Cybernetic culture research unit
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swarm 1
1. Nick LandMeltdown
2. Kodwo EshunMotion Capture
3. R.Mackay/M.FisherPomophobia
4. Rohit LekhiFutureloop/ Black Bedlam
5. CcruSwarmachines
swarm3
3. Steve Goodman
Darkcore
Ko::motion is turbulence
swarm 2
1. Steve MetcalfKilling Time/Strife
Kolony/NeoFuturism
2. Angus CarlyleAmortal Kombat/No UFOs
3. Rob Heath & Christina PaourosDestination
3000 Degrees
4. David ColePostCybernetic Judicial War
5. Iain Hamilton GrantBurning
AutoPoiOedipus
swarm 3
1. S.Livingston/L.Parisi/
A.GreenspanAmphibious Maidens
2. Kodwo EshunAbducted by Audio (Live)
3. Steve GoodmanDarkcore
4. Tom EppsThe Body of Foucault
5. SwitchFlee Control
digital hyperstition
1. 1965 KO TEAMS drift up the Mekong setting up two
neuropsychiatric treatment outpatient facilities. Each team
consists of 3 psychiatrists, one neurologist, one clinical
psychologist, two social workers and 12 enlisted mental
hygiene personnel. Each team is equipped with full
evacuation authority. Some kind of pyschogeographical
torsion was warping esprit de corps.
1. Ccru Barker Speaks
2. Melanie NewtonY2Panik
3. Steve Goodman HyperC: Breaking the
Net
4. Ron Eglash Recursive Numeric Sequences
in Africa
5. Ron Eglash Africa in the Origins of the
Binary Code
6. Ccru Tales from the Cthulhu Club:
The Vault of Murmurs,
Leaks from the Miskatonic BunkerHotel,
The Templeton Episode
7. Ccru Pandemonium
8. Ccru Glossary
1. 1965 KO TEAMS drift up the Mekong setting up two
neuropsychiatric treatment outpatient facilities. Each team
consists of 3 psychiatrists, one neurologist, one clinical
psychologist, two social workers and 12 enlisted mental
hygiene personnel. Each team is equipped with full
evacuation authority. Some kind of pyschogeographical
torsion was warping esprit de corps.
2. The troubled soldiers reported cryptic symptoms:
"meanwhile space and space of me. . .seethingly that itches me. . .continually we writhe and blister"
"ocelli. . .infinite pullulation of ocelli. . .I give myself up to the ocelli. . .to the infinitesimal tearings, to the spiraling.
. .I fold to the thousand folds that fold and unfold me. . .traitors, they giddy me unravel me. . ." and perhaps most
bizarrely "in a high space beneath my open forehead. . .suddenly. . .I see. . .rising in tiers. . .rising in tiers. . .in
tiers to the infinite. . .at angles. . .at angles. . .at angles. . .enormous, gigantic flamboyant. . .gothic monuments. .
.streaming, exasperated, possessed. . .acceleratingly. . .with gothic leaps and bounds. . .with gothic chromatics. .
.with gothic ballistics. . .jetgothic."1
3. After this particular examination, health warnings were immediately issued to all Huey pilots.
1. Meanwhile, up river, at the bass of the spine, ko::labs bring the noise; "Noise is both battle and racket. . .Noise
is a weapon that, at times, dispenses with weapons. To take up space, to take the place, that is the whole point. .
.and noise occupies space faster than weapons can."2
2. "When I read the definition, something like 'the twisting, rotary force, especially within a machine', I was like,
that's what we do."3
3. Torque is any force or system of forces that causes or tends to cause rotation, a twisting effort applied to a
object, body or limb that tends to make the object turn about its axis of rotation. The magnitude of a torque is
equal to the magnitude of the applied force multiplied by the distance between the object's axis of rotation and the
point where the force is applied. In many ways, torque is the rotational analogue to force. Just as a force applied to
an object tends to change the linear rate of motion of the object, a torque applied to an object tends to change the
object's rate of rotational motion.
