'In this essay, I hope to show how faux-vintage photography, while seemingly banal, helps illustrate larger trends about social media in general. The faux-vintage photo, while getting a lot of attention in this essay, is merely an illustrative example of a larger trend whereby social media increasingly force us to view our present as always a potential documented past. But we have a ways to go before I can elaborate on that point. Some technological background is in order.' Nathan Jurgenson
'The ERC are a self-styled collective of "artists, sound designers, experimental pop performers, writers [and] poets", led primarily by Sheffield musicians Adrian Flanagan and Dean Honer (formerly of The All Seeing I). They have conjured up a beguiling brew of elektronische, keyboard led psych, synth pop and analogue ambient to act as the musical accompaniment to a prose poem. The narration – mainly carried out by TV actor Maxine Peake – is based around a (part fictional) account of a psychogeographical trip taken by a priest and a nun from Salford to Pendle to learn more about the town's most notorious daughters.' - John Doran / The Quietus
'‘Ghosts Of Bush’ was created entirely using the natural acoustic sounds of Bush House, the iconic home for the past seven decades of the BBC World Service which will shortly be closing its doors for the last time. All of the sounds were captured in the small hours of the morning in empty offices, corridors, stairwells and other hidden corners by a Studio Manager working overnight. These recordings were then dubbed onto quarter-inch tape in the basement studio deep in the bowels of the South-East wing using two of the surviving reel-to-reel machines.'
'The legendary author (Neuromancer; Pattern Recognition) discusses his childhood, his craft and his hope for a future he has never truly predicted, even within the pages of his recent collection of articles and essays, Distrust That Particular Flavor.'
'A quick refresher: atemporality most simply refers to the idea that our experience of time is not necessarily as linear as we like to present it; that we don’t just move in a straight line from A to B in time but that we often experience aspects of the past, the present, and the future simultaneously, simply by virtue of our nature as remembering, imagining creatures — as I wrote in my last piece on this topic, we remember the future, imagine the present, and experience the past. Moreover, this phenomenon is intensified by technology and especially by technologies of documentation and sharing. Abandoned physical space, because of the way it encourages us to imagine our own ruined futures at the same time as we imagine an unruined past, is uniquely atemporal.'
'This [Flickr] group is for images you make where some part of a modern day scene is overlapped by an old photograph. For example, you hold up an old photo so that you can see its place in the modern context.'
'In this speech about the studio as composition tool, Eno directs our attention at a shift in our conception of music in relation to recording, which I believe is a perfect metaphor for what I view as the concept of "atemporality". (A guy responsible for The Long Now Foundation should have some idea, right?)'
'created by american brendan chilcutt, the 'museum of endangered sounds' is an online archive of the archaic noises of technology: the connecting of 56k modems, loading of VCRs, and operators of payphones. additional clips include a skipping CD and the gameplay music of 'mind maze' (the quiz game built into early versions of microsoft encarta).'
'It is easy to see that we have "all" become poets and scribes, but we share with institutional media the ability to "time-travel", as Wanenchak puts it. That is, in our ability to atemporalise what we insistently refer to as the present.' Chris Baraniuk
'I'm not entirely versed in the philosophy or musical genre of Hauntology but it's a word that's been thrown at me by musicologists over the past few weeks, but I'll take a guess... I think all music haunts itself and has the ghost of something else within the heart of it, it's unavoidable, memory does that to you... I think until you're free of memory anything that triggers anything in your brain is a haunting of sorts and that applies as much to people who make Pop music or if you choose to smack banjo strings with a bull's ball bag through a space echo [laughs], even though neither are ground breakingly original they are both probably informed by something you remember as being a great moment or magical but at the same time convincing your self it's an original idea [laughs].' - Adrian Flanagan
'Most of my work is devoted to the period of World War II. The most powerful impression on me personally produces a series of photos about the siege of Leningrad, this is my hometown. In addition, here you will find the defense of Moscow, the liberation of Prague and Vienna, the storming of Berlin, some pages from the life of Paris. D-day collages will be ready soon.
Some pages of my journal will bring you to the streets of the capital of the Russian Empire, St.Petersburg.
Wherever I go, I'm trying to penetrate the layers of time. It does not always do well, but I try.'
'A derivative object that retains ornamental design cues to a structure that was necessary in the original, even when not functionally necessary.
'In 1964, a computer - the IBM 1401 Data Processing System - arrived in Iceland, one of the very first computers to be imported into the country. The 1401 has been called the "Model T" of the computer industry - the first affordable, mass produced digital business computer . The chief maintenance engineer for this machine was Jóhann Gunnarsson, my father. A keen musician, he learned of an obscure method of making music on this computer - a purpose for which this business machine was not at all designed. The method was simple. The computer's memory emitted strong electromagnetic waves and by programming the memory in a certain way and by placing a radio receiver next to it, melodies could be coaxed out - captured by the receiver as a delicate, melancholy sine-wave tone.
When the IBM 1401 was taken out of service in 1971, it wasn't simply thrown away like an old refrigerator, but was given a little farewell ceremony, almost a funeral, when its melodies were played for one last time. This "performance" was documented on tape along with recordings of the sound of the machine in operation.
When my father told me about this in the year 2001, I felt that, besides being a nice, touching story, it reflected many things that I was interested in. Man-machine interaction, old, discarded technology, the nostalgia for old computers, human and artificial intelligence, technological progress and human evolution, the "spirit" and the machine. I started to write music using those themes, basing it on those 30 year old recordings of the IBM 1401 computer.' (Jóhann Jóhannsson)
'Demdike Stare's music is concerned with opposing forces: decay and resurrection, loss and discovery, past and future, beauty and ugliness. It's almost inevitable, given that it's informed by the duo's previous work in two ostensibly opposite musical fields. Miles Whittaker has spent years making grainy and often abrasive techno as MLZ and one half of Pendle Coven, and more recently has been responsible for a series of hybrid dancefloor tracks that unite dubstep's sprawling sense of the urbane with dub-techno's rickety intensity; Sean Canty works for the Finders Keepers label, unearthing ancient and lost recordings and giving them a new lease of life. So while one half of the duo appears defiantly futurist, tapping into a lineage that began with Detroit techno's obsession with dystopian future worlds, the other's work is concerned with tunneling backwards into the past. Their records teem with the sounds of that apparent contraction, but reconcile its two halves into a form that's strikingly coherent.'