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Crusts of forgetting - Dental Floss and Walter Benjamin

I just found my dental floss. I lost it three months ago. Three months without dental floss is a little troublesome. I didn’t buy any more because I felt I knew I would find it. In fact I knew where it was, I just couldn’t remember.

I was just reading about Walter Benjamin’s death ‘by his own hand’ as it is favoured to say for figures of historical import. He chose the wrong day to try to leave France, he chose the wrong place to leave from, he chose the wrong place to receive his visa. I suppose if you start to pull it out further, he chose the wrong time to live, the wrong ideas to think and write about (rejected by dialectical Marxists and most certainly an enemy of the Nazis), the wrong religion, the wrong country. None were chosen, of course, but that doesn’t stop the feeling of historical injustice. If he had lived passed his own death, I think he would have enjoyed the confluence of events that led to it: the sheer chance of it all, tragi-comic in its own sad and individual way. His death, as I read it, led to others being granted the invaluable passage through Spain and out to freedom and a delayed death, presumably.

There are things that escape your consciousness for a while – the location of wayward dental floss, for example – and decide to reside somewhere in the depths, or at least underneath some sort of calcified crust of recollection, the surface of which is the portrait of the memories we hold with us every day. For some people, this upper crust of memory – essentially the reality we hold with us everywhere we go – if fractured and allows surprising things to seep through all the time. I’m not one of those people. My crust needs to be broken by a direct dart of perceptual signification – a smell, a sight, a sound, a word – which pierces the surface and allows an insight into something of the past; a glimpse at best, intuitive and esoteric.

And yet, like the Earth’s own thin crust, there are signs on the surface of the things underneath – mental mountain ranges, chasms, seas of tranquil stillness – which tell us that something lies beneath. Something that moves and shifts, adjusts all the time, never really comes to rest. I think it was something like this – some psycho-geographic feature – which told me my dental floss was under my desk, the very desk I was sitting at, reading about the death of dear Walter. Something in the stillness of the end of the paragraph, finalising the details of his sad and all too early demise I found a moment for insight – I didn’t have time to even think “Yes, I know!” before I dived below the desk to find the small circular plastic piece of everyday dental hygiene equipment.

It is too much, in this day, to speak of collective experiences, societal forgetting and cultural landscapes. Our experience of the world is a different one to everyone else’s. It must be – how else can we fail to understand each other in even the most simple of situations? Agreeing with someone else has become one of two things: a political choice, based upon some ulterior motivation; consent based in the lack of relevant information. An ever growing generation of individualists – not different from any previous incarnation of society in the degree of connection to others, but rather only in recognising the inherent alienation of each individual from any other – is learning that ‘alone’ is all one can ever be.

And yet. There is that unifying voice – the complete, comprehensive and seamless narrative of history, of culture, of society. This is the voice of unified media; the voice of parliamentary government; the voice of university historians – contexts in which a diversity of opinion is encouraged, but where all opinions must work off the one logic, the one agreed set of principles of order. The story of history, that found in history text books that read like novels, that which we hear about, that which we can understand – this is the story of the world we live in, the story we have agreed, the story which supports our sense of the normal.

Normal or average. The jury is out.

And this normal history, narrative which makes most sense to us, can at times behave like I do – forgetting things it knows, forgetting people it knows it knows, forgetting thoughts that didn’t quite fit. It creates a crust of forgetting, under which one finds the thinkers, the artists, the activists who are making the mountains form above them, but who are the unseen forces below. When we uncover them (some dead long ago, some more recently deceased, some blessedly still alive) we label them as ‘ahead of their time’, or worse ‘avant guard’ going some way to denying the very fact of their existence in a historical moment – because they don’t quite fit the narrative.

Walter Benjamin was one of these men.

He stayed submerged a relatively short time – within decades he was being posthumously published and remains today a bedrock of post-Marxist and Critical Theory. Indeed, it is from his writings on history that we recognise many of the equalising forces of dominant narratives in our culture, our history and our society. He encouraged us to be playful in our approach to history, rearranging the building blocks that make up the story of the world as we know it.

