SOUNDING THE COUNTERFACTUAL: HYPERSTITION & AUDIAL FUTURITIES
Stream organizers: David Cecchetto, Marc Couroux, eldritch Priest
LONDON CONFERENCE IN CRITICAL THOUGHT
June 27-8, Goldsmiths, University of London.
That sound and affect are fatally entangled should be obvious, for they share a primordial relation to a zone of indetermination between unconscious bodily impingements and their selective, conscious actualization. This is further suggested by the way sound's im-mediacy and hearing's continuous intake figure audition as a amenability to influenza of various forms that nudge virtual potentials towards predetermined outcomes. For contemporary cybercapitalist power, sound's affective/infective nature plays a key role in ratifying its need to preserve homeostasis through a negative feedback that holds matter and information as equal realities. According to Anahid Kassabian, in a world of ubiquitous, networked technologies, music and sound are crucial vectors across which distributed-informatic subjectivities are constituted, a position advanced by the third wave of cybernetics wherein machinic, mediatic, and prosthetic ecologies have become indissociable from biological processes. Indeed, within this human/non-human commingling control operates virtually, nested within affective states that "unfold the past into the present” and inflect "the way the present acts on the past to unravel a new future.”
Hyperstition, a term coined by the Ccru (Cybernetic Culture Research Unit) and most often attributed to its chief ideologue Nick Land, is a useful point of intervention within a system that suppresses contingency, futurity. According to Land, "hyperstitions by their very existence as ideas function causally to bring about their own reality…transmuting fictions into truths.” Such a formulation is exemplified by finance capitalism's investment in fictional entities such as futures and derivatives to compose an abstract but no less real dimension of profit. However, the manner in which the power of the virtual has been exploited by inhumanist capital to bring about the reality of a speculative profit—as in branding's sorcerous implantation of false memories and future desires, which rewire the very notion of lived experience—points to the promise of hyperstition as producing counterfactual lines of actualization that compel the world to unaffordable futures.
How might sound (noise = rumore (It.) = rumor), the virological, immanent medium par excellence—acoustic space as networked space—be productively leveraged for its capacities to induce, bend, and channel affective potential? How might the effective powers of fiction be sonically enacted? How might spatial redistributions of mobile electronic sound galvanize emergent social and political structures?
PANEL 1—Friday June 27, 11h30-13h00 ("Room 6") (room specifics to come)
Lendl Barcelos—Anethics of Aural Ambiguity
David Cecchetto—Hyperstitional Algorithms, capital and sounding art
Eleni Ikoniadou—Abstract Audio
PANEL 2—Saturday June 28, 16h45-18h15 ("Room 3")
Charlie Blake & Isabella Van Elferen—The Return of the Überthing: Sonic Spectrality, Affective Engineering & Temporal Paradox
Joey Ryken—Asymmetrical warfare in Sound, Magic and Humour: Psycho-sonic parody, slap‐stick, neuroaesthetics, and supra‐sensory chicanery
eldritch Priest (assisted by Marc Couroux)—[Title TBA]
TRANSMÈTIC HERESIARCS: a phonoccultural satellite [FB]
FRIDAY JUNE 27, 20h—1h
LEWISHAM ARTHOUSE: 140 Lewisham Way (near Gsmiths)
Modulating between the abstract/(in)aesthetic through the rhythmic/4-to-the-floor and back again, Transmètic is a night of schizo-disciplinary interchange. A hyperstitional continuum of technofuturist outliers—a heresiarc—collapses the counterfactual emanations of cybervisionaries AUDiNT and Mer Roberts of [0rphan]D[rift>] with the ‘pataphysically mètic incantations of Lord Auch! (Lendl Barcelos, Marc Couroux & Amy Ireland), Bibliothèque and Plastique Fantastique as evidence of an ongoing xenochronic call to the Old (Ph)ones.
1) Mladen Dolar, "The Metaphysics of the Voice" from A Voice and Nothing More
2) Lacan, "The resonances of the Time of the Subject in Psychoanalytic Technique", Part III of "The Function and Field of Speech and Language" in Ecrits
3) Jacques Derrida, "The End of the Book and the Beginning of Writing" from Of Grammatology
4) Roland Barthes, "The Grain of the Voice"
5) Luce Irigaray, "The Dialogues" and "Plato's Hysteria" in Speculum: of the Other Woman
6) Kaja SIlverman, "Disembodying the Female Voice: Irigaray, Experimental Feminist Cinema, and Femininity" from The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema
7) Sherry Turkle, "The Flight From Conversation" (New York Times article) and Franco Berardi, "Info-Labor and 'Precarization" from Precarious Rhapsody: Semiocapitalism and the pathologies of the Post-Alpha Generation
8) Mikhail Yampolsky, "The Voice Devoured: Artaud and Borges on Dubbing"
9) Professor Barker, "Barker Speaks" and William Burroughs, "Cross the Wounded Galaxies"
10) Avital Ronell, "The Deaf" in The Telephone Book: Technology, Schizophrenia and Electric Speech
11) Michel Chion, "Raising the Voice" and "The Voice that Seeks a Body" from The Voice in Cinema
12) Freya Jarman-Ivens, "'I Feel A Song Coming On': Vocal Identification and Modern Subjectivity"
13) Susan McClary, "This is not a Story My People Tell: Musical Time and Space According to Laurie Anderson"
14) Ian Penman, "The Shattered Glass: Notes on Bryan Ferry" from Angela McRobbie ed, Zoot Suits and Secondhand Dresses: An Anthology of Fashion and Music
15) Kodwo Eshun, "Inner Spatializing the Song" and "Programming Rhythmatic Frequencies" from More Brilliant Than The Sun: Adventures in Sonic Fiction