Kid Lukie

ty ty. A few additional shots of buildings on the university of Western Australia campus. Not as good as the flora pics, but I like the architecture and colouring.

Western Australia.

Not sure if first world achievement or first world problem--- but... almost finished my 3rd university degree and I'm fucking cooked.

Susumu Yokota, very underrated.

Read 12 Rules For Life. I can appreciate that he's packaging existentialism into a digestible format, and that he's obviously well-read and can tell a great story. But couldn't deal with the traditional 'ol-timey' values being driven through. Incongruent was his broad knowledge leading to a narrow perspective on living, or "the right way to live", stopping somewhat short of "old man yells at clouds." He works for some, but not for freethinkers.

Just the vibe of it.

Thought I'd share some shockingly horrendous photos taken on my old candybar phone of the Alive tour (Brisbane, Riverstage- 20 Dec 2007). At this particular show during the Encore performance a guy jumped up on stage and managed to get in behind Daft Punk on the fucking pyramid!!! Promptly pulled off by security! Legend.

Oh gosh, Daft Punk were certainly the same gateway into other labels for me. I was a super-impressionable youngster in Australia. No MTV, but we had the likes of rage and Video Hits playing on the weekend. I will always remember being highly captivated by the music and video for Around The World. It was so alien, so funky, so different to anything else being played at the time. Listening to Homework for the first time absolutely floored me. Truly a formative experience of getting into electronic music and loving unique aesthetics within that. Interstella 5555 was the first anime I saw and elevated that genre of media to another level for me. Daft Punk opened up possibilities. Plugged them heaps into the old last.fm and getting recommended the likes of Air, Justice, Cassius and Boards of Canada off the back of them. 2007's Alive Tour was my first ever concert, just turned 18 for an 18+ only show and it simply felt like the stars aligned for that one. Absolutely gutted about the news, but they really did go out on top. Their side projects were fucking brilliant too! Listened to Le Knight Club and TB's solo work for a very intense period of time. Funky as sin. As for my own contribution to this thread....

Been gettin' somewhat back into noise music this past little while. I always find I listen to it fairly religiously for a short while and then its off the radar for a few years. But always keep comin' back to it. This lil'doco I found is quite informative! Always like Hanatarash, and this guy's explorations into noise music are very quaint. The photography he uncovered from Hanatarash gigs is incredible! I was quite inspired for a short period of time by noise music. Was in a bad state at the time and noise music alleviated a lot of the pain. I gave it a crack myself some years ago. Layered digitally mangled .jpgs in Audacity for this one: https://hansblixkrieg.bandcamp.com/album/journies-into-the-ultraviolent

savage and electrifying ~ relentless is defo the best word for this one ~

y'all need some warmth

Got wind of Filmmaker off the BoC Societas X Tape. Fucken Good Selection. VLAD TAPES by Filmmaker First blood on BODY is propitiated by Filmmaker with his longest release to the date. VLAD TAPES is a four-sided impaling sound collage full of new and old explorations, all mixed on a trippy yet muddy way. This raw jams will guide the vibe's idea for the next sonic manifestos on the Body Musick discography.

The Block is the Blockatacular Block-rocking Block of Blocks currently Blocking on Aussie TV for the past Block. Heaps of Blocksheads Block-in from all over Blockstralia at Block'o'Block every Blocknight for a BLOCKIEST BLOCK-OFF THAT EVER BLOCKED.

All I really want in life is an official Red Moss release.

autechre had a pretty good run from 1991-2021 ? for real though, amber got me into them and still cherish that album. confield and untilted completely enveloped me. quaristice-oversteps are just wild.

classic.

how is it 'parhelic'?

I had a dream last night where mysterious figures were sneaking into bedrooms at night and leaving 4-track cassettes of new BoC material. It was a very telephasic experience and indeed evidence of imminent new BoC material.

btw, good luck with your thesis! plz post when done.

