ap live data processing performances, august 13th ,
Siggraph 2001, Los Angeles

/*Failed or deranged writing in film almost always cites a simulated
breakdown of coherent narratives eg. in Seven where the jottings are
indecipherable, reversing the paradigm where the detective is the
master-reader who sifts through dispersed narratives.*/

*Los Angeles: a mixed energy landscape*

*escaping with a sheen on their bodies, light drenching their eyes, they
looked to slip*

*through any breaches from their violently foreshortening story;*

/*they think about whiteness, about milk white fogs and Greenland ice,*/

*whilst a changeless pallor unwittingly glided towards them,*

/*absence transfiguring into some subtler form:*/

*from the trunk of their Chevvy*

/*a loaded luminescence spinning towards them, enfolding*/

*a subterraneous hum*

/*transporting and alluring, their every pore thrilled by its
untraceable evolution.*/

/*it pursues them at velocity, and they're carried before, on an
uprising momentum,*/

/*then shot obliquely,*/

*funnelled through an overspread ruggedness*

*and hovering,*

/*their entire bulk browed in the pure element of air;*/

*its wide ruffled edge moving, calm and expectant,*

*their eyes bigger and bigger*

/*and they slide like shooting stars*/

*Los Angeles - a city whose fabric is endogenously splintered by
territorial expansions and multiple waves of migration into many cities:
the historic city, the industrial city, pueblo cities, migrant cities,
informational and financial cities, the spectacular city - existing in
fragmented isolations from an unknowable, unnarratable, unmappable

*A city of shards of time, of violent compressions of the utopic,
dystopic, and heterotopic, and where this dominant experience of
fragmentation is compensated for by the unfolding of an audiovisually
massed community in a globalizing mediated urban embrace.*

*A city that embodies this rearticulation of the local and the global,
the dual processes of folkloric preservation and transnationalism (or
deterritorialization) through psycho capitalist strategies. Difference
and heterogeneity are sanctified precisely for the postmodern
constituency of a globalised and homogenising cultural market. A city in
which Siggraph 2001 was complicit in this re-ordering of time and space,
like a donors convention joining together the pulsing fluids of blood
and data, aligning the local with the global to help in the disembedding
of imagination from its enmeshment with the particular, and
re-inscribing it within the currency of techno-organic kinships and

*performing blobs*

/*I knew it couldn't be. I wanted them to writhe around me. cavort and
chase me, consume us all, then belch and fart us out as friendly
visceral emissions, exposed and ready to lap back up.*/

/*I wanted them to slither creep, squirm, about us stick to us, slowly
incorporate us through their surfaces, absorb us liquidified so that we
would float about in deep ordination, never ingested into interior

/*For us to move together as though space were acqueous, full of
flucuating bulbosities, our volumes inflecting, sometimes fusing, sticky
thick and mutable, suspending us within a gelatinous ooze in
psuedocopulation, our verticality lost as we enter a floating world*/

/*I knew it wouldn't be. I wanted them to stammer and shake, rattle and
twitich; to gulp and swallow, keel over, collapse a little, slowly spin
and take off in a lazy curvilinear trajectory, turning me inside out,
like a part in its digestion*/

*Artificial Paradises (AP) interrogate the notion of universal donors
with an intelligence that behaves as if it were singular and networked
but in its form becomes multipled and distributed. It is a system that
doesn't go in for vital gestures nor expansive expenditures of energy,
rather it refuses ventriloquy, ceasing to bear the phantasmagoric wishes
of disembodied voices (vis-a-vis the conflictual implanting of
command-control and power/knowledge systems), ceasing to be an actor
operating in a field of ennabling constraints, and disavows the use of
recursive languages reduced metonymically for the interface
(techno-organic), through which other embodied narratives are in turn
recursively (and catachresitically) mediated. They describe what they do
as "the first total system for cross-media data generation". It is a
modular and extendable system of salvaged computers (on this occasion 13
pentiums and 486s **), analogue sound modules, AV input/output modules,
record player and super8 projector modules and three protagonists -
Martin Howse (founder and programmer). Kirsten Reynolds (VJ), and Rupert
Cole (early analogue synthesizer specialist). Layered together these
heterogeneous elements process AV data fluids, transformed in real time,
rendered noisy, promiscuous and emergent. They make themselves objects
of their own processes, with a little culled from other practices thrown
in and begin to twitter, then spit, then howl...*

*They don't set out to perform context based subversions nor engage in
localised struggles, rather claiming to return computers to their true
architecture and systemics, thereby challenging the normative and
hierarchical practices of psycho capital.*

*These performances were simultaneously singular events - as arrays of
contiguous elements - not reducible to any one governing order; and
multiplicitous - where these constituent elements were put into complex
relations. Each of these three performances engaged in both subtle and
catastrophic moments and fluctuations, between their drifting and
groping from one unstable state to another, each creating the conditions
for the next, without conclusion nor climatic state nor telematic embrace.*

*Rhizomatic sonics ("non-hierarchical", "lateral", "democratic") have
taken many forms already: as avant garde hip hop, post rock, the output
of Mille Plateaux, and even earlier dub projects (eg. King Tubby's
turning a "rational order of sequences" into "implements of sound"). AP
deliberately avoid compliant based software (eg. Cubase) or protocols
like MIDI (a musical trope, at worst allowing the coordination of
different equipment as instrumewntal voices); they don't want to produce
a predictable outcome, nor do they offensively suggest the existence of
sonic worlds outside a digital domain.*

*Their ever expanding abstract fighting machine may de-future itself,
but it won't ever suffer a reterritorialization of its chaos into
mainstream freizeitknast (pleasure prison.)*

** Siggraph 2001 "the 28^th International Conference on Computer
Graphics and Interactive Techniques", Los Angeles Convention Centre,
12-17th August. Artificial Paradises live data processing performances
took place on August 13^th under the "Art Gallery: N-Space" programme of
electronic art.*

*** AP have just returned from performing as part of the art programme
of the Nordic Interactive Conference, October 31^st - November 3^rd ,
Copenhagen. For their six performances at Copenhagens experimental music
centre The Lab, they used 16 pentiums/486s, and the various modules.*