|Cybernetic culture research unit|
2. The troubled soldiers
reported cryptic symptoms:
3. After this particular examination, health warnings were immediately issued to all Huey pilots.
1. Meanwhile, up river, at the bass of the spine, ko::labs bring the noise; "Noise is both battle and racket. . .Noise is a weapon that, at times, dispenses with weapons. To take up space, to take the place, that is the whole point. . .and noise occupies space faster than weapons can."2
2. "When I read the definition, something like 'the twisting, rotary force, especially within a machine', I was like, that's what we do."3
3. Torque is any force or system of forces that causes or tends to cause rotation, a twisting effort applied to a object, body or limb that tends to make the object turn about its axis of rotation. The magnitude of a torque is equal to the magnitude of the applied force multiplied by the distance between the object's axis of rotation and the point where the force is applied. In many ways, torque is the rotational analogue to force. Just as a force applied to an object tends to change the linear rate of motion of the object, a torque applied to an object tends to change the object's rate of rotational motion.
1. The angular momentum of breakbeat culture provides a sonic simulation of hyperurban meltdown. Not an analogy but a cartographic isomorphism opening sonic production onto a war continuum which deposits localised chaosmosis on every scale. 'Jungle's basic problem'- how to sustain rhythmic asymmetry, nurture the swerve, sustain the turbulence- 'what degree of stratification is required to get distributed?' Protracting activity against hyper-control through a becoming imperceptible. Programmed catastrophe means that the 'nomadic speed' of the extensive riot is already overexposed in a cyberfascist video capture- digitalization as stratification. From the amped-down, two-step stand-up of monoplod neuro-funk (eg. Shadow Boxing) to the turbines of no u turn, dillinja, lemon d, technical itch etc. to the elongated snake style of source direct (razors edge 5), the phase space of breakbeat warps, breaks down, solidifies and dissolves as if waiting for a geological singularity to send a new seismic wave through the submarine rhythm space of pop culture. Digital turbulence. Haptic cyberspace.
2. Following the smallest angle of deviation with each step-step-step-sonic sun tzu- very, very dark- emerging as quantized hendrix, hydrolicks by dom & roland picks up with three cycled break-beats and gradually swells until the rhythm can dam no more and is flooded by the nightmare roar of juggernautic stares and laval bass stabs. storm kemistry.
3. longitude zero degrees. the drowned world. London - the vortical apex at the sonic base of the planomenal transoceanic drainage slopes. Echoing signals of Kondratieff phase- 4 implosion as K-5 USA opens to K-6 China: how low can you go? "The reason why the River and the Sea are able to be king of the hundred vallleys is that they excel in taking the lower position."4
1. Scale 1:50,000 - zoom - 1:50 - zoom - 1:1- zoom - 1: 0 - touch down 0: very, very dark, engage pattern-recognition: movement breakbeat-consistency 0023050700. full cycle. trajectory:
darkcore#destination#bass#bin#climate#tropical# cyclonic#wet#metal#topology#smooth#cable#spine# synapse#ether#tactics#swarmachinic# mission#hot#rinse#micro-delamination
2. Tackling the counter-hydraulics of the metric with the hydraulic tao of breakbeat "Highest good is like water. Because water excels in benefiting the myriad creatures without contending with them and settles where none would like to be, it comes close to the way..."5 Heavy water is liquid metal.
3. kemistry - "With stupefaction you witness those sporadic eruptions, thin, mad fountains, those jets of water, more jet than water, bursts primarily, punctiform excesses of forces, delirious spectacle of inner geyserization, signs of the prodigious increase in the potential of the neurons, of their sudden nervous discharges, signs of hurried releases, of micro-movements, of beginnings of movements, of 'budding movements' and of incessant micro-impulses..."6
1. Guerrilla hydraulics provide a submarine junglist breakdown with haptic navigation. a cybernetic steering for dark waters. a fluid pragmatics in continuous variation. the surplus value of post-social cyclonic Meltdown produces subass materialist techniques: cubasic pragmatics, sonic hydraulics, kronik hydrophonics and sampladelic metallurgy.
