Category Archives: vulnerability

DIY synthesizer inspirations: Peter Blasser and Chris Beckstrom

I continue to learn about digital noise-making.  I’ve been soldering and bread-boarding synthesizers and noise-boxes for the last year.  Along the way I’ve found a few cool motivations and inspirations.

1. I found Peter Blasser and his musical wizardry through an essay he wrote about making electronic instruments for a small child for econtact.   At first I thought he was mocking the reader, and then I realized that the essay was deeply creative, fluid and inspiring.  I spent as much time exploring the links as reading the text.  This led me to Peter’s astounding limited edition home-made instruments: Ciat.lonbarde.net

Here is Blasser with a workshop about his Shnth I found enjoyable.

Blasser offers some really interesting DIY projects at his website: Peter B.  I’m collecting the parts to make some paper circuits.  I find his approach, openness and creative inspirational work to be sublime.

2.  Since I’ve been making my own instruments I often run into disappointment.  I finish something and plug in a battery and it doesn’t work.  Finding motivation to keep creating when projects flop takes a little intellectual inspiration.  I often turn to look at the pictures and read the notes by Chris Beckstrom.  As he puts it:

My admittedly lofty goal was to build a modular synthesizer, from scratch, using basic components (no kits), with zero electronics experience. Turns out, it’s possible! I’m sharing circuits, designs, pictures, and code to help other folks realize their dream of building a modular synthesizer for themselves.

Source: DIY Modular Synthesizer | Chris Beckstrom

I really like that uses bolts as cheap connections instead of the costly cables for most systems.  I appreciate that he lists that some of his modules aren’t working at the moment.  At points where I struggled to move forward it is really gratifying to see a home-made system that seems accessible.  In fact seeing creative people who aren’t deterred by lack of money or parts is helpful as I put together my machines.

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Filed under art, do-it-yourself, learning, music, synthesizers, technology, vulnerability

Kendrick Lamar: God is gangsta

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Filed under art, hip hop, music, representation, vulnerability

Defection from white supremacy

What does it look like when white people defect from the traditions of white supremacy?  It probably looks (and sounds) like South Carolina Representative Jenny Horne talking about removing the confederate flag from the South Carolina state house.

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Filed under communication, human rights, kindness, memorial, race, representation, resistance, vulnerability

Make this the year YOU discover a new destination!

Excellent visual argument about Palestine.  Compelling visuals, crisp juxtaposition and significant argument about the importance of graffiti.

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Filed under capitalism, colonialism, critique, do-it-yourself, graffiti, human rights, juxtaposition, media, propaganda, protest, representation, resistance, vulnerability

No Malice & Pusha T on CNN

Several casual observations:

– Bill Weir, CNN reporter seems manipulative, disrespectful and really entitled.

– Both spend some time trying to not incriminate themselves.  It is Pusha who makes the most blatantly inconsistent statement when he refuses acknowledge drug profits in part 2.  “No, I’m a really good rapper.”

Probably worth juxtaposing with “King Push” first track from his most recent album:

– I have a little more clarity about the difficulties of No Malice.  I think he makes some of the most explicit justifications for why he refuses to perform violent drug rap music any more.  I appreciate that he gives up obvious financial gain to be real to his family and his beliefs.

– Pusha T’s segments are basically Pusha T advertisements.   The exchange where he tells Weir how much publicity he’ll get from being on CNN is awesome.  Pusha is phenomenally media savvy and makes it clear that he wouldn’t be on CNN if it didn’t benefit him.

– No Malice’s argument about white consumption of violent black-performed drug rap is pretty compelling.

– When asked by Weir why he doesn’t take the money to perform Clipse songs, No Malice gives the best exchange of the series:

“Brother, that money, that money at one time, was out for my life.  They can’t invent a dollar amount to get me out there to tell . . . look at what’s at stake? I can’t tell anybody about selling drugs any more, I can’t even make it look cool anymore.  There are people that are dying, look at what is going on in Chicago.   And I like I said earlier, your race can enjoy it!  And laugh and joke and enjoy it . . . and then get back to business.  I have a message and I have to share it.  Then I have to let you do what you want with it.  You know, you do what you want with it.  But, I’ve got enough blood on my hands.  Enough.”

– No Malice, CNN.