1. The angular momentum of breakbeat culture provides a sonic simulation of hyperurban meltdown. Not an
analogy but a cartographic isomorphism opening sonic production onto a war continuum which deposits localised
chaosmosis on every scale. 'Jungle's basic problem' how to sustain rhythmic asymmetry, nurture the swerve,
sustain the turbulence 'what degree of stratification is required to get distributed?' Protracting activity against
hypercontrol through a becoming imperceptible. Programmed catastrophe means that the 'nomadic speed' of the
extensive riot is already overexposed in a cyberfascist video capture digitalization as stratification. From the
ampeddown, twostep standup of monoplod neurofunk (eg. Shadow Boxing) to the turbines of no u turn, dillinja,
lemon d, technical itch etc. to the elongated snake style of source direct (razors edge 5), the phase space of
breakbeat warps, breaks down, solidifies and dissolves as if waiting for a geological singularity to send a new
seismic wave through the submarine rhythm space of pop culture. Digital turbulence. Haptic cyberspace.
2. Following the smallest angle of deviation with each stepstepstepsonic sun tzu very, very dark emerging as
quantized hendrix, hydrolicks by dom & roland picks up with three cycled breakbeats and gradually swells until the
rhythm can dam no more and is flooded by the nightmare roar of juggernautic stares and laval bass stabs. storm
kemistry.
3. longitude zero degrees. the drowned world. London the vortical apex at the sonic base of the planomenal
transoceanic drainage slopes. Echoing signals of Kondratieff phase 4 implosion as K5 USA opens to K6 China:
how low can you go? "The reason why the River and the Sea are able to be king of the hundred vallleys is that they
excel in taking the lower position."4
1. Scale 1:50,000 zoom 1:50 zoom 1:1 zoom 1: 0 touch down 0: very, very dark, engage pattern
recognition: movement breakbeatconsistency 0023050700. full cycle. trajectory:
29 K'AN
49 KO.
darkcore#destination#bass#bin#climate#tropical#
cyclonic#wet#metal#topology#smooth#cable#spine#
synapse#ether#tactics#swarmachinic# mission#hot#rinse#microdelamination
2. Tackling the counterhydraulics of the metric with the hydraulic tao of breakbeat "Highest good is like water.
Because water excels in benefiting the myriad creatures without contending with them and settles where none
would like to be, it comes close to the way..."5 Heavy water is liquid metal.
3. kemistry "With stupefaction you witness those sporadic eruptions, thin, mad fountains, those jets of water,
more jet than water, bursts primarily, punctiform excesses of forces, delirious spectacle of inner geyserization,
signs of the prodigious increase in the potential of the neurons, of their sudden nervous discharges, signs of
hurried releases, of micromovements, of beginnings of movements, of 'budding movements' and of incessant
microimpulses..."6
1. Guerrilla hydraulics provide a submarine junglist breakdown with haptic navigation. a cybernetic steering for
dark waters. a fluid pragmatics in continuous variation. the surplus value of postsocial cyclonic Meltdown produces
subass materialist techniques: cubasic pragmatics, sonic hydraulics, kronik hydrophonics and sampladelic
metallurgy.
2. darkcore
3. Afrofuturist occidental implosion. drawing the skunk into cyberpunk.
latitude 34°N
longitude 118°W
1. This is L.A. a hardstep jungle track by Lemon.D. A high velocity West Coast gansta´style intro bifurcates amid
swarming news helicopters into a dark cyclone of compressed and twisted breakbeats. Distributed in the swirl are
rhythmically inserted crime reports and Roy Ayers samples from "Everybody loves the Sunshine."
2. Sinofuturist supernova tzu electronic shaolin zinc infiltration of the new age carbonanalogue orient.
Latitude 22°N
Longitude114°E
3. The state drifts south and the south drifts east in a
sinofuturist storm "the vast bed of the waters seamed and
scarred into a thousand conflicting channels, burst suddenly
into frenzied convulsion heaving, boiling, hissing gyrating in
gigantic and innumerable vortices, and all whirling and plunging
on to the eastward with a rapidity which water never elsewhere
assumes, except in precipitous descents."7 downhillride no u
turn. "When you have come to grips and are strung together
with the enemy, and you realise that you cannot advance, you
'soak in' and become one with enemy. You can win by applying
a suitable technique while you are mutually entangled."8
1. Big blue beats aka drippy, aquatic 'intelligent' drum&bass lies
at the fringes of the most effective jungle hydraulics. For sure,
fly jumpup (check Pascal's gangstadelic swarmachines on
Frontline Cut Throat, True Playaz Vortex and the New
Frontiers E.P.) and darkstep whip up more vortical activity and
hooverbass low seas viracy in the jungle breakwar against the
militaryentertainment copyright complex (WBO).