3. Afrofuturist- occidental implosion. drawing the skunk into cyberpunk.
1. This is L.A.- a hardstep jungle track by Lemon.D. A high velocity West Coast gansta'style intro bifurcates amid swarming news helicopters into a dark cyclone of compressed and twisted breakbeats. Distributed in the swirl are rhythmically inserted crime reports and Roy Ayers samples from "Everybody loves the Sunshine."
2. Sinofuturist- super-nova tzu electronic shaolin zinc infiltration of the new age carbon-analogue orient.
3. The state drifts south and the south drifts east in a sinofuturist storm - "the vast bed of the waters seamed and scarred into a thousand conflicting channels, burst suddenly into frenzied convulsion- heaving, boiling, hissing- gyrating in gigantic and innumerable vortices, and all whirling and plunging on to the eastward with a rapidity which water never elsewhere assumes, except in precipitous descents."7 downhillride- no u turn. "When you have come to grips and are strung together with the enemy, and you realise that you cannot advance, you 'soak in' and become one with enemy. You can win by applying a suitable technique while you are mutually entangled."8
1. Big blue beats aka drippy, aquatic 'intelligent' drum&bass lies at the fringes of the most effective jungle hydraulics. For sure, fly jump-up (check Pascal's gangstadelic swarmachines on Frontline- Cut Throat, True Playaz- Vortex and the New Frontiers E.P.) and dark-step whip up more vortical activity and hoover-bass low seas viracy in the jungle break-war against the military-entertainment copyright complex (WBO).
"Attack in an unsuspected manner, knowing his metre and modulation and the appropriate timing. Knowing the times means your ability is high, seeing right into things."9
2. The breakbeat forms a mutating fractal coastline, a real sonic cartography mapping the diagonal which cuts between the double articulation of order and chaos, rhythm surfing between the intensity irrigation of metronomic ice and the opiated cosmic nauseous pulses of free jazz.(sonic despotism and its moving shadow) Flotation tank ambience shattered. On the plane, glass shatters dissolving specular dominance into the haptic. Dark side guidance. Grooveriding.
3. Kem-isssssssstry - micro-delamination attacks the folding of rhythm into metricity. "It is difficult to move strong things by pushing directly, so you should injure the corners."10 phlattening beats.
1. The channel hacking used by Dylan on Turbulence (droppin' science.) makes the DJ and the cross fader immanent to the track. Every 12'inch has a slightly different channel mix so that the rapid cross-fade punch, kicks open sonic trapdoors, you leave your head and enter one of the other ones. Simulating changes of altitude and the corresponding perturbation of sensory perception. Grey matter crust warps with the torsion. Perception is the silver surfer skipping between 4 boards in a high roller submarine rhizodrome .
2. "For a long time turbulence was identified with disorder or noise. Today we know that this is not the case. Indeed, while turbulent motion appears as irregular or chaotic on the macroscopic scale, it is on the contrary, highly organised on the microscopic scale. The multiple space and time scales involved in turbulence correspond to the coherent behaviour of millions and millions of molecules. Viewed in this way, the transition from laminar [ie.non-turbulent or calm] flow to turbulence is a process of self-organisation."11
3. As drum'n'bass jungle's immobile motor, the breakbeat carries key traits of self-similarity irrelevant of scale. it is as if there is an elastic tension between the metric number line and a secret encryption involving prime numbers in a cyclic discontinuity weaving around, converging and diverging. Continuous variation with nomadic numbering numbers tagging the real intensity, which on the metric plane of organisation dissipates along the military dateline of history. "Continuous multitude. Vibratory, zigzagging, in continual transformation. Lines swarm."12 But never parallel. Always an angle of declination, a line of deviation which, more than a mastery of an enslaved machine, is evidence more of the productive accidents of sonic arrangement - "The whole series of things about accidents, about bugs, about the producer being someone who can nurture a bug, who can breed a bug and simultaneously most of the key musics have been accidents, they've actually been formed through errors. They're like software errors, syntax errors in the machine's programming, and they form these sounds, and the producer's taken these sounds and more or less nurtured this error, built on this mistake, and if you grab a mistake you've got a new audio lifeform."13
1. "don't think of breakbeat in terms of some kind of ancient technique which has been resuscitated. . . you see a lot of people saying breakbeat is the. . .return of the African drumming sound, but its the other way around. The breakbeat should be moved forward."14 it was virtually always there in the zeroid smoothness of the matrix. Rhizomorphic Black Atlantic.
