Above eight hours of textural studies and experimentation, stagnation and rumination through the medium of intuited wall 'craft'. Inspired by and created whilst engaging with the book 'Violence' by Slavoj Žižek.
(somewhat) Relevant extracts:
"But how can one wholly repudiate violence when struggle and aggression are part of life? The easy way out is a terminological distinction between the 'aggression' that effectively amounts to a 'life-force' and the violence that is a 'death-force': 'violence', here, is not aggression as such, but its excess which disturbs the normal run of things by desiring always more and more. The task becomes to get rid of this excess.
'There is always a sense of limitlessness in desire', wrote the French religious thinker Simone Weil. To begin with, individuals seek power so as not to be dominated by others. But if they are not careful, they can soon find themselves overstepping the limit beyond which they are actually seeking to dominate others. Rivalry between human beings can only be surmounted when each individual puts a limit on his or her own desires. 'Limited desires', notes Weil, 'are in harmony with the world; desires that contain the infinite are not.'
When we perceive something as an act of violence, we measure it by a presupposed standard of what the 'normal' non-violent situation is - and the highest form of violence is the imposition of this standard with reference to which some events appear as 'violent'. This is why language itself, the very medium of non-violence, of mutual recognition, involves unconditional violence. In other words, it is language itself which pushes our desire beyond proper limits, transforming it into a 'desire that contains the infinite', elevating it into an absolute striving that cannot ever be satisfied. What Lacan calls objet petit a is precisely this ethereal 'undead' object, the surplus object that causes desire in its excessive and derailing aspect. One cannot get rid of this excess: it is consubstantial with human desire as such."
"The 'wall of language' which forever separates me from the abyss of another subject is simultaneously what opens up and sustains this abyss - the very obstacle that separates me from the Beyond is what creates its mirage."
"On 11 September 2001 the Twin Towers were hit. Twelve years earlier, on 9 November 1989, the Berlin Wall fell. That date heralded the 'happy 90s', the Francis Fukuyama dream of the 'end of history' - the belief that liberal democracy had, in principle, won; that the search was over; that the advent of global, liberal world community lurked just around the corner; that the obstacles of this ultra-Hollywood happy ending were merely empirical and contingent (local pockets of resistance where the leaders did not yet grasp that their time was up). In contrast, 9/11 is the main symbol of the end of the Clintonite happy '90s. This is the era in which new walls emerge everywhere, between Israel and the West Bank, around the European Union, on the US-Mexico border. The rise of the populist New Right is just the most prominent example of the urge to raise new walls."
released August 5, 2015
James Shearman - Behringer 4 channel mixer, Boss ME50 pedal, broken headphones as mic.
Album artwork is a cropped version of a photograph by 'Signal Corps Photographer' of the 'Fires rage during the Bonus Army March':
"Shacks, put up by the Bonus Army on the Anacostia flats, Washington, D.C., burning after the battle with the military. The Capitol in the background. 1932."
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