"Attack in an unsuspected manner, knowing his metre and modulation and the appropriate timing. Knowing the
times means your ability is high, seeing right into things."9
2. The breakbeat forms a mutating fractal coastline, a real sonic cartography mapping the diagonal which cuts
between the double articulation of order and chaos, rhythm surfing between the intensity irrigation of metronomic
ice and the opiated cosmic nauseous pulses of free jazz.(sonic despotism and its moving shadow) Flotation tank
ambience shattered. On the plane, glass shatters dissolving specular dominance into the haptic. Dark side
guidance. Grooveriding.
3. Kemisssssssstry microdelamination attacks the folding of rhythm into metricity. "It is difficult to move strong
things by pushing directly, so you should injure the corners."10 phlattening beats.
1. The channel hacking used by Dylan on Turbulence (droppin' science.) makes the DJ and the cross fader
immanent to the track. Every 12'inch has a slightly different channel mix so that the rapid crossfade punch, kicks
open sonic trapdoors, you leave your head and enter one of the other ones. Simulating changes of altitude and the
corresponding perturbation of sensory perception. Grey matter crust warps with the torsion. Perception is the silver
surfer skipping between 4 boards in a high roller submarine rhizodrome .
2. "For a long time turbulence was identified with disorder or noise. Today we know that this is not the case.
Indeed, while turbulent motion appears as irregular or chaotic on the macroscopic scale, it is on the contrary,
highly organised on the microscopic scale. The multiple space and time scales involved in turbulence correspond to
the coherent behaviour of millions and millions of molecules. Viewed in this way, the transition from laminar
[ie.nonturbulent or calm] flow to turbulence is a process of selforganisation."11
3. As drum'n'bass jungle's immobile motor, the breakbeat carries key traits of selfsimilarity irrelevant of scale. it is
as if there is an elastic tension between the metric number line and a secret encryption involving prime numbers in
a cyclic discontinuity weaving around, converging and diverging. Continuous variation with nomadic numbering
numbers tagging the real intensity, which on the metric plane of organisation dissipates along the military dateline
of history. "Continuous multitude. Vibratory, zigzagging, in continual transformation. Lines swarm."12 But never
parallel. Always an angle of declination, a line of deviation which, more than a mastery of an enslaved machine, is
evidence more of the productive accidents of sonic arrangement "The whole series of things about accidents,
about bugs, about the producer being someone who can nurture a bug, who can breed a bug and simultaneously
most of the key musics have been accidents, they've actually been formed through errors. They're like software
errors, syntax errors in the machine's programming, and they form these sounds, and the producer's taken these
sounds and more or less nurtured this error, built on this mistake, and if you grab a mistake you've got a new
audio lifeform."13
1. "don't think of breakbeat in terms of some kind of ancient technique which has been resuscitated. . . you see a
lot of people saying breakbeat is the. . .return of the African drumming sound, but its the other way around. The
breakbeat should be moved forward."14 it was virtually always there in the zeroid smoothness of the matrix.
Rhizomorphic Black Atlantic.
2. On the upside motion capture is a planetary irrigational skin, the carceral continuum sidewinding through grey
matter, electronic writing, CAD, GIS, thermal imaging, digital sonic strataware all regurgitate perturbation
feeding it back into statistically classified layers. Meanwhile in Shaolin, virtual becoming dissolves into the actual,
depositing breaks into code then vinyl, remapping the body for a kinaesthetic warzone as the 21st century swells
the damms of the human security system "there is a sense in which the nervous system is being reshaped and
rehalted, for a new kind of sensory condition."15 Breakbeat DNA scratched into the flesh.
