does not seek to be loudest, most abrasive, or any other appellation of furthest from the norm (cf. Attali). Noise is sufficient in that respect and the work of noise artists and noisicians continues to pursue those ends. Thoryvology, and thus post:noise, recognizes the arbitrary nature of boundaries and lines of demarcation and does not apply its lines of flight in those directions. Post:Noise does not seek the fringe but embodies it, does not seek to alienate but is alienated.

The OED (the prime record of this bastard tongue) has 22 separate definitions for ‘post.’ This post will be an effort in intentional cutup contextomy (a thoryvological research method), mining from those 22 definitions of ‘post’ and the two for ‘noise’ an approximation of the concept of post:noise (postnoise, post/noise, post-noise, &c).

Life in the physical world less its core and is relatively cool way Senses relating to sound or of the brain any of the set upright ground for various purposes occurring or existing after as a make remarks or comments Strife contention wall or other barrier cancellation of up or consume a considerable part in mood in a manner perceived of a signal interfere with or times in haste to start on out of a place to say time of the actual sucker attaches a lack of zealous support relaxed time or order to sift or a quarrel to achieve general notoriety points selectively reducing a device which influenced or informed by every cultural or renown without display or ostentation the termination pulse progress is no the brain of the brain in places along similar messages in ancient occurring following an apocalypse shaped or off course unacceptable in the time an attack resulting from inflammation resulting of dissonance or inharmonious feedback that education rejects some of the more a journey time at which a special payment rejecting traditional notions in materialistic attitudes or values associated with or make available disadvantageous position summon report record or list by name meaning pay or provide trample pound a phase of discourse operating after relating to waste generated designating a of something off the marked route, human existence following or reacting to maintain to imply mention in passing relating to or designating acceleration occurring related theoretical approaches exhibiting a cultural important end of the first year result of the point in a after attending designating or relating to act entry in a ledger) with later than following since Referring to midday typified by or characteristic of deliberately for use in various momentarily swift angelic messenger worth occupying a is experienced after the cessation of time or society no longer later the auditory apparatus situated or occurring or showing awareness the fall of the importance or prevalence of the to be pleasant or melodious to information irrelevant or superfluous information distracts to be sounded produce or supply the passage falls below threshold value milieu characterized by a decline in with a wooden implement Subsequent to by voices shouting outcry various kinds the environment a radio emission from after (flawed transaction or dispossession) suitable written word existing after metamorphosis occurring event or movement before after infection from an episode of inadequate supply (specified) position a place of duty or experienced after the end of (later also of metal) Now rare or dim occurring or undertaken after duty responsibility) deflect pass off from as overdue or missing to display by name as having failed publicly as a state which exists or shift designating, or characteristic of a behind the ear behind or below reducing output without triggering unwanted change the disturbance caused by this disturbance Scandal controversy fuss to cause a the sun order to improve the decline of the importance of having (boundary marker inanimate, unresponsive, stupid whipping obscure a signal distortions or additions the part which supplies nerves of oneself postpone defer or delay push make known, advertise bring before the hand over transfer or shift (a random or irregular disturbances not part which no longer has fusion at to receive one’s comeuppance to use utter (prophecy after the event eternity mind following a decline or failure beyond the balanced state of climax the strategic position taken up or mankind a circle of time or loud, harsh, or unpleasant to pretend the brain beyond the stigma fissure which interfere with the transfer of is characteristic sound of any kind subsequent to a convulsion having undergone the time of transition designating or itself to its host situated behind time or place after such contact notice and comment talk much or tavern was kept to be frustrated up to date inform with reflexive as characteristic of the time immediately be responsible for debts publicly list exist or after the end of on which the reckoning at a stupid or contemptible statement or idea compare slightly earlier style abstract advocating following the dissolution or collapse of occupy a strategic position intoxicating beverage of the sounds produced in this affected by forces human body and longer tenable no longer strong adherence unwanted line or surface (imaginary) joining some other state of the brain caused by sounds, discordancy disturbance made after the cosmos has ceased to through an aperture or slot bring loudly about a thing Nonsense foolishness alternate sheets the first such call disgrace to advertise publicly no longer performed or applied after the emergence refine preoccupied with the past after succession at which development has continued sends an electrical signal to halt quality outcry to cry out drive public expose to ignominy obloquy or sounds produced in this way any stir become the object of general.

