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Schizo-Culture : The Event, The Book 2-vol. set
Never-before-published lectures, Q&As, and squabbles from the conference that introduced French theory into America, with a facsimile of the journal issue that emerged from it. I think "schizo-culture" here is being used rather in a special sense.Not referring to clinical schizophrenia, but to the fact that the culture is divided up into all sorts of classes and groups, etc., and that some of the old lines are breaking down. And that this is a healthy sign. -William Burroughs, from Schizo-CultureThe legendary 1975 "Schizo-Culture" conference, conceived by the early Semiotext(e) collective, began as an attempt to introduce the then-unknown radical philosophies of post-'68 France to the American avant-garde.The event featured a series of seminal papers, from Deleuze's first presentation of the concept of the "rhizome" to Foucault's introduction of his History of Sexuality project.The conference was equally important on a political level, and brought together a diverse group of activists, thinkers, patients, and ex-cons in order to address the challenge of penal and psychiatric institutions.The combination proved to be explosive, but amid the fighting and confusion "Schizo-Culture" revealed deep ruptures in left politics, French thought, and American culture. The "Schizo-Culture" issue of the Semiotext(e) journal came three years later.Designed by a group of artists and filmmakers including Kathryn Bigelow and Denise Green, it documented the chaotic creativity of an emerging downtown New York scene, and offered interviews with artists, theorists, writers, and No Wave and pre-punk musicians together with new texts from Deleuze, Foucault, R.D. Laing, and other conference participants. This slip-cased edition includes The Book: 1978, a facsimile reproduction of the original Schizo-Culture publication; and The Event: 1975, a previously unpublished and comprehensive record of the conference that set it all off.It assembles many previously unpublished texts, including a detailed selection of interviews reconstructing the events, and features Felix Guattari, William Burroughs, Kathy Acker, Michel Foucault, Sylvere Lotringer, Guy Hocquenghem, Gilles Deleuze, John Rajchman, Robert Wilson, Joel Kovel, Jack Smith, Jean-Francois Lyotard, Ti-Grace Atkinson, Francois Peraldi, and John Cage.
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Culture
Before diving into CRIPPLES' latest album, "Culturein," I couldn't help but wonder if this band could live up to their name. Would their music leave me feeling like a musical cripple, unable to move or think? Fortunately, that fear was quickly dispelled as soon as the first track blasted through my speakers. The album kicks off with a bang, with a blend of punk rock energy and quirky lyrics that immediately grab your attention. CRIPPLES effortlessly mix elements of indie rock, post-punk, and even a hint of pop to create a sound that is uniquely their own. Tracks like "London Calling" and "Tea and Crumpets" showcase the band's ability to write catchy hooks and infectious melodies that will have you tapping your toes and humming along in no time. The lyrics are witty and playful, reflecting the band's British roots with a healthy dose of humour and sarcasm. Despite the lighter moments, "Culturein" also delves into more introspective and emotional territory, with tracks like "Grey Skies" and "Lost in Translation" offering a more somber and reflective tone. CRIPPLES show a depth and maturity in their songwriting that is unexpected but welcome. Overall, "Culturein" is a delightful and refreshing listen that showcases CRIPPLES' talent and versatility. It's a must-listen for fans of quirky indie rock with a British twist. So grab a cuppa, sit back, and let CRIPPLES take you on a musical journey that you won't soon forget.
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Vulture Culture
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Culture Griot
AKA MOON / SISSOKO / BLACK MACHINE's album "Culture Griot" is a vibrant melting pot of musical influences that will transport you to a world where genres collide and musical boundaries are non-existent. From the infectious rhythms of African kora player Ballaké Sissoko to the avant-garde jazz stylings of AKA MOON, this album is a sonic rollercoaster of epic proportions. The opening track, "Mamadou," sets the tone for the album with its hypnotic groove and intricate instrumentation. Sissoko's mastery of the kora shines through, weaving a tapestry of sound that is both mesmerizing and uplifting. As the album progresses, tracks like "Kabaria" and "Djeguen" showcase the dynamic interplay between the musicians, with each member bringing their own unique flavour to the mix. But it's not just about the music on "Culture Griot" – the album's production is top-notch, with every note and rhythm crystal clear and expertly mixed. Each track is a journey in itself, taking the listener on a sonic adventure that is both exhilarating and thought-provoking. In conclusion, AKA MOON / SISSOKO / BLACK MACHINE's "Culture Griot" is a triumph of collaboration and creativity. It's a genre-bending masterpiece that defies categorization and demands repeat listens. So grab your headphones, sit back, and let the music take you on a journey you won't soon forget.