So, my dental floss is returned to its place with the other daily hygiene paraphernalia in my life, just as Walter was placed within the canon of discourse we take for granted now.

Perhaps in time we will learn to read the surface more accurately, to understand more of what is below. Seismic shifts, providing a view to the world below, are all too rare, and tend to come just as the bubbling material underneath has passed by, leaving only a trace of what we might have otherwise known in more complete intimacy. And as the world ticks on, the moment of clarity is soon replaced with a million others of cloudy uncertainty. If only we could catch some more as they flitter by, if only.

- by James Grogan

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Relay

“What’s in the bag?”

 

I don’t have much choice,

 

“It’s a panda costume officer”

 

He isn’t fazed. Which is fair; velour panda legs are quite visible under my wishfully inconspicuous coat. I have no one to blame but myself it seems.

 

“I’ll need to do a search”

 

It’s only the panda head and paws in the bag. I’ve left everything else at my girlfriend’s house, apart from a £10 note and a phone number to call in case of emergency.

 

If I do end up at a station (which is now of primary interest to me) they could take my phone and document my contacts, which I consider a discourteous offence to the reputation of my friends (none of whom are in the least bit disreputable…). I would loathe implicating any into the records of police clerks due to my dissenting behaviour, standing here in Ladbroke Grove, headless but panda-bodied.

 

It snowed today. Lovely, puffy big flakes making a stand against the English calendar. London was for one day a little Siberia, and I its proud panda preparing for peaceful protest. That is, until we got utterly rumbled by a group of policemen who didn’t really need to be too observant to notice a group of people aimlessly loitering, two of which with very big black feet.

 

“When were you intending to put this on?” gesturing towards the panda head, now looking distinctly dejected.

 

I detail our plans with openness and calm. This is how we’ve been briefed. We even had role-play exercises;

 

‘Excuse me Sir, could you please vacate the premises or we may arrest you for Breach of the Peace and Obstruction of the Highway.’

 

‘Fuck off pig or I’ll cut yer inta’ cubes bitch! I’m the motherfuckin’ P.A.N.D.A.!’ was generally a tone we were recommended to avoid.

 

They group us into a side alley and await further advice. We exchange humoured glances of incontestable defeat. The Olympic Torch and its entourage process before us; legions of police on foot, bikes and cars, black vans with black windows, carnival floats with offerings from official sponsors (who will not be mentioned), dancing girls pretending it’s not freezing, crowds pretending they can see anything…

 

We hear word that the torch is actually in a bus as it’s too dangerous to be exposed. That shouldn’t seem so reasonable.

 

Another policeman takes our details, which does involve one panda having to de-robe to access his wallet. “Oooh Officer!” raises the faintest smile, and I conclude that we’re both just fulfilling a role.

 

After we’re deemed to be of no danger, we’re free. We follow the wake of the procession, taking photos with the displaced spectators, performers and other protesters. Somewhere ahead someone is carrying a flame to China, and with it angry people are rushing like moths.

 

But that urgency is absent in me, as I question my reasons and motives, personal and political. I’ve never done this before. I find myself looking at the eyes of a child staring at me through the holes in my panda head.


- by Dr. Fieldmouse.

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Podcast: Dual Identities (Dafur Radio Project)

In "Dual Identities," the Darfur Radio Project explores the divides between Khartoum and Darfur, Sudan and Kenya, and expatriates and their homeland. First, a look at how economic growth in Khartoum compares to development in Darfur. Then, in the second installment of our series on Sudanese culture, we speak to two Sudanese musicians who find they're connected in unexpected ways.
And, who's who? This month, an introduction to the Sudanese Liberation Army, one of the key rebel groups in Darfur. Finally, we look at how the Sudanese expatriate community in the US is preparing for the 2009 Sudanese elections.
Click the title to download the podcast.

