- For Deleuze and Guattari, and for me, the idea is always an “event” - it presupposes a kind of frame of reference that closes one action and starts another - they overlap and blur.
- For me “sampling” is the same thing: thought event, sound event. Computers generate algorithms that create tableaux of continuous uncertainty - the screen is not a locked space.
- My work asks about how the networks of creativity that we have inherited from the “bricks and mortar” world of the 20th century, have imploded, evolved and accelerated the “im-material” networks of the frequencies, fiber optic networks, and mathematically driven world of the 21st century. That’s the real “dematerialization of the art object” - it becomes patterns meshed, working between the spaces of pre-scripted behavior.
My book Rhythm Science looked at foundations of contemporary thinking from the viewpoint of “how do we make art out of patterns of culture?” It was meant to ask more questions, not offer answers to contexts that are continually changing. The landscape of contemporary digital media is undefined. Anything that tells you it is “defined” is pretty much making a false observation. The undefined defined?
Heraclitus said something like this years ago - dj culture tells us it has become the way we organize information in a media ecology of unstable subjectivity. My take on this is basically “pro-active” - for me, music is all about creating tools for thinking - about giving people systems to organize information outside of the European categories of “rationality” and “universal subjectivity” that drove the Enlightenment. That is what I learned from them. Abstraction is the ultimate weapon. Multiculturalism is the ultimate destabilizing category because, like sampling, it can absorb anything. It defies limits, and posits “the subject” as an imploded category - one that is, and always has been, basically a construct.
What other constructs - the nation state, the idea of the “self” etc - are linked to this category that is slowly being pulled apart by the centrifugal forces of digital media? Deleuze and Guattari give us tools to think about this kind of stuff - they posit these as fictions holding together other fictions. The mirror is held up to another mirror, and we can see an infinite corridor in either direction. I kind of want to break the mirror. Warhol’s “From A to B and Back Again” drifted as word dust through the fiber optic cables and satellite transmissions of a world of invisible meshworks. Stuff like that.