3. Remote sensing malfunction. Accidental coordinate displacement. Unable to correct time.
1. Sidewind out of time positive plagiarism to the simjungle of Shaolin.
2. 540 A.D. Bodidharma, Indian Buddhist priest visited China checking upon local monks who had begun the
process of translating Sanskrit texts to Chinese for the contagion of the oceanic multitude. Refusing the Emperors
belief that by his noble act he was opening his personal gate to Nirvana, 'Tamo' journeyed to the "young forest"
(Shaolin) of Honan to consult with the monks. Dazzling them with his laser vision, he gained admittance. What he
found was a funkless, clod of inert temple organically segmented. He was phased by their inability to perform the
most basic of meditation practices, (these monks, they always dance to the words, he thought) The stylus
descended down into the grooves. A rough ride. Disturbance in the ride ignites a current traversing conduction
media, amplifying, vibrating molecules, shocking joints, sweeping anything in the way towards the plane. Down.
Down.
Technics. Shark. Amp. Bins. Air. CNS. Hardrive. Liquid mechanosphere. Metal ocean. They drained into him like
water down a plug hole. Dark Metal.
3. "We master archers say, with the upper end of the bow the archer pierces the sky, on the lower end, as though
attached by a thread, hangs the earth. If the shot is loosed with a jerk there is a danger of the thread snapping.
For purposeful and violent people the rift becomes final, and they are left in the awful centre between heaven and
earth."
1. Reengineering the circuit, smoothing out the movements of the squareeyed transcribers using becoming
animal electronik chi enhancement. These techniques of Shaolin break fu functioned at first as selfdefence from
local gangs and predatory animals. Prey speed. Surfing the diagonal between Buddhist nonviolence and an the
testosteronic annihilatory discharge of captured martial potential, deploying tactics of selfdefence and conflict
avoidance. There is no real acceleration between kung fu catatonia and lightning. The potential for continuous
variation and transformation approach pure speed, chi lubricated breakbeat limb deployment towards planes of
consistency the eight steps of the snake and crane.
2. Shaolin is swarm catalyser, programming triad syndicated film production in Hong Kong, golden triangle poppy
production, Kowloon kemical distillation and encrypted planetary distribution networks rinsing out global finance in
San Franciscan Laundromats.
3. True playa'z. "High voltage rhythmic paroxysmal outbursts. Isolated peaks. Multiple peaks. Bifid waves. Sharp
waves, strings of waves of bristling appearance in the shape of combteeth, saw teeth. Slow waves. Slow
sinusoidal, hypersynchronous outbursts."16 In anticipation of hydraulic breakage ghosts of low budget kung fu flics
swarm in on ghettoblaster/mat street assemblages remixing the body rotor style.
1.Sustaining disequilibrium. "All things entail rising and falling timing. . .From the outset you must know the
applicable timing and the inapplicable timing, and from among the large and small things and the fast and slow
timings find the relevant timing, first seeing the distance timing and the background timing. This is the main thing
in strategy. It is especially important to know the background timing, otherwise your strategy will become
uncertain. . .Many things can cause a loss of balance. One cause is danger. . . another is suprise. . .in single
combat, start by making a show of being slow, then suddenly attack strongly. . .You win in battles with the timing
in the Void born of the timing of cunning by knowing the enemies' timing, and thus using a timing which the enemy
does not expect."17 "Asymmetry of amplitude, asymmetry of rhythm, total change of rhythm."18
2. But "[I]t is true that the martial arts continually invoke the center of gravity and the rules for its displacement.
That is because these ways are not the ultimate ones. However far they go, they are still in the domain of Being
and only translate absolute movements of another nature into the common space those effectuated in the Void,
not in nothingness, but in the smooth of the void where there is no longer any goal: attacks, counterattacks, and
headlong plunges."19
3. "Everyone knows the most daring soldiers go no faster than the music. The noise, first. . .fury belongs. . .above
all to the multitude, and the multitude rushes around, it covers space like a flood."20
1. McLuhan argued that electric circuitry was Orientalising the West attacking the contained, the distinct and the
separate with the flowing and the fused. But there is no real opposition between the digital and the analogue. The
flatline cut through both. Pure energy. Pure speed. Pause.