The Darfur Radio Project is a monthly radio broadcast that explores the historical, political, economic, and social contexts of the conflict in Darfur. Using personal stories as well as critical analysis, we aim both to introduce listeners to the complexities of the situation in Sudan and to give them the tools to effect change. We believe that education, good information, and analysis will play an important role in the search for sustainable, long-term peace in Sudan.

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Podcast: Four Corners (Dafur Radio Project)

In "Four Corners", the Darfur Radio Project explores the physical and mental geography of Sudan, both inside and outside of Darfur. First, a critical look at how Chinese investment is playing out in the Merowe Dam Project in northern Sudan. Then, in a new series on Sudanese culture, we speak to musicians both at home and abroad. And, an exploration of the conflict in the east of Sudan, which predates the violence in Darfur. Finally, we hear about how both large international NGOs and smaller grassroots organizations tackle the question of education in Darfur.
Click the title to download the podcast.

The Darfur Radio Project is a monthly radio broadcast that explores the historical, political, economic, and social contexts of the conflict in Darfur. Using personal stories as well as critical analysis, we aim both to introduce listeners to the complexities of the situation in Sudan and to give them the tools to effect change. We believe that education, good information, and analysis will play an important role in the search for sustainable, long-term peace in Sudan.

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Podcast: Dialogue & Discourse (Dafur Radio Project)

In this podcast, the Darfur Radio Project examines ways in which the world thinks about and responds to the conflict in Darfur. We hear about current discussion surrounding the role of climate change in Darfur. And, how do experts define the crisis--is it genocide? Then, we take a critical look at one possible solution--the divestment movement. Finally, who's who? This month, a profile of President Omar al-Bashir.
Click the title to download the podcast.

The Darfur Radio Project is a monthly radio broadcast that explores the historical, political, economic, and social contexts of the conflict in Darfur. Using personal stories as well as critical analysis, we aim both to introduce listeners to the complexities of the situation in Sudan and to give them the tools to effect change. We believe that education, good information, and analysis will play an important role in the search for sustainable, long-term peace in Sudan.

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Aiming for Peace

That's it, you can do it. Just a little more now, pull a bit harder... BAM!

the green figure slams forcefully into the ground as the bullet rips through

the cold green steel plate... BAM!

another smashes into a paper figure that looks suspiciously like a Russian soldier from the 70's, and is for some bizarre reason referred to as Ivan or Boris most of the time. One down and closer to peace. BAM! another one down and closer still. At least we produce bullets faster than we make enemies (for now we do)

”He can't even use the radio, but he's a damn fine shoot! just what I want from a medic, keep up the good work soldier!” A flash of colour, perhaps even true colours, but it doesn't last for more than a second as the major then goes on;

”We need to be there, for the people who are suffering, that's our purpose, but please remember they are your enemies”. A conflict of interests if ever there was one. They are worth as much as any of you, but do remember, they are all scumbags who can't be trusted.

Go on do it, sign it, you can do it, it's just a splash of ink... Why would you care? SCREECH The pen of a student signing a petition against an oil-giant drilling for oil in Nigeria.

We made a difference, yes we did, that's what we tell ourselves when we sent 1005 copies of a black and white printed letters in swollen words to a company board, but did that make them think twice about what they were doing? No, they were probably thankful, because now they didn't have to use their own oil to warm their office, and never mind the expenses on toilet paper.

But at least there was a will. Or was it someone else's will? Did you even stop to think about what you signed?

-Nah! It was too long, I was in a rush, but I'm sure it was for something good, at least it said amnesty at the top.

A drop of colour, maybe red, but your blood was blue, was it not?

Yes, now you did your part for the world, what would it do without you and your support? All those profound personal letters will sway the hearts of the oil-giants! And if not... We could always torch it! I mean... It's by no means we who give them that power, by turning on the lamp, cramming out full effect from the heater, or making a tropical paradise into a walk-in freezer with 12 air-conditioners at the same time? Not to mention how utterly important it is to get everywhere! Sure we care, we just don't care enough to give up OUR comforts.

-I for one would never give up my comforts, a soul dark as tar, not from smoking though, at least not my own smoke.