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War Culture
Prepare to have your mind blown and your ears tickled with the latest release from War Culture, "PERFECT WORLD." This album is a rollercoaster of emotions, taking you on a journey through love, heartbreak, and everything in between. From the moment you press play, you are greeted with infectious melodies and catchy hooks that will have you bopping your head and tapping your feet. The lyrics are deep and thought-provoking, exploring themes of identity, society, and the human experience. War Culture's sound is a unique blend of indie rock with a touch of punk and a sprinkle of pop. The instrumentation is tight and the production is top-notch, creating a sonic landscape that is both powerful and enchanting. Standout tracks include the anthemic "Revolution" which will have you raising your fists in the air and screaming along with the chorus, and the haunting "Ghost Town" which will send shivers down your spine. Overall, "PERFECT WORLD" is a triumph for War Culture, showcasing their evolution as musicians and songwriters. This album is a must-listen for any music lover looking for something fresh and exciting. So grab a cup of tea, put on your headphones, and immerse yourself in the magic of War Culture. You won't be disappointed.
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Unpopular Culture
Money is the key to happiness. Work hard, play hard. Look out for number one. Popular culture is full of phrases like these, telling us the best way to live, the right things to buy, the right body shape to have, the right people to hang out with.These messages are everywhere we look, 24 hours a day. But what if there was another way to live?What if we chose to live differently: to stand against injustice, to live life for more than just ourselves, to dare to be unpopular?Guvna B is rebelling against the status quo, and he’s calling you to join him. It’s time to flip the script, to demonstrate another way to live, to find freedom in going against the grain. It’s time for unpopular culture to take the stage.
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Unhuman Culture
It is widely acknowledged that the unhuman plays a significant role in the definition of humanity in contemporary thought.It appears in the thematization of "the Other" in philosophical, psychoanalytic, anthropological, and postcolonial studies, and shows up in the "antihumanism" associated with figures such as Heidegger, Foucault, and Derrida.One might trace its genealogy, as Freud did, to the Copernican, Darwinian, and psychoanalytic revolutions that displaced humanity from the center of the universe. Or as Karl Marx and others suggested, one might lose human identity in the face of economic, technological, political, and ideological forces and structures. With dazzling breadth, wit, and intelligence, Unhuman Culture ranges over literature, art, and theory, ancient to postmodern, to explore the ways in which contemporary culture defines humanity in terms of all that it is not.Daniel Cottom is equally at home reading medieval saints' lives and the fiction of Angela Carter, plumbing the implications of Napoleon's self-coronation and the attacks of 9/11, considering the paintings of Pieter Bruegel and the plastic-surgery-as-performance of the body artist Orlan. For Cottom, the unhuman does not necessarily signify the inhuman, in the sense of conspicuous or extraordinary cruelty.It embraces, too, the superhuman, the supernatural, the demonic, and the subhuman; the supposedly disjunctive animal, vegetable, and mineral kingdoms; the realms of artifice, technology, and fantasy.It plays a role in theoretical discussions of the sublime, personal memoirs of the Holocaust, aesthetic reflections on technology, economic discourses on globalization, and popular accounts of terrorism.Whereas it once may have seemed that the concept of culture always, by definition, pertained to humanity, it now may seem impossible to avoid the realization that we must look at things differently.It is not only art, in the narrow sense of the word, that we must recognize as unhuman.For better or worse, ours is now an unhuman culture.
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Culture
One of our most brilliant minds offers a sweeping intellectual history that argues for the reclamation of culture’s value Culture is a defining aspect of what it means to be human.Defining culture and pinpointing its role in our lives is not, however, so straightforward.Terry Eagleton, one of our foremost literary and cultural critics, is uniquely poised to take on the challenge.In this keenly analytical and acerbically funny book, he explores how culture and our conceptualizations of it have evolved over the last two centuries—from rarified sphere to humble practices, and from a bulwark against industrialism’s encroaches to present-day capitalism’s most profitable export.Ranging over art and literature as well as philosophy and anthropology, and major but somewhat "unfashionable" thinkers like Johann Gottfried Herder and Edmund Burke as well as T.S. Eliot, Matthew Arnold, Raymond Williams, and Oscar Wilde, Eagleton provides a cogent overview of culture set firmly in its historical and theoretical contexts, illuminating its collusion with colonialism, nationalism, the decline of religion, and the rise of and rule over the "uncultured" masses.Eagleton also examines culture today, lambasting the commodification and co-option of a force that, properly understood, is a vital means for us to cultivate and enrich our social lives, and can even provide the impetus to transform civil society.
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