2. Perceptual neurokemical weaponry. Stimulants attacking organic humanoid hardwiring: "Affects transpierce
the body like arrows, they are weapons of war. The deterritorialisation velocity of affect. Even dreams...are
externalised by a system of relays and plug ins, extrinsic linkages belonging to the war machine. Broken rings."21
In the oscillation between catatonic freezing and flashes and rushes: "the Japanese fighter, interminably still, who
then makes a move to quick to see." When Deleuze & Guattari diagram the release of a speed vector that
characterises a war machine, they are mapping traits of a poised fu assemblage "keeping still" or voyaging in
place. The ddrrop. deep koma.
3. Taking Paul Virilio's equation of all speed with fascism would lead to lumping together shaolin wufunk, jungle
hydraulics with the freikorp stomp of Euroterminal gabba in terms of a paranoid poliocetrics of the body, its
fortressing and its seiging. But the real break is between the crypto fascist masculine steel hard body shell with its
metric hammer blows(battering out a plane of organisation) and a nomad war machine of beats so rhythmic they
map the metallic ocean, that massive conduction circuit that connects the iron core at the centre of the earth,
slivers of mineral deposits in the continental shelves, those vast seas of di hydrogen(rigorously a metal) oxide,
into the ferric capillaries of blood music. The plane of consistency.
1. The breakbeat, not an interior militarized metric, is kemical attack on the organism. "It is not surprising that the
plateau of continuous immanence that is drum&bass conjugates with amortal kombat in its dismantling of the
organism's strata. Big up your chest, wind up your waist. Limb by limb, the WBO is mashed up; the European
corpoReality principle disorganised and detrimentalised."22 Mercury rinse.
2. For some, it is not a matter of switching from macro violence to micro violence but molecularizing further still to
the art of fighting without fighting and further still, microengineering out of war: "Photeks interest in the Orient is
different, however. The Pacific Rim allusions in `Ni Ten Ichi Ryu', `The Water Margin' and `Seven Samurai' speak
more of the elaborate subtlety of Japanese tea ceremonies, the miniaturised intricacy of Bonsai, the elegant
simplicity of Shodo (the art of ink writing with sparse brush strokes)."23 Yielding without resistance, actionless
activity, voyaging in place, continuous imminence. Vortical poise.
3. Afrofuturist Jungle singularly marks the convergence between black rhythmic culture and mutant technology.
Viroteknical infections of mainstream advertising. accelerating attacks on MTV programming grids with incidental
hives of metallic inssectssss. intensssive sssonic cartographics for a neoMedieval scenario, spat out the rear end of
a disciplinary state megamachine complex, a process initiated by what old dead metalhead, Foucault termed the
"Great confinement."
1. "Like gangsta rap, Jungle reflects a Medieval paranoiascape of robberbarons, pirate corporations, conspiracies
and covert operations,"24 and influenced by "dystopian scifi movies that contain subliminally anticapitalist
messages," with their "images of carceral inner cities(Escape from New York, Running Man), hightech police death
squads(Blade Runner), sentient buildings(Die Hard), urban bantustans(They Live!), Vietnamlike street wars
(Colors). . .[and which] only extrapolate from actually existing trends".25
2. Hyperurban neomedievalism is high rise meltdown.
3. "A series of minorities rejecting integration, form clans, and each clan picks a neighbourhood that becomes its
own center, often inaccessible. . .The clan spirit dominates also the welltodo classes who, pursuing the myth of
nature, withdraw from the city to the garden suburbs with their own shopping malls, bringing other types of micro
societies into existence."26
1. Turbulence in the Burgess model of the megalopian militaryindustrialentertainment complex.
2. The Vietnamization of territory, perpetual war in the urban jungle, gang collision warding off the state. Endo
colonisation along shifting internal frontiers. The destruction of the modern city is totally consistent with the
military's need to maintain a clear field of operations, making over the earth in a form which denies cover to any
resistance. Pure war.
3. Jungle processes a future "complete with fortress cities and bandit clans. . .the pervasive sense of slippin´ into a
new Dark Age, of an insidious breakdown of the social contract. . .a world that is falling apart. . .There is a cold
rage seething in Jungle, but it´s expressed within the terms of an anticapitalist yet antisocialist politics. . .the art
of being a roller, a steppa. . .(to) handle the ruff ride."27 Twisted anger. La haine cyberpositivized in special
techniques. Ko::style. A.W.O.L.