2. On the upside motion capture is a planetary irrigational skin, the carceral continuum sidewinding through grey matter, electronic writing, CAD, GIS, thermal imaging, digital sonic strata-ware - all regurgitate perturbation feeding it back into statistically classified layers. Meanwhile in Shaolin, virtual becoming dissolves into the actual, depositing breaks into code then vinyl, remapping the body for a kinaesthetic warzone as the 21st century swells the damms of the human security system- "there is a sense in which the nervous system is being reshaped and rehalted, for a new kind of sensory condition."15 Breakbeat DNA scratched into the flesh.
3. Remote sensing malfunction. Accidental co-ordinate displacement. Unable to correct time.
1. Sidewind out of time- positive plagiarism to the sim-jungle of Shaolin.
2. 540 A.D. Bodidharma, Indian Buddhist priest visited China checking upon local monks who had begun the process of translating Sanskrit texts to Chinese for the contagion of the oceanic multitude. Refusing the Emperors belief that by his noble act he was opening his personal gate to Nirvana, 'Tamo' journeyed to the "young forest" (Shaolin) of Honan to consult with the monks. Dazzling them with his laser vision, he gained admittance. What he found was a funkless, clod of inert temple organically segmented. He was phased by their inability to perform the most basic of meditation practices, (these monks, they always dance to the words, he thought) The stylus descended down into the grooves. A rough ride. Disturbance in the ride ignites a current traversing conduction media, amplifying, vibrating molecules, shocking joints, sweeping anything in the way towards the plane. Down. Down.
Technics. Shark. Amp. Bins. Air. CNS. Hardrive. Liquid mechanosphere. Metal ocean. They drained into him like water down a plug hole. Dark Metal.
3. "We master archers say, with the upper end of the bow the archer pierces the sky, on the lower end, as though attached by a thread, hangs the earth. If the shot is loosed with a jerk there is a danger of the thread snapping. For purposeful and violent people the rift becomes final, and they are left in the awful centre between heaven and earth."
1. Re-engineering the circuit, smoothing out the movements of the square-eyed transcribers using becoming-animal electronik chi enhancement. These techniques of Shaolin break fu functioned at first as self-defence from local gangs and predatory animals. Prey speed. Surfing the diagonal between Buddhist non-violence and an the testosteronic annihilatory discharge of captured martial potential, deploying tactics of self-defence and conflict avoidance. There is no real acceleration between kung fu catatonia and lightning. The potential for continuous variation and transformation approach pure speed, chi lubricated breakbeat limb deployment towards planes of consistency- the eight steps of the snake and crane.
2. Shaolin is swarm catalyser, programming triad syndicated film production in Hong Kong, golden triangle poppy production, Kowloon kemical distillation and encrypted planetary distribution networks rinsing out global finance in San Franciscan Laundromats.
3. True playa'z. "High voltage rhythmic paroxysmal outbursts. Isolated peaks. Multiple peaks. Bifid waves. Sharp waves, strings of waves of bristling appearance in the shape of comb-teeth, saw teeth. Slow waves. Slow sinusoidal, hypersynchronous outbursts."16 In anticipation of hydraulic breakage ghosts of low budget kung fu flics swarm in on ghettoblaster/mat street assemblages remixing the body rotor style.