But did we really want to help people, or did we want people we could help, things to care about? We thirsted for someone to say, oh my god, so righteous, so good. We longed to see the disabled kids every Thursday so that we would know that we were not one of them. As long as it was just playing in the park with them or feeding them it was ok, but if they needed to go to the toilet or threw a tantrum (or threw up for that matter) the old ladies taking care of them would come scurrying to comfort them, and we would pat our own backs and say;

- you did well, he didn't pee on himself (or you) before she came, you did well, you can't be expected to be able to calm him down, he's re... mentally handicapped for heavens sake!' and yes, you managed to look your best throughout the whole endeavor.

Sometimes I wonder what is best, having the will to change but being capable of nothing or having the strength to change, doing so but not really caring.

BAM!

"YOU'RE SHOOTING TOO SLOW!"

-Yes, how can we ever hope to preserve the peace if we can't kill them fast enough? and if shooting them creates the enemy, well then you better be fast on the trigger so that they don't grow faster than you shoot!

*reflection... is that really true? oh well, they told me to shoot didn't they? and that's what I like best. If this is helping I kinda like it, come out come out wherever you are!

-Have you thought this through?

- Yes!

-I mean Really thought this through?

-YES!

-So... what are you waiting for?

-oh, right...


BAM! one down, BAM! two... god, so many terrorists... and now they've taken to wearing skirts and carrying children too... but you won't fool me, I can see right through you! Oh, not that one... can't see through her... what to do? BAM! oh! now I can! I knew there was a way!

If they were civilians they would have told us, right?

At least you're not told to think in the military, you're actually told not to.


So who's to blame for the world of today with all its horrors? Who bears responsibility for the disastrous condition of the global society? Or is there actually something wrong at all?

When asked the vast majority of this world would like to see peace on earth, when asked they support equality, you would be deemed a mental case if you said anything else.

But can this world hold such things? Is it even possible? What would we care about, what would we work for if where it got us was the same place as we started? I think these problems are needed, both as a point of reference, so that we may know that we are better off than others, but also as a cause. We want to feel important and acknowledged. It's a human drive and it's what keeps us moving forward. It sure has been the reason for many struggles and horrible things, but without it we would be nothing. We need the problems of this world to feel alive and thus I believe that we are all part of these conflicts and that there is no final solution that will lead to an end of all inequality and injustice, it's just human.


by Joakim Pettersson

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Podcast: Far From Home (Dafur Radio Project)

An in-depth look at the experiences of Sudanese refugees. We hear from an 18-year-old Darfuri man frustrated with the bureaucratic red tape facing asylum seekers in the UK. And, the story of a grown-up Lost Boy who left Southern Sudan twenty years ago and is still waiting to go home. Finally, we learn about the efforts of a Darfuri refugee in the US to bring peace to the home he hasn't seen in years.
Click the title to download the podcast.

The Darfur Radio Project is a monthly radio broadcast that explores the historical, political, economic, and social contexts of the conflict in Darfur. Using personal stories as well as critical analysis, we aim both to introduce listeners to the complexities of the situation in Sudan and to give them the tools to effect change. We believe that education, good information, and analysis will play an important role in the search for sustainable, long-term peace in Sudan.

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Mu-sic: negative space in Japanese electroacoustics

Nobuyuki Tsugata has a theory about Japanese animation. It concerns the main difference between American and Japanese animation styles. The American style, that style pioneered by Disney, relies on a process known as ‘continuous motion’. It’s fairly simple to understand, it’s actually all in the name: it is a style whereby there is constant movement on screen. In contrast the Japanese style veers away from this concept with the focus placed on very little movement and still frames where motion may occur only in one section. Obviously these styles vary enormously and hence they have produced very different canons of work. However despite the more pragmatic factors, such as cost and the amount of work involved, Tsugata believes there is a deeper reason behind the conservation of movement and the use of space in Japanese animation.