1. The smouldering slow motion riot of the megalopian jungle attacks code from all directions. The breakbeat
infects the monoplod metricity of white technosonics, while graffiti engages what Baudrillard terms a riot of signs,
eternally tracked down onto new smooth spaces, asignifying codes with a secret functionality injecting compressed
doses of intensity into the striations of the spectacular state, only to be countered by selfcleaning metro shells.
Makin the walls move. Bass frequency. Sonic graffitti back in amazone white man face tries to argue(militarized
metricdialectics) with bass. blissful noise of language drowning in dark metal. voices "sink away in a kind of
muffled roar which one hears with only half an ear at first, and in the end one finds it no more disturbing than the
distant roar of the sea, which, once one has grown accustomed to it, is no longer perceived."28
2. "Dark is where . . .predatory energies meet digital technique, where id gets scientific."29 You don´t need
enlightenment in haptic space.
3. "Drying up, death, intrusion have rhythm. It is well known that rhythm is not meter or cadence, even irregular
meter or cadence; there is nothing less rhythmic than the military march."30 There is nothing more rhythmic than
a breakbeat swarm.
1. Interminal epistemological wrangling about postmodernity seems merely a distraction when these key
transitions are best tracked by a subass materialism.
2. Machinic nightvision reports from the dark side of the Occident, mapping the interlock of desiring machines,
social megamachines and war machines as technology converges with biology in computerised control societies.
3. Planetary capital flow redistributes bringing novel mutations along the axes of EastWest and NorthSouth. "The
more the worldwide axiomatic installs high industry and the highly industrialised agriculture at the periphery,
provisionally reserving for the center socalled postindustrial activities (automation, electronics, information
technologies, the conquest of space, overarmourment etc.), the more it installs peripheral zones of
underdevelopment inside the center, internal Third Worlds, internal Souths.'31
1. Unequal exchange the immanence of axiomatics escalates perturbation from ripples to tidal waves of decoding
and deterritorialization with the flick of the switch capitalism implodes as perfected revolutionary overdrive.
2. Zero sum war games deployed on the socioscape "Crime 'war', drug 'war,' 'battle' for the family. . .wherever
there is a perceived danger, there is deterrence; whenever there is deterrence, there are immanent boundaries;
and wherever there are immanent boundaries, there is organised violence. For having boundaries that are
actualised by being crossed is a very precarious way to run a world"32
3. Gulf operations of the wu world order.
1. Barbed circuitwire jungle vines in a multiscalar, headless, cybernetic planetary world system.
2. Socal becomingminoritarian. 1992 prime time. judicial rubber stamping of video captured microfascism ignites
urban turbulence. The antiblack counterinsurgency of "the dream city of free circulation" programmed to irrigate
afrofuturist hydraulics. discard population or resort to modulation; integrate or exterminate.
3. Ultrareal video capture dissolves nostalgia. LA Law edits Kings beatings to generate bizarre retrospective
lubrications for control machinery. Digital cut ups of the video, freeze framing, stretching and looping the baton
swings in order to saturate Kings black body in signs of danger, fight and flight.
1. That episode is saturated with the solid state code of homey hunt counter hydraulics. the fear of untamed
speed. Rhizomaniac pattern recogniton confuses King's vector through Lake View Terrace with the nomadic
gangbangers of South Central, the focus of LAPD's deployment of low intensity warfare on the multiethnic field.
The paranoia of population lamination processed the temporary truce between Crips and Bloods as stage 1 of a
Farrakhan orchestrated take over conspiracy demanding the management of "terrorist" populations, through actual
or virtual imprisonment and martial law localised to the 'hood.
2. From discipline to control.
3. From welfare to warfare.
1. "The social and political fluidity of late capitalism has not been accomplished by a withering away of state
violence. On the contrary, state violence has also been fluidified and intensified. The rapid deployment force is the
model of late capitalist state violence, on all fronts: the ability to descend 'out of nowhere,' anywhere, at a
moment's notice the virtualization of state violence, its becoming immanent to every coordinate of the social field,
as unbounded space of fear."33
2. From surveillance to monitor.
3. Riot coverage shot from helicopters doubles as news footage indicating a shift from the ubiquitous vision of the
sovereign to the stereoscopic partial coverage of monitor. Zoooooom lense technology advances since Watts '65
engaging a regurgitative potential. The eye converges with the arm. Visibility is death. Lasered futures. Latitudinal
Zero. Absolute speed.