1.Sustaining disequilibrium. "All things entail rising and falling timing. . .From the outset you must know the applicable timing and the inapplicable timing, and from among the large and small things and the fast and slow timings find the relevant timing, first seeing the distance timing and the background timing. This is the main thing in strategy. It is especially important to know the background timing, otherwise your strategy will become uncertain. . .Many things can cause a loss of balance. One cause is danger. . . another is suprise. . .in single combat, start by making a show of being slow, then suddenly attack strongly. . .You win in battles with the timing in the Void born of the timing of cunning by knowing the enemies' timing, and thus using a timing which the enemy does not expect."17 "Asymmetry of amplitude, asymmetry of rhythm, total change of rhythm."18
2. But "[I]t is true that the martial arts continually invoke the center of gravity and the rules for its displacement. That is because these ways are not the ultimate ones. However far they go, they are still in the domain of Being and only translate absolute movements of another nature into the common space- those effectuated in the Void, not in nothingness, but in the smooth of the void where there is no longer any goal: attacks, counterattacks, and headlong plunges."19
3. "Everyone knows the most daring soldiers go no faster than the music. The noise, first. . .fury belongs. . .above all to the multitude, and the multitude rushes around, it covers space like a flood."20
1. McLuhan argued that electric circuitry was Orientalising the West attacking the contained, the distinct and the separate with the flowing and the fused. But there is no real opposition between the digital and the analogue. The flatline cut through both. Pure energy. Pure speed. Pause.
2. Perceptual neuro-kemical weaponry. Stimulants attacking organic humanoid hard-wiring: "Affects transpierce the body like arrows, they are weapons of war. The deterritorialisation velocity of affect. Even dreams...are externalised by a system of relays and plug ins, extrinsic linkages belonging to the war machine. Broken rings."21 In the oscillation between catatonic freezing and flashes and rushes: "the Japanese fighter, interminably still, who then makes a move to quick to see." When Deleuze & Guattari diagram the release of a speed vector that characterises a war machine, they are mapping traits of a poised fu assemblage "keeping still" or voyaging in place. The d-d-r-r-o-p. deep ko-ma.
3. Taking Paul Virilio's equation of all speed with fascism would lead to lumping together shaolin wu-funk, jungle hydraulics with the freikorp stomp of Euro-terminal gabba in terms of a paranoid poliocetrics of the body, its fortressing and its seiging. But the real break is between the crypto- fascist masculine steel hard body shell with its metric hammer blows(battering out a plane of organisation) and a nomad war machine of beats so rhythmic they map the metallic ocean, that massive conduction circuit that connects the iron core at the centre of the earth, slivers of mineral deposits in the continental shelves, those vast seas of di- hydrogen(rigorously a metal) oxide, into the ferric capillaries of blood music. The plane of consistency.
1. The breakbeat, not an interior militarized metric, is kemical attack on the organism. "It is not surprising that the plateau of continuous immanence that is drum&bass conjugates with amortal kombat in its dismantling of the organism's strata. Big up your chest, wind up your waist. Limb by limb, the WBO is mashed up; the European corpoReality principle disorganised and detrimentalised."22 Mercury rinse.
2. For some, it is not a matter of switching from macro violence to micro violence but molecularizing further still to the art of fighting without fighting and further still, micro-engineering out of war: "Photeks interest in the Orient is different, however. The Pacific Rim allusions in `Ni Ten Ichi Ryu', `The Water Margin' and `Seven Samurai' speak more of the elaborate subtlety of Japanese tea ceremonies, the miniaturised intricacy of Bonsai, the elegant simplicity of Shodo (the art of ink writing with sparse brush strokes)."23 Yielding without resistance, actionless activity, voyaging in place, continuous imminence. Vortical poise.
3. Afrofuturist- Jungle singularly marks the convergence between black rhythmic culture and mutant technology. Viroteknical infections of mainstream advertising. accelerating attacks on MTV programming grids with incidental hives of metallic inssectssss. intensssive sssonic cartographics for a neo-Medieval scenario, spat out the rear end of a disciplinary state megamachine complex, a process initiated by what old dead metalhead, Foucault termed the "Great confinement."