 That explains it, right?

neither an oppressor nor a victim be …

In my previous post, I made some effort to address what I see as a root failing in American educational outlook, in what we, as a society, consider education to be for or what, which is perhaps more pertinent, we use it for in the majority of cases (funneling bodies into jobs). That was the most salient point of the article as I first read it: that students don’t want to be challenged but coddled in the most cursory (and illusory) for of ‘acceptance.’


That was not, and is not, what seems to be generating the most controversy around essay. A brief glance would say that the reaction to the post was proof of its contents (there are many that are too quick to be victimized or too quick to be oppressors or both). That is not sufficiently nuanced.


The essay itself had a number of troubling points for me. This is why I, initially, focused on what I did leaving the misinformed and inaccurate (but aren’t they always) barbs of ‘nihilism’ alone, leaving the disparaging view of cultural studies alone, not bothering to critique the signature of anonymity, not fully questioning the foolish approach of critiquing Twitter posts for being insufficiently nuanced, etc.


Perhaps that is necessary.


I am a nihilist. There are many nihilisms, but this one is mine: the universe is indifferent. Welcome to the Infinite Perspective Vortex. When the Abyss gazes back, it gazes not stares because staring is rude and the Abyss isn’t looking at you, you aren’t important as far as the Abyss is concerned (which is isn’t because it isn’t anthropomorphic).


There is a reason this note comes first. It removes all appeals to authority.


The views on nihilism that the references but does not define (treating it as a universally abhorred bogeyman) are superficial at best. They just upset me.


Cultural Studies did not create a world of victims or oppressors. It is necessary, given that culture is all we have a humans, to look at what we use to define ourselves, to critique it and, often, to attempt to change it. Culture is not opposed to Nature. Cultural Studies is not opposed to Science (or science). There is no nature, there is no divide between nature and culture. There is the world and we are embedded. Science is wholly part of culture and they are all manifestations of anthropogenic noise marking our territory in an unimpressed cosmos. Is science biased towards the Patriarchy? Yes. It is part of the culture and paradigm of science as it has developed in the Western World and remains as part of the legacy of science in the world today. Does that invalidate science as a whole? No. And it certainly does not invalidate the scientific method. What it does instead is demand a challenging (look we are back to this) of the assumptions and paradigms of science, its factishes and practices. That would be the point of Science Studies and the philosophy of science. They do good work, I like Stengers and Latour. That a Twitter post was unable to convey the nuance of monographs and journal articles of academic science studies research is so patently obvious that the point should be irrelevant.


Then there is the signature of anonymity (pseudonymity). What does it mean to sign with a false signature? What does it mean to sign with a false signature but then quote with a Twitter handle (which are occasionally their own brand of pseudonymous signatures but I do not believe that was the case here). There were accusations of hiding, of cowardice. Is it cowardice to sign falsely? To sign falsely while not allowing others to do the same? If the pseudonymity was out of fear of reprisal did not the author consider the reprisal that the Twitter author would (and did) receive? I will not address questions of the right to quote (with attribution) from Twitter. Quotation without permission is a staple of the free use of copyright necessary for academic freedom (this is the proper MLA format for citing a tweet).


Dealing with those issues then brings me to my brief conclusions. There are a recent changes in media and discourse (social media, text messages and their brevity, tv punditry, etc, etc) that have given society over to an increase of seeing life in the binaries of oppressor/victim, us/them, offensive/accepting. There are no binaries save the ones that voltage gates allow in computers, et al, and that is only through an express limiting of analog continuity. Are more people seeing themselves as victims and/or oppressors? It seems like it. But the internet makes everything louder and seemingly more prominent. Is that binary (and the others) a bad thing? Yes. Will pseudonymously complaining about it change much? Doubtful. Especially when that complaining refuses to embrace the comforts of nihilism that demand that we solve our own problems because we are otherwise alone.


We are embedded in this world (despite all claims to dominance and separation) and only through embracing that embeddedness, the non-binaristic greyscale, the nihilism, can we cut through the useless blather and banter and come to understand the underlying chaos and un/hyper/differentiated realities of which we are only a small (but significant to ourselves – highly recommended by owner) part.

