Exploit.zzxjoanw.Gen 

“The solitons of the music tell a story.”
- 0(rphand(rift>

Exploit.zzxjoanw.Gen is an audio zine, curated by Satellites Programme Intern Dane Sutherland which is now available both as a limited edition USB flash drive designed by Plastique Fantastique, and as a free download, from Collective Gallery and Punctum Records. 

Exploit.zzxjoanw.Gen includes contributions from: AAS, The Confraternity of Neoflagellants, Plastique Fantastique, Head Gallery, Jillian Mayer, WE, English Heretic, Michelle Hannah, Benedict Drew, POLLYFIBRE, The Cult of RAMM:ΣLL:ZΣΣ, Xempeer, and Kornelia Remø Klokk.

Along with the mp3 files there is also a PDF publication, containing essays and written fiction.

Exploit.zzxjoanw.Gen contains music and sound-works, sonic fictions[1] by artists who in various ways, and to differing degrees generate worlds and narratives consonant with the genre of speculative writing, science-fiction.

This project is concerned with the virulent possibilities of sonic fiction, the political valence of science fiction, and with speculation as a method of probing and mutating the present through (re)imagining the future (as noise). 

The mp3 tracks act as indexes of such futurities, cargo-cult objectiles washed up on the shore of the present.

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The rubbled architecture of the semantic apocalypse is a jambient meshwork of infectious crypto-fictions, arche-hymns, cargo cult objectiles and the untethered futurities of permanent collapse. A tentacular-empire-machine.

Swarming visions, speculations and transmissions are hereby retro-clothed in vapourware, to be neurocast for further maladaptation by these memechanics of the salvaged future.

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Dane Sutherland is a curator, writer and pessimist from Scotland. A skeuomorphic malware interface and co-director of Embassy Gallery.

Dane has developed this project as part of Collective’s Satellites Programme as Curatorial Development Intern, and is working in partnership with Punctum Records to publish and distribute it.

{1} The concept of ‘sonic fiction’ has been generated by the Cybernetic Culture Research Unit and writer and artist Kodwo Eshun. Eshun refers to the extra-musical gestures, and the speculative drive of a canon of Afro-diasporic music in his analysis of Afro-Futurism, an epistemology which considers Black artistic production as a dispersed modality of wresting forms of science-fiction, Promethean thought and modernity from a situation in which the Black subject is inherently alienated by the events of dominant historical narratives.

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