1. Lamination is the capture of decoded flows using LAPD
rhizomaniac vortices sent through South Central searching and
sucking up all amateur video footage of the riots. the fear of an
unmeasurable speed. Naked LAPD, slooshing down media
meme pool flumes entangled with the Kings' other body,
Rodney King. In South Central, the memes go swimming in a
flashpoint to urban turbulence.
2. "the wind of violence, unleashed, mastered, lost, retaken,
delirious, and disciplined. It subsides and swells like action, but
it is like action, disorder and danger, to be controlled. . .from
bodies to the collective, in a lightning shortcircuit, without
language, through the groundswell of violence and
pandemonium."34
3. Brownian Canetti swarms in flight from the irrigation of the
City of Quartz, swept up into the hyperurban fear ecology.
Postsocial cyclonics tuning into the infonumeric weather system of fyberspace.
1. Postmodern bread riot and multiethnic explosion and primetime Nike redistribution.
2. The digital capture of the LAPD chemical clock, frozen with their pants down revealing erect baby lobsters. LAPD,
zone of indistinction rapidly oscillating between thin blue line, the threshold of capital security and bloody red
stains on their paranoid armoury. Naked LAPD, apparatus of capture, cybernetic homeostatic hoover with teeth,
emptying its migrant dust into the deep end of an increasingly pervasive carceral continuum, or in Mexico.
Intelligent hoovers who know the way to San Jose.
3. Code 187
1. fuzzy dread "when I was here I wanted to be there. . . and when I was there, all I could think of was getting
back into the jungle."35
2. sidewinda vortext
idewinda vortex
dewinda vorte
ewinda vort
winda vor
inda vo
nda vo
da vo
av
v
3. "bringing writing and putting it onto the second deck and just accelerating it. . "36
1. darkcore.
2. No u turn.
3. turbulence is a ko::motion.
CONTROL PANEL
Soundbank
Dom & Roland, hydrolicks/resistance, Moving Shadow.
Dillinja, Acid Trak on Pain, Violent Killa on Valve.
Dylan, Turbulence/Desolation & Witchcraft/Virus on Droppin' Science.
ed Rush & Nico, Proton, No U Turn Records.
Lemon D This is LA on Metalheadz, 12.01 on Valve..
Pascal, Vortex True Playaz, Cut ThroatFrontline, New Frontiers(Ganja Kru).
Photek, Ni Ten Ichu Ryu On Science.
Source Direct, Stone Killer/Dark Metal (remix) on Razers Edge 5 (white), Call & Response/Computer State on
Science, Black Rose/ 12 till 4 Hokusai.
TextBank
Carlyle, A. Amortal Kombat, abstract culture, ccru swarm#2, issue#7.
Deleuze, G. & F. Guattari (1988) A Thousand Plateaus, (trans. B.Massumi), London: Athlone.
Davis, M. (1992) City of Quartz.
Eshun, K. (1997) Motion Capture, abstract culture, ccru swarm#1, issue#2.
Herrigel, E. (1953) Zen in the Art of Archery, Harmondsworth: Arkana(Penguin).
Rupert Howe, Interview with Nico Sykes of No U Turn, http://
I Ching.
Lao Tzu, (1963) Tao Te Ching, Harmondsworth: Penguin.
Michaux (1976) Peace In the Breaking Flood, trans. Michael Fineberg Consigny: Embers Press.
Michaux, H. "Light through Darkness" in (1967) The Book of Grass. (eds.) G. Andrews & S. Vinkenoog,
Harmondsworth: Penguin.
Musashi, M. (1984) A Book of Five Rings, London: Flamingo.
Prirogine, I. & I. Stengers (1985) Order Out Of Chaos, London: Flamingo.
Poe, Edgar Allen. 'Decent into the Malestrom'
Reynolds, S. (1996) Slipping into Darkness, The Wire,
Serres, M.(1995) Genesis.
Sharp, C. The Lone Swordsman p29, in The Wire, Issue. 159, May 1997
Footnotes
1. Michaux 1976.
2. Serres 52.
3. Nico Sykes, no u turn.