Tsugata believes that it is a reference to, and hence a contemporary use of, the Japanese notion of Mu. Mu is the idea of ‘negative space’; it is an ambiguous term which is hard to translate but you might describe it as “space where other things are not present”. This idea is derived from Chinese and Japanese Zen brush paintings, typically of landscapes, where some detail may be portrayed but the space above, below or around it is empty. Whereas this may be perceived as blank canvas it can also be interpreted as ‘negative space’. Space in which there may be air, wind, sound, smell, something visually unrepresentable but most importantly undefined. This ‘negative space’ therefore is just as crucial to the understanding of a work as anything that is illustrated. It adds texture, depth and extra sensory dimensions which are ambiguous enough to be filled by any interpretation.

So this then is the central concept of Mu. Naturally enough this idea of negative space, has cropped up in several different cultures in various ways over the centuries, however it is its use in modern Japanese electroacoustic composition that proves it is a fascinatingly malleable traditional technique. Although it may or may not be evident to composers such as Yuichiro Fujimoto, Akira Kosemura, Motohiro Nakashima and Daisuke Miyatani, to name a few, their explorations in electroacoustic sound incorporate a facet of enduring Japanese art: the use of negative space.

What then do we mean when we talk about negative space in terms of aural rather than visual representation? Well despite the confines of text let us attempt to create an impression through description. Let us take for example Yuichiro Fujimoto’s ‘Drawing of Stars’ from his 2005 release Kinoe. It begins with a single chord, on keyboard, which is repeated metronomically. It is a constant. Gradually it becomes lazily punctuated by a sweet melody drummed out on acoustic guitar. This motif is cut up, and spliced in, in different forms and segments, not building, rising or falling, just playfully existing. A few glittering harmonics shine among these sounds. While the keys continue to pulse, the guitar deteriorates into muted scratching noise, until once again the melody returns before trailing off with the small death of the synthesized chord.

This then is a piece of electroacoustic composition. It may sound odd on paper; it certainly isn’t any less strange when heard. However if played solely as described above it would probably be interesting, maybe challenging, but certainly not great. There is however an element to the piece which was not revealed, and that is Fujimoto’s use of negative space. Throughout the track there is an organic static, maybe the sound of a microphone left on in an empty room, maybe the recorded sound of wind, gushing water or rain outside a window. Towards the end of the track it veers closer to white noise, the sound of someone pottering around and a plastic rattle disrupt the slight hypnosis that was created. What does this pervasive empty sound signify? What does it symbolize? It certainly isn’t the blank perfect silence of the mastered studio album. It is the deliberate use of empty space, negative space, to highlight aurally indefinable aspects of the work; maybe a certain time, place or feeling. Most importantly though, it allows the listener to interpret all the other aural information they are presented with as they see fit. It injects an ambiguity into the track that emphasizes its musicality while simultaneously drawing attention to the empty canvas beyond.

Mu therefore has been identified in this music. It is used masterfully by Fujimoto on Kinoe and his peers make effective use of it in their own unique ways. Just like contemporary animation, contemporary composition therefore is just as inflected with traditional Japanese artistic concepts, and it would probably not be too much of a stretch to locate them in different mediums. Nonetheless in Japan there is being created a great wealth electroacoustic works that should not pass you by.


Some of the best:

Akira Kosemura – It’s On Everything

Daisuke Miyatani - Diario

Motohiro Nakashima – The Sandhill

Tenniscoats – Totemo Aimasho

Yuichiro Fujimoto – Kinoe


- Paul Bond

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The World Is Nigh

You are too slow; you should have read this by now.
This should be over; you should be onto the next thing.
Don't let your brain settle on this, it could be dangerous.
It's a beautiful day. But don't sit around.
I'm tired. Last night was difficult. Last night was strange.
I consider myself a people person. When I'm alone.
How come we all run for the train and stand still on the escalator.
It really is a beautiful day. The sky is blue.
We always say that. But it's a blue I've never seen before,
A new blue. A blue never seen before.
No one would notice!

Goodnight dear.
Goodnight.

- Dr. Fieldmouse

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