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Filed under capitalism, communication, cultural appropriation, drugs, hip hop, juxtaposition, media, music, race, representation, vulnerability

Harm reduction, EDM & ‘Molly’

Longreads suggested the tell-all essay on so-called molly and Electronic Dance Music festivals written by Shane Morris.  It is a good read with snappy prose and a strong argument that the EDM festivals are locations where lots of people seek drugs from one-time drug dealers who may sell them almost anything.

But I’m more taken with his follow up essay where he not only answers many of the criticisms and also suggests a series of solutions.

Much of what he suggests is harm reduction – trying to make risky behavior (of almost any stripe) less likely to result in damage.  But it is also a sincere plea for bystander accountability and a change in the culture of drug-users and those promoters who make money on festivals.

I’m only saying that it’s time the EDM community starts acting like the family it espouses itself to be. No more secrets. No more “turning around and pretending you didn’t see that happen.” No more fearing what might happen if you ask for help. No more pretending people aren’t getting hooked on Molly. If everyone in the EDM community collectively decides to help themselves, rather than bending to legislation, we can fix this. If we advocate a culture of safety, health, and honesty, we can correct the course of this ship before it maroons itself on the rocks.

Part I. We need a return of safe, “cool down” areas to EDM events. If we all acknowledge that people are going to do drugs, and it’s just something that happens, then we should also be able to acknowledge that every person deserves to be safe, healthy, and well. If you’re not feeling OK, there needs to be a place you can go and sit down, chill out, drink water, maybe even get a bag of ice and put it on your head.

via Finding Molly: Reconstructing Dreamland | Bro Jackson.

Morris also suggests people “call out the idiots promoting overconsumption,” and for transparency (including drug testing kits for prospective users).   He also commits to making his own music events more safe and offers up “safe word” as the catchphrase for a campaign of communication:

Here is his explanation:

In BDSM circles, using a safeword means things have gotten too much for you to handle, and you need to stop, without judgement. In that regard, I feel its purpose is well served here as well. If you’re at an event, and things have spun out of control for you, a friend, or perhaps a stranger you’re just looking out for–you should be able to remove yourself from the situation and know your safety is the primary concern, without fear of repercussions or judgement.

via Finding Molly: Reconstructing Dreamland | Bro Jackson.

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Filed under communication, dance, do-it-yourself, drugs, health, music, punishment, vulnerability

Juxtaposition: Fiona Apple and Dave Chappelle walk off the stage

Artifact One: Fiona Apple at a Tokyo fashion event.

Apple grew frustrated with the ongoing chatter in the venue, a hall at Tokyo Station Hotel, where the exhibition makes its home. Partway through her short set, she climbed on top of her grand piano and asked the audience to be quiet so that she could perform. She then challenged everyone to be silent for the duration of a tone she created by striking a small metal bell. The performer grew even more angry when the noise in the venue continued.

Apple instructed the audience to “shut the f–k up” and uttered other expletives, both audibly and under her breath, calling the event’s attendees “rude.” She continued with her set before shouting, “Predictable! Predictable fashion, what the f–k?” as she stormed off the stage. The show was punctuated with other bizarre moments, such as when she hit her head with her microphone, did a back bend over her piano bench and stared intensely at her guitarist as if in a love-struck trance.

via Louis Vuitton Toasts ‘Timeless Muses’ in Tokyo – Parties – Eye – WWD.com.

Artifact 2: Dave Chappelle walking off the stage at a Connecticut comedy club.

Chappelle wasn’t having a meltdown. This was a Black artist shrugging the weight of White consumption, deciding when enough was enough. This isn’t the first time Chappelle has done so and it isn’t the first time his behavior has been characterized as a meltdown.

There is a long history of asking African-Americans to endure racism silently; it’s characterized as grace, as strength. Chappelle’s Connecticut audience, made up of largely young White males, demanded a shuck and jive. Men who seemed to have missed the fine satire of the Chappelle show demanded he do characters who, out of the context of the show look more like more racist tropes, than mockery of America’s belief in them.

When he expressed shock at the fact that he’d sat there and been yelled at for so long, people yelled that they’d paid him. They felt paying for a show meant they could verbally harass him, direct him in any tone of voice, as though they’d bought him.

via Dave Chappelle Didn’t Melt Down – Entertainment & Culture – EBONY.

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