'This 1922 documentary-horror masterpiece explores the effect of superstition on the collective medieval consciousness. Presented for the first time with a BFI-commissioned score by electronic artists Demdike Stare. The duo base their music on samples from old recordings, twisted into new sonic shapes. The blend of Demdike Stare’s resurrected aural phantoms and Christensen’s Satanic horror promises to be a singularly modern yet arcane live experience.' - BFI
'There has always been an intrinsically “hauntological” dimension to recorded music. But Derrida’s concept of hauntology has gained a new currency in the 21st century, when music has lost its sense of futurism, and succumbed to the pastiche- and retro-time of postmodernity. The emergence of a 21stcentury sonic hauntology is a sign that “white” culture can no longer escape the temporal disjunctions that have been constitutive of the Afrodiasporic experience since Africans were first abducted by slavers and projected from their own lifeworld into the abstract space-time of Capital. Time was always-already out of joint for the slave, and Afrofuturism and hauntology can now be heard as two versions of the same condition.'
'Welcome to the Clifton Rocks Railway restoration project official site. The project is dedicated to restoring one of Bristol's hidden gems......'
Also a BBC studio in WWII ...
'Top Room: Transmitters Various transmitters were incorporated in this room. One served Bristol with programmes whilst two others were set up o keep the station in touch with the outside World in an extreme emergency. The largest transmitter was an American RCA 'H' group transmitter operating on 203.5 m and broadcasting the home service. This had been brought over from America on lend lease in the early days of the War. The other two consisted of a Harvey McNamara shortwave set, and an ex RAF medium wave transmitter for restoring communication between the other main provincial and metropolitan broadcasting stations should the Post Office telephone lines be damaged by enemy action.
Second Chamber Down: Studio This was equipped with piano, gramophone and other facilities for musical, dramatic or school's programmes and could take a cast of 10-15 actors. Poor acoustics were accommodated by installing heavy carpets and providing strategically placed quilting on the walls. Small scale musical, dramatic or feature programmes could be produced in this room.
The Third Chamber Down: Recording Room This room contained a Philips-Miller record and replay machine which used gelatine coated celluloid film 7mm wide, onto which recordings were cut with a sapphire stylus. Also within this room were sufficient programmes for many weeks of broadcasting.
Fourth Chamber Down: Control Room Here the BBC Engineers surpassed themselves in compressing an enormous amount of equipment into a very small space. The room incorporated switching gear for no fewer than 80 land lines leading to outside stations. The Post Office routed these in various formations to minimise the risk of a single bomb damaging all in one go.'
Sean Albiez's insight:
Drove past here the other day - fascinated by it ...
Cold weather cultures deploy legends of ghosts and snow creatures as figurative intermediaries to explain and manage severe weather. These echoplasmic mediators bring forth issues of wayfinding, exposure and shelter from the scope of folklore directly tied to the effects of severe weather. Apparition Apparatus incorporates self-sustaining technology and real-time input to urban infrastructure and architecture to act as a wayfinding and localized weather warning system for those caught on their journey to safety and shelter. Since an apparition can leak beyond containment and carry itself across frequencies far beyond physical boundaries, assistance and information arrives before first responders can expand their scope and cover the physical distance. It is a ghostly companion for navigating the cold weather city. The Apparition Apparatus is at times a voice, a presence, footprints, signals, reflections on a window pane, a doorway, a road, in various configuration and purpose as are the figures of folklores to help manage the scope of harsh weather. The configuration is infrastructural, architectural and technological derived from contemporary use of information, but the interaction is tied to deep rooted traditions of cold place folklore.' - Janet Yoon
'This EP deals briefly with themes of hauntology, psychology, and negative emotions in relation to supernatural forces. It is obviously heavily inspired by Have a Nice Life and Giles Corey, as "Bloodhail" and The "Haunting Presence" are covers of their respective authors.'
'A new artistic trend has broken out around the world which changes our perception of history dramatically. Colorizing historic photographs from the late 1800′s and early 1900′s changes their appearance from something historic and different, into a scene from today. The colorful image of Albert Einstein sitting beside the water gives us an entire new perspective on the genius. He goes from a brilliant historic relic, into a living brilliance of our era. The colorized photograph of Audrey Hepburn transforms our thoughts of beauty. Her photo goes from an intriguing historic photo to one of a sexy starlet of today. Historic events move forward decades, or even a full century, by the addition of color carefully planned and applied by artists like Jordan Lloyd, Dana Keller, and Sanna Dullaway.'
'The Lighter Side of Concrete ... [is] ... a highly enjoyable and brilliantly executed homage to the work of the BBC Radiophonic workshop's John Baker ... Classroom Projects is a magical compilation of 60's and 70's school records.'