I find diverse is a bit of a nebulous term since it relies on your scale of reference. To be actively engaged in and willing to seek out music that might come under the IDM label, you'd have to already have a penchant for the esoteric, the alternative, the abstract, leftfield, or just plain weird. That would put you at odds with the mainstream because the very nature of IDM shirks those repetitive and predictable strains of composition and timbre that essentially define popular music. In that sense, the "IDM community" is a "diverse social space" because it automatically encapsulates those willing to explore unusual sonic territories, which can include just about any one with a slightly-more-than-fleeting interest in music. The congregation of individuals around a specific musical interest would create a less-than-diverse crowd within that scope, but the individuals themselves may have happened upon this musical interest by pure chance and come from widely diverse backgrounds, creating a more-than-diverse collective. Cohesion/Fragmentation is another matter entirely. On one hand, psychology would suggest we are attracted to like-minded individuals and we display preference toward in-group members, including those groups based on mutual interests. To that end, individuals will naturally congregate around matters relating to that interest, and unsurprisingly why a forum like WATMM thrives and is a prime example of cohesion. On the other hand, what do users here really share beyond their mutual interest on a particular forum thread? Additionally, who even replies to every thread and involves themselves in all discussions? Or looking at it from another angle, where are the lines drawn between IDM sub-genres and those individuals who subscribe to one, but not another? Fragmentation doesn't make sense without understanding Cohesion, and vice-versa. Cohesion-Fragmentation operate on a continuum where the line is drawn depending on the individual and how they engage with the community. If a person is actively engaged in this world, there might exist a "felt-sense" of community, and that person would be more likely to say its cohesive; if someone's just finding their feet in this world, they might say its fragmented. Leaping off my comment above, popular music is a distillation of those elements of originality, creativity and spontaneity, both derived from and generated by the artistic process, and which are potent enough to captivate a mass audience. The "dubstep drop" is the obvious example-- where did those heavy bass drops occur in popular music prior to dubstep, as a genre, going through the process of cultivating an audience and being marketed by independent record labels. (I would definitely like to hear counter-examples!) Certainly a large enough crowd of consumers existed at some point in time for dubstep to crossover from fringe, to niche, and finally to mainstream, fuelled by a genre-defining feature of composition and timbre. So of course popular music would adopt the genre-defining feature of dubstep and remix it with elements that have also stood the test of time as popular musical elements. What we're left with- what popular music is- is an ever-evolving melange of borrowed musical elements and concepts that, via various means, have transcended beyond the defining limits of a genre and made accessible through a largely predictable and familiar (see: safe and secure) format. This is self-sustaining as the very point of popular music is that it is popular, and so targets the widest possible consumer base and doesn't particularly have to "go deep". Let's look at a small congregation of avid listeners and/or rabid fans of an artist who does things a little differently, versus the consumptive cult of distilled human musical achievement. Totally incomparable, but only because they are extremes on a continuum. Similar to the above, where is the line drawn between underground and popular? I look toward programs like Soulseek, which still maintains a vast connective web of users with the widest range of musical interests, and where every musical flavour is catered. What can't you find on Soulseek? Difficult question to answer! You can get both the latest underground releases from your local band and the albums that have won Grammy awards. To say an online underground exists is true-- to reiterate my point above: people will always, by nature, congregate around their mutual interests and share them with each other. The degree to which that mutual interest is different or outsider is, consequently, irrelevant. In the specific context of IDM, that shared, underground musical interest becomes popular when it gains traction and mass appeal for containing a highly desired and prized musical element. I check out of popular music because I find it personally unnecessary. The distinctive musical elements of a band/artist/genre are available directly from the source, which not coincidentally is the most likely place where new innovations within that band/artist/genre are going to occur. The benefit being that I continually get something new and refreshing. I acknowledge the opposing perspective in that, because of the hidden nature of underground music, I could potentially discover something new via popular music, and that has indeed been the case. Those events have been more incidental rather proactive-- I just happened to be within earshot of Pop FM Radio, for example, rather than actively seeking out those experiences. Other than that, all I can say is that I am willing to spend my time seeking out intriguing music, like a hobby, and I recognise that for someone who is not willing to invest time into discovering strange, newly-woven sonic tapestries, popular music is there for them.

Project Cybersyn was a Chilean project from 1971--1973 (during the government of President Salvador Allende) aimed at constructing a distributed decision support system to aid in the management of the national economy. Project Cybersyn was based on Viable system model theory and a neural network approach to organizational design, and featured innovative technology for its time: it included a network of telex machines (Cybernet) in state-run enterprises that would transmit and receive information with the government in Santiago. Information from the field would be fed into statistical modeling software (Cyberstride) that would monitor production indicators (such as raw material supplies or high rates of worker absenteeism) in real time, and alert the workers in the first case, and in unnormal situations also the central government, if those parameters fell outside acceptable ranges.

Just watched Soul. Best Pixar film ever. Really enjoyable and playful take on existentialism. It has that cheesey kids Disney-esque vibe to it, but with more than enough content to satisfies Adults too! Hits all the right notes. ? Trent Reznor and Atticus Ross on the soundtrack too~