Résurgences
"C'est donc ce temps que nous n'avons pas vécu ou que nous ne vivons q'en des images (par des résurgences ou des permanences d'images) qui est ainsi mêlé à notre vie - et plus fortement qu'aucune figure sortie des romans que nous avons lus - et peut-être aussi loin que nous trouvions leur souvenir avoir une plus grande durée, être moins susceptibles de déformations que nos souvenirs d'enfants, c'est à dire de ne pas être pris comme eux dans l'incertitude de l'âge que nous avions, dans l'incertitude de l'âge ou de la taille ou du monde des adultes qui lutte encore contre l'édification et la permanence de tels souvenirs, dans l'absence de stabilité des images ou de l'aspect de ces souvenirs parce que maintenant encore ils appartiennent au temps qui est passé en nous et dont tout notre présent et notre corps déjà changeant est l'oubli le plus complet, ou qu'aucune maladie ni aucune souffrance du temps en nous ne permet de retrouver entièrement.
J-L. S.
JAM THE CODE (82J6 x AMOR FATI DUB)
CHILD NOT JESUS (AMOR FATI EDIT
A Fog That Rains
'Summers were spent in a fog that rains. They were mirages, no different from those that camelback riders approach in the factual accounts of voyages in which I persistently imagined myself, and those mirages on the highway were for me both impalpable souvenirs and unstable evidence of my own adventures, now slightly less vicarious than before [...] I had claimed the radio nights for my own. There were more storytellers than there were stories, so that everyone in the family had a version of history and it was impossible to get close to the original, or to know "what really happened".'
L. H.
DEATH BECOMES HER (AMOR FATI EDIT)
LANGER AND LANGER (AMOR FATI CUT)
Idolâtries
"Le personnel est opposé à l'impersonnel mais il y a passage de l'un à l'autre. Il n' y a pas de passage du collectif à l'impersonnel. Il faut d'abord qu'une collectivité se dissolve en personnes séparées pour que l'entrée dans l'impersonnel soit possible. En ce sens seulement, la personne participe davantage du sacré que la collectivité. Non seulement la collectivité est étrangère au sacré mais elle égare en en fournissant une fausse imitation.
L'erreur qui attribue à la collectivité un caractère sacré est l'idolâtrie. C'est en tout temps, en tout pays, le crime le plus répandu. Celui aux yeux de qui compte seul l'épanouissement de la personne a complètement perdu le sens du sacré. Il est difficile de savoir laquelle des deux erreurs est pire. Souvent elles se combinent dans le même esprit à tel ou tel dosage. "
S.W.
Leave Of Absence
From 1971 to 1981-a youthful decade- I suspend the use of myself. I was not the actor within my body, but rather an audience for the scenes my body performed, a reader of the fictions my body lived. If this sound ludicrous, that's because it is ludicrous, it is ludicrous in the exact same way your life is ludicrous-you who have convinced yourself, just as nearly people do of the intractable limits of your life, you who have, in all likelihood, mushed yourself into the most miserable allotment of what a life can be, you who have taken yourself captive and called it living. You are not your name, you are not what you have done, you are not what you see or what you have seen [...] But I wanted that - a total, ongoing delusion , a work of art that overtook a life so completely that no seams could be seen, not even by the self who sat suspended inside the body as that body became the stage, the actors, the ticket, the script itself. I leased my body to the theatre beyond my direction. The director was the world itself, the possibilities that world presented. Rehearsals occurred simultaneous to the thing itself."
C.L.