1. "Like gangsta rap, Jungle reflects a Medieval paranoiascape of robber-barons, pirate corporations, conspiracies and covert operations,"24 and influenced by "dystopian sci-fi movies that contain subliminally anti-capitalist messages," with their "images of carceral inner cities(Escape from New York, Running Man), high-tech police death squads(Blade Runner), sentient buildings(Die Hard), urban bantustans(They Live!), Vietnam-like street wars (Colors). . .[and which] only extrapolate from actually existing trends".25
2. Hyper-urban neo-medievalism is high rise meltdown.
3. "A series of minorities rejecting integration, form clans, and each clan picks a neighbourhood that becomes its own center, often inaccessible. . .The clan spirit dominates also the well-to-do classes who, pursuing the myth of nature, withdraw from the city to the garden suburbs with their own shopping malls, bringing other types of micro societies into existence."26
1. Turbulence in the Burgess model of the megalopian military-industrial-entertainment complex.
2. The Vietnamization of territory, perpetual war in the urban jungle, gang collision warding off the state. Endo-colonisation along shifting internal frontiers. The destruction of the modern city is totally consistent with the military's need to maintain a clear field of operations, making over the earth in a form which denies cover to any resistance. Pure war.
3. Jungle processes a future "complete with fortress cities and bandit clans. . .the pervasive sense of slippin' into a new Dark Age, of an insidious breakdown of the social contract. . .a world that is falling apart. . .There is a cold rage seething in Jungle, but it's expressed within the terms of an anti-capitalist yet anti-socialist politics. . .the art of being a roller, a steppa. . .(to) handle the ruff ride."27 Twisted anger. La haine cyberpositivized in special techniques. Ko::style. A.W.O.L.
1. The smouldering slow motion riot of the megalopian jungle attacks code from all directions. The breakbeat infects the mono-plod metricity of white technosonics, while graffiti engages what Baudrillard terms a riot of signs, eternally tracked down onto new smooth spaces, asignifying codes with a secret functionality injecting compressed doses of intensity into the striations of the spectacular state, only to be countered by self-cleaning metro shells. Makin the walls move. Bass frequency. Sonic graffitti - back in amazone white man face tries to argue(militarized metric-dialectics) with bass. blissful noise of language drowning in dark metal. voices "sink away in a kind of muffled roar which one hears with only half an ear at first, and in the end one finds it no more disturbing than the distant roar of the sea, which, once one has grown accustomed to it, is no longer perceived."28
2. "Dark is where . . .predatory energies meet digital technique, where id gets scientific."29 You don't need enlightenment in haptic space.
3. "Drying up, death, intrusion have rhythm. It is well known that rhythm is not meter or cadence, even irregular meter or cadence; there is nothing less rhythmic than the military march."30 There is nothing more rhythmic than a breakbeat swarm.
1. Interminal epistemological wrangling about postmodernity seems merely a distraction when these key transitions are best tracked by a su-b-ass materialism.
2. Machinic night-vision reports from the dark side of the Occident, mapping the interlock of desiring machines, social megamachines and war machines as technology converges with biology in computerised control societies.
3. Planetary capital flow redistributes bringing novel mutations along the axes of East-West and North-South. "The more the world-wide axiomatic installs high industry and the highly industrialised agriculture at the periphery, provisionally reserving for the center so-called post-industrial activities (automation, electronics, information technologies, the conquest of space, overarmourment etc.), the more it installs peripheral zones of underdevelopment inside the center, internal Third Worlds, internal Souths.'31
1. Unequal exchange- the immanence of axiomatics escalates perturbation from ripples to tidal waves of decoding and deterritorialization with the flick of the switch- capitalism implodes as perfected revolutionary overdrive.