'Post-digitality, in a 2013 definition, can therefore overlap with what is otherwise called “retro media” or, to quote Simon Reynolds, “Retromania”. What Reynolds, from his pop music historian perspective, misses to see in his much-discussed 2011 book on “Pop Culture’s Addiction to Its Own Past” is that the contemporary renaissance of vinyl and audio cassettes have different cultural significance than, for example, a Motown or a punk revival. To quote his introduction, retro “is always about the relatively immediate past, about stuff that happened in living memory”. Vinyl and cassettes indeed meet those criteria; the lack of a larger scale renaissance of, for example, reel-to-reel tape recorders backs up Reynolds’ point. On the other hand, there is a contemporary logic to the return of vinyl after mp3 and, more generally, the distribution of music as files had rendered CDs clumsy hybrids of mp3s and classical records — lacking the flexibility of a file while also lacking the crafty visuality and tangibility of the LP and the DIY cassette. Vinyl and cassettes have thus become post-digital media. They exist today only because they compensate for deficiencies of digital files — deficiencies that are both aesthetic and social, since tangible media are means of face-to-face interpersonal exchange. Exactly the same is true for the booming media of artistic printmaking: zines are made because they are not blogs, artists’ DIY books are printed because they are not web sites or PDFs.' - Florian Cramer
'Only if we are able to disentangle the future (the perception of the future, the concept of the future, and the very production of the future) from the traps of growth and investment will we find a way out of the vicious subjugation of life, wealth, and pleasure to the financial abstraction of semiocapital. The key to this disentanglement can be found in a new form of wisdom: harmonizing with exhaustion.
Exhaustion is a cursed word in the frame of modern culture, which is based on the cult of energy and the cult of male aggressiveness. But energy is fading in the postmodern world for many reasons that are easy to detect. Demographic trends reveal that, as life expectancy increases and birth rate decreases, mankind as a whole is growing old. This process of general aging produces a sense of exhaustion, and what was once considered a blessing—increased life expectancy—may become a misfortune if the myth of energy is not restrained and replaced with a myth of solidarity and compassion.
Energy is fading also because basic physical resources such as oil are doomed to extinction or dramatic depletion. And energy is fading because competition is stupid in the age of the general intellect. The general intellect is not based on juvenile impulse and male aggressiveness, on fighting, winning, and appropriation. It is based on cooperation and sharing.
This is why the future is over. We are living in a space that is beyond the future. If we come to terms with this post-futuristic condition, we can renounce accumulation and growth and be happy sharing the wealth that comes from past industrial labor and present collective intelligence.
If we cannot do this, we are doomed to live in a century of violence, misery, and war.' - Franco Berardi Bifo
'It is the contention of this book that 21st Century culture is marked by the same anachronism and inertia which afflicted Sapphire And Steel in their final adventure. But this stasis has been buried, interred behind a superficial frenzy of ‘newness’, of perpetual movement. The ‘jumbling up of time’, the montaging of earlier eras, has ceased to be worthy of comment; it is now so prevalent that it is no longer even noticed.
In his book After The Future, Franco ‘Bifo’ Berardi refers to the ‘the slow cancellation of the future [which] got underway in the 1970s and 1980s.’ ‘But when I say ‘future’’, he elaborates,
I am not referring to the direction of time. I am thinking, rather, of the psychological perception, which emerged in the cultural situation of progressive modernity, the cultural expectations that were fabricated during the long period of modern civilization, reaching a peak after the Second World War. These expectations were shaped in the conceptual frameworks of an ever progressing development, albeit through different methodologies: the Hegel-Marxist mythology of Aufhebungand founding of the new totality of Communism; the bourgeois mythology of a linear development of welfare and democracy; the technocratic mythology of the all-encompassing power of scientific knowledge; and so on.
My generation grew up at the peak of this mythological temporalization, and it is very difficult, maybe impossible, to get rid of it, and look at reality without this kind of temporal lens. I’ll never be able to live in accordance with the new reality, no matter how evident, unmistakable, or even dazzling its social planetary trends. (After The Future, AK Books, 2011, pp18-19)' - Mark Fisher
'The American Book Review (34: 4) dedicated a special issue to metamodernism. It includes review essays by, among others, NoM editors Timotheus Vermeulen, Robin van den Akker and Alison Gibbons and fellow travellers Alan Kirby and Raoul Eshelman, alongside a very interesting introduction by our colleague and friend Christian Moraru, the issue’s editor. In “Thirteen ways of passing postmodernism”, Moraru argues that the contemporary metamodern moment should be situated between the bygone postmodern years and ‘the next big thing’ of the (un)foreseeable future.[i] Meanwhile, he writes, we have our “work cut out” for us, ”because lots of unanswered questions still swirl around metamodernism.'
'Wha† does it feel like to get los† in †ime? Listen to Tales From The Black Meadow and be introduced to the strange and wonderful world of Hammer Horror, of British Folklore, of Radiophonic Scores and things that go bump in the night. A delirious and delicious mystery…' - forestpunk