EOANTHROPUS DAWSONI (SMAGGHE & CROSS VERSION)
BEGGARS CANT BE CHOOOOSERS (AMOR FATI EDIT)
Objet à Saisir
"Saisir ce que les gens disent, par exemple, peut être un signe de complicité, ou vous désigner comme un zélateur de tel ou tel culte; ou indiquer que, si vous établissez une connivence avec quelqu'un, c'est pour éviter des expériences non souhaitées; ou que vous préférez l'entente au remaniement, ou encore au conflit. Dans ce contexte, cela pourrait équivaloir à ne pas toujours présumer qu'il y a un objet à saisir; vivre comme passant à côté de la question-avoir le courage de sa naïveté. Ne pas présumer (comme je crois que c'est le cas le plus souvent qu'on en a conscience) que le mot d'esprit-après le dessein providentiel de Dieu, si on est croyant, et après les lois de la nature-soit notre modèle le plus achevé de la façon dont les choses fonctionnent, particulièrement entre les gens. On pourrait dire, pour faire court, que la femme ou l'homme de vos rêves est la personne qui a la fois vous saisit et ne vous saisit pas de la façon dont vous préférez être saisi. C'est à dire quelqu'un qui ne se contente pas de vous traiter comme son jouet favori".
A.P.
BOULOT DODO (AMOR FATI 7" CUT)
The State of Exile
"May be exile was a kind of regression. At their age, they may well have been gainfully employed and bringing up children, yet here they were hiding behind school desks. The state of exile had brought all kinds of deeply suppressed childish fears to the surface. Suddenly the sight and touch of Mother were no more. It was like a nightmare. We could be in the street, in the market, on the beach and, wether through out faults or hers, our hands would disengage and Mother would vanish into thin air. We faced a world that seemed terrifyingly large and hostile. Gigantic shoes advanced menacingly towards us as we made our way through a jungle of human legs, our panic growing..."
D.U.
NO HUMAN ( FABRIZIO MAMMARELLA EDIT)
IN A TYLER MOOD (AMOR FATI CLUB TOOL)
An Inversion of the creation
"So it was that for a long time I lay upon my side through the night and thought my way into that singular event, the origin, and initial combination of nothing but elemental particles, which given only time, yielded an entire planet. It was only then that the formula "dust to dust" which appears so incontrovertibly terminal, does express also beginning, the first gathering of the planets in making of themselves, and that without knowing it, many had said what they did not know but certainly felt: in my beginning is my end, in my end is my beginning. Every little mote, we must admit, declares: I am Alpha and Omega, the beginning and the end, the first and the last".
P.S.
Lost is found
"Here, then, is the pattern in my carpet, the sense of eternal mysteries, the eternal beauty hidden beneath the crust of common and common place things, hidden and yet burning and glowing continually if you care to look with purged eyes [...] I think it's easier to discern the secret beauty and wonder and mystery in humble and common things than in the splendid and noble and storied things. And it is utterly true that he who cannot find wonder, mystery, awe, the sense of a new world and an undiscovered realm in the places by the Gray's Inn Road, will never find those secrets elsewhere, not in the heart of Africa, not in the fable hidden secret cities of Tibet. 'The matter of our work is everywhere present' wrote the old alchemists, and that is the truth. All the wonders lie within a stone's throw of Kings Cross Station."
A.M.
Warehouse Ghosts
"Un fait est certain: le fantôme - sous toutes ses formes est bien l'invention des vivants. Une invention, oui, dans le sens où elle doit objectiver, fût-ce sur le mode hallucinatoire, individuel ou collectif, la lacune qu'a créée en nous l'occultation d'une partie de la vie d'un objet aimé [...]. Ce ne sont pas les trépassés qui viennent hanter, mais les lacunes laissées en nous par les secrets des autres. Si le fantôme n'est pas lié à la perte d'un objet, il ne saurait être le fait d'un deuil manqué. Tel serait plutôt le cas du mélancolique ou de toutes les personnes qui portent une tombe en elles."
N.A.