2. Zero sum war games deployed on the socio-scape "Crime 'war', drug 'war,' 'battle' for the family. . .wherever there is a perceived danger, there is deterrence; whenever there is deterrence, there are immanent boundaries; and wherever there are immanent boundaries, there is organised violence. For having boundaries that are actualised by being crossed is a very precarious way to run a world"32
3. Gulf operations of the wu world order.
1. Barbed circuit-wire jungle vines in a multi-scalar, headless, cybernetic planetary world system.
2. So-cal becoming-minoritarian. 1992 prime time. judicial rubber stamping of video captured micro-fascism ignites urban turbulence. The anti-black counter-insurgency of "the dream city of free circulation" programmed to irrigate afro-futurist hydraulics. discard population or resort to modulation; integrate or exterminate.
3. Ultra-real video capture dissolves nostalgia. LA Law edits Kings beatings to generate bizarre retrospective lubrications for control machinery. Digital cut ups of the video, freeze framing, stretching and looping the baton swings in order to saturate Kings black body in signs of danger, fight and flight.
1. That episode is saturated with the solid state code of homey hunt counter hydraulics. the fear of untamed speed. Rhizomaniac pattern recogniton confuses King's vector through Lake View Terrace with the nomadic gangbangers of South Central, the focus of LAPD's deployment of low intensity warfare on the multi-ethnic field. The paranoia of population lamination processed the temporary truce between Crips and Bloods as stage 1 of a Farrakhan orchestrated take over conspiracy demanding the management of "terrorist" populations, through actual or virtual imprisonment and martial law localised to the 'hood.
2. From discipline to control.
3. From welfare to warfare.
1. "The social and political fluidity of late capitalism has not been accomplished by a withering away of state violence. On the contrary, state violence has also been fluidified and intensified. The rapid deployment force is the model of late capitalist state violence, on all fronts: the ability to descend 'out of nowhere,' anywhere, at a moment's notice- the virtualization of state violence, its becoming immanent to every coordinate of the social field, as unbounded space of fear."33
2. From surveillance to monitor.
3. Riot coverage shot from helicopters doubles as news footage indicating a shift from the ubiquitous vision of the sovereign to the stereoscopic partial coverage of monitor. Zoooooom lense technology advances since Watts '65 engaging a regurgitative potential. The eye converges with the arm. Visibility is death. Lasered futures. Latitudinal Zero. Absolute speed.
1. Lamination is the capture of decoded flows using LAPD rhizomaniac vortices sent through South Central searching and sucking up all amateur video footage of the riots. the fear of an unmeasurable speed. Naked LAPD, slooshing down media meme pool flumes entangled with the Kings' other body, Rodney King. In South Central, the memes go swimming in a flashpoint to urban turbulence.
2. "the wind of violence, unleashed, mastered, lost, retaken, delirious, and disciplined. It subsides and swells like action, but it is like action, disorder and danger, to be controlled. . .from bodies to the collective, in a lightning short-circuit, without language, through the groundswell of violence and pandemonium."34
3. Brownian Canetti swarms in flight from the irrigation of the City of Quartz, swept up into the hyper-urban fear ecology. Post-social cyclonics tuning into the info-numeric weather system of fyber-space.
1. Postmodern bread riot and multi-ethnic explosion and prime-time Nike redistribution.
2. The digital capture of the LAPD chemical clock, frozen with their pants down revealing erect baby lobsters. LAPD, zone of indistinction rapidly oscillating between thin blue line, the threshold of capital security and bloody red stains on their paranoid armoury. Naked LAPD, apparatus of capture, cybernetic homeostatic hoover with teeth, emptying its migrant dust into the deep end of an increasingly pervasive carceral continuum, or in Mexico. Intelligent hoovers who know the way to San Jose.
3. Code 187
1. fuzzy dread "when I was here I wanted to be there. . . and when I was there, all I could think of was getting back into the jungle."35
2. sidewinda vortext
3. "bringing writing and putting it onto the second deck and just accelerating it. . "36
2. No u turn.
3. turbulence is a ko::motion.