In REDEFINE's first bi-lingual interview, we speak with Gabriele Ottino, director behind the acid trip visuals for Italian electronic artist TOMAT's latest track, "1984". Taking inspiration from George Orwell and a wide cross-section of human affairs, the video mixes archival footage of events between June 1st and June 6th, 1984, glitch and pixel elements, and modern day footage of the musician into a brightly-colored visual slideshow.
"The denser the number of events a second, the more we lose the facts itself, gaining objectivity but losing humanity." -- Gabriele Ottino

 

MUSIC VIDEO AND INTERVIEW CONTINUED BELOW Directed by Gabriele Ottino and produced by Superbudda Studio

 

"... All political thinking for years past has been vitiated in the same way. People can foresee the future only when it coincides with their own wishes, and the most grossly obvious facts can be ignored when they are unwelcome." -- George Orwell, London Letter to Partisan Review

 

Drawing from antiquated influences and software, directors Dawid Krepski and Jason Chiu translate the hazy pop sounds of New York musician Beca into a narrative about the understanding and acceptance of the self, whatever that may look like. Below, both directors and Beca answer a brief Q&A about the creative process and underlying message of the "Fall Into Light".

 

"The title 'Fall Into Light' is a bit