DECKS ON CRATES (AMOR FATI TOOL)
It's All a Blur
"S. did not attempt to deny that the experience of memory existed. However is entire body of work was predicated on the idea that what we experience as memories are in fact confabulations, artificial constructions of our own design built around sterile particles of retained experience that we attempt to make live again with infusions of imagination - much as the blacks and whites of old photographs are enhanced by the addition of colours or tints in attempt to add life to a frozen moment. S. believed that long-term memory was illusion but similarly questioned short-term or "immediate memory". On a number of occasion, he wrote, "there is only experience and its decay" but which ne meant to suggest that what we typically call short-term memory is, in fact, our experiencing the decay of an experience. Interestingly, however, he employed the term "true memory" to describe the process of decay, which he held was, in actuality, no memory at all".
VOICE & DUB OF YOHOO (ALEX BRADLEY FROM UTOPIA CUTS)
Feral Kids
"They were not, our neighbours-to-be, the kind of families whom the break-up statistics comprehend. They were not the sort for adulterous upsets, for drunken fumbles, for spring folie, for subterfuge and lies. They were grounded infotec folk, hardware or software people, bright philistines, sharp and intelligent. They were mobile in their habits till their children fixed them; keen, pragmatic, willing to defer gratification; committed to their offspring, investing in them. Men and wives met each other halfway, gentle fathers and defined, energetic mothers. They were a new sort of people who didn't feel the need of history, personal or collective. They seemed to have sprung straight from a pot in Homebase, putting our glossy, polished leaves; they had parents, but they had them as weekend accessories, appearing on summer Sundays like their barbecue forks. In this part of the world each family unit runs like a model small business and the account, you may be sure, are squared at the end of each quarter; and if a quarter is wanted, a small measure is granted; and if a quarter is granted, the favour must be returned; and when the columns are totted they must balance, I think, husband to wife, wife to husband, with none of the shocking deficits that are incurred in the wilder parts of the world."
H.M.
There are counter-measures to an overdose of blissful order: noise pollution, shoplifting of non-luxury goods, glue, letting your cat roam freely. Bless the ever-expanding street gangs, feral kids lead astray by irresponsible never-wanna-be adults. May they,-V. included,-all feel at home, at night, on empty streets.
SSS SEX SPACE STORM (BUDINO RECUT)
KICKED IN THE FACE (AMOR FATI EDIT)
Well St-Derech Jaffa pt 1
"Time does not permit paradoxes. The Morphail theory specifically shows that once a time traveller has visited the future, he cannot return to the past for any length of time; similarly, any stay in the pas is limited, for the reason that if he did stay there, he could alter the course of the future and produce chaos. The Morphail effect is my term to describe an actual phenomenon, the fact that no-one has ever been able to move backwards in Time and remain in the past".
May be, may be not.
Double Exposure
"The Horse in Motion is a series of cabinet cards by Eadweard Muybridge, including six cards that each show a sequential series of six to twelve "automatic electro-photographs" depicting the movement of a horse. Muybridge shot the photographs in June 1878. An additional card reprinted the single image of the horse "Occident" trotting at high speed, which had previously been published by Muybridge in 1877. Stanford also had an interest in art and science, in which he looked for illustration and for affirmation of his own ideas and observations about the horse's motions, but got frustrated with the lack of clarity on the subject. Years later, he explained: "I have for a long time entertained the opinion that the accepted theory of the relative positions of the feet of horses in rapid motion was erroneous".
This does not explain how you record horses at an accurate speed. The two below do not either.
Future Past
First rave (e)motions. Big fish-little fish. This red herring could be Dutch but memories can betray you.
"The only true way to eat herring is vertically; with certified Netherlanders dangling the fish above their mouths as they take generous bites from this pickled treat"
Hence the French "gober" (to swallow whole) being slang for dropping a pill?
Doubtful but we are still allowed to dream.
more next week.
A few words
So here we are. Again. In the same but different place, where we belong.
It takes time for one to accept, and love, one’s fate.
We embrace ours and this is the place where we will share fragments of it, music, words, ideas.
Things and spirit. Things in spirit, macerations, old flames, new cuts, surgical and messy.
Multiples versions of our multiple personalities : a vaguely defined chaos.
[All edits are made with love not for profit. If you want your music removed, please let us know]