Cash in the Cage’s Debut Drowns in Pretention

Cash in the Cage, Famous Johnnys ★★✩✩✩

Famous Johnnys, the debut effort from music theory dropouts Jacob Bernstein and Michael O’Brien (Cash in the Cage being their collective moniker) is so full of promise that it is despicable in how much it fails to deliver anything meaningful. The debut single “Folsom Prison 4’33”” is as pretentious as it sounds. Is it really an iPhone playing “Folsom Prison Blues” into a Green Bullet Mic with seemingly random insertions of Johnny Rotten screaming “ANARCHY” for just over four and a half minutes? Yes. Yes, it is that obvious and that simplistic. These are the titular “Famous Johnnys” and the artists are so pleased with the cleverness of their ‘subversive’ idea that they don’t even bother to consider the utterly pedestrian nature of such a recording in 2013. While the juxtaposition of John Denver, John Mayer, John Bonham’s “Moby Dick” drum solo, and clips of Jonathan Taylor Thomas from Home Improvement was novel and well orchestrated on the track “Hang Your Wonderland,” it is the unfortunate exception (likely due to the presence producer Madeline Montgomery – absent on the rest of the record). Sorry, kids, but these aren’t even worth the time to pirate.

the humor of truth: Isabelle Stengers’ Cosmopolitics I

the power to talk about the world independently of the relationships of knowledge that humans create.

Isabelle Stengers’ Cosmopolitics I has only one review on Amazon that basically amounts to: “this shit is hard.” That a single two-star review might be steering potential readers away from the work is disappointing because, while Stengers is dense, the text is incredibly rewarding.

The question of the relationship between a text on science studies and a stumbling progression towards a Paranoiac Noise Theory may not be obvious from the surface but the links, indeed, are present. Science is a question of knowledge and authority. And thus:

If learning to think is learning to resist a future that presents itself as obvious, plausible, and normal, we cannot do so either by evoking an abstract future, from which everything subject to our disapproval has been swept aside, or by referring to a distant cause that we could and should imagine to be free of any compromise. To resist a likely future in the present is to gamble that the present still provides substance for resistance, that it is populated by practices that remain vital even if non of them has escaped the generalize parasitism that implicates them all.

What is noise but knowledge that is unrecuperated into the system? Knowledge that resists the “obvious, plausible, and normal?” What is paranoia but a means of recuperating noise, of finding significance in that which is defined as insignificant? And thus noise and paranoia gamble on the present just as Stengers suggests.

Let us use our illusion.

Every living being may be approached in terms of the question of the requirements on which no only its survival but also its activity depend, and which define its “milieu.” And every living being brings into existence obligations that qualify what we refer to as its behavior: not all milieus or all behaviors are equal from the point of view of the living; and the difference is especially relevant when we address those obligations we impose on the living in the name of some knowledge we wish to obtain.

The question that Stengers brings up (not knowingly, perhaps) is a question of use and misuse. In directly questioning the move from experimental physics to theoretical physics is opened to the approach of the paranoiac.

There are no neutral narratives.

Can one appropriate her discourse? Rip, remix, and rewrite her questions of knowledge production and authority outside the scope of science and science studies? To take her work and, as a fellow philosophical refugee, use it (amplified through an 8×10 stack) to question other discourses, other authorities, other modes of knowledge production?

Are the means I give myself, the approach to practices in terms of requirements and obligations, appropriate to the problem I want to bring into existent practices, namely, the escape from a generalize polemic that puts every practice in a position of disqualifying and/or in danger of being disqualified?

Because, as she notes:

The true subject of description is now a disorderly multitude.

And conducting that disorderly multitude towards a revolution (articulating Dr. Gonzo’s rising sound) is a question that must remain open, that cannot be closed, that recuperates the remainder even as it (inevitably) excludes, selects, and chooses.

Nevertheless, they are strange poets indeed, for the power they have of asking questions that, by right, should be of interest to all humans, of making discoveries on our behalf, and announcing the truth of the shared world, obviously constitutes on component of their passion.

all quotes from:

Stengers, Isabelle. Cosmopolitics I. Trans. Robert Bononno. Minneapolis: University of Minnesota Press, 2010. Print.

Helmhotz appears.

Composed while listening to Fishtank Ensemble, Woman in Sin.

A certain delirium: on Noise, Water, Meat

The trouble is that noises are never just sounds and the sounds they mask are never just sounds: they are also ideas of noise.

So begins a series of meetings, approaches, interactions with texts, with noise, paranoia, truth, control, and authority. As I work my way through these texts towards my exams and dissertation, I will be working through associations, links, commonalities, and synchronicities. Noises, one might say, that cannot help but signify (when played loud enough).

Douglas Kahn lays out in his introduction to Noise, Water, Meat: A History of Sound in the Arts a definition of sound that is rather broad and encompassing:

By sound I mean sounds, voices, and aurality – all that might fall within or touch on auditive phenomena, whether this involves actual sonic or auditive events or ideas about sound or listening; sounds actually heard or heard in myth, idea, or implication; sounds heard by everyone or imagined by one person alone; or sounds as they fuse with the sensorium as a whole.

This argument has a certain hollow ring to it (if one might be permitted to play with it, or strike it forcefully with a mallet). It seems constructed, as introductions often are, to tie together disparate elements of a text that would not be otherwise unified, to project into the text a clarity that the text itself lacks. To wit, Kahn’s text is long and sprawling. To what end do the questions of water and meat add to the question of noise? To what end are William Burroughs’ writing on the word virus and Artaud’s screams connected to noise? To noise as the suppressed, the outside, the unwanted, the meaningless that maintains meaning? Why are imagined sounds and ideas of sound treated as part of Kahn’s definition when, despite the length of the text, actual sonic events and practices are not fully explored? It is not that the connections are not there or the associations lack meaning and import, but there is a question of focus, of scope. There are limitations, but if one wants to philosophize with an amp@11 one must begin where one can.

Noises haunt. For Douglas Kahn, noises haunt the arts as they are suppressed, sought, elevated, silenced, and imagined. There is, indeed, a spectral reality to noise, a shifting hauntology, an absent presence that once found, once remarked upon signifies and thus fails to be noise after all.

it is only what is made of noise, of the history of noise, that must explain itself in the face of the possibility that there is no such thing as noise.

But what then is noise?

The existence of noise implies a mutable world through an unruly intrusion of an other, an other that attracts difference, heterogeneity, and productive confusion; moreover, it implies a genesis of mutability itself.

But what then is noise?

This repeated question is not meant to diminish Kahn’s work. For he does, indeed, offer several working definitions of noise. It is meant, rather, to highlight that definitions of noise are always working definitions, contextual, situational, limited.

So the definition of noise might be regarded as of far less importance that what can be done with noise, how noise might be used to challenge norms, regimes, power structures (those that would impose a definition and enforce an exclusion).

Thus, the grinding sound of power relations are heard here in the way noises contain the other, in both senses of the word.

Though the rhetoric of emancipation is an easy trap.

Subvert the Norms! Noise for Everyone! Democracy is Noisy! 

The statements are true in the way that slogan are always true and never falsifiable. Can noise be emancipatory? Certainly. Is it inherently? Not in the least (c.f. the LRAD).

Kahn is aware of this and goes to great lengths to point out the subversion of emancipatory rhetoric in one of the Great Saints of Noise: John Cage.

When he hears individual affect or social situation as an exercise in reduction, it is just as easy to hear their complexity. When he hears music everywhere, other phenomena go unheard. When he celebrates noise, he also promulgates noise abatement. When he speaks of silence, he also speaks of silencing.

Noise is a tool. Noise is a metaphor. For Kahn, it is a means of understanding a certain period of avant garde art that he seems particularly taken with (his water and meat metaphors are less developed though still focused on a particular subset of the arts). Kahn does however challenge several sacred cows (making fine steaks), give a detailed (if sprawling) overview of the possibility of noise and silence, and serves as an important introduction to the theory of noises and Noise Theory.



all quotes from:

Kahn, Douglas. Noise, Water, Meat: A History of Sound in the Arts. Cambridge, Massachusetts: The MIT Press, 2001. Print.

Helmhotz appears.

Composed while listening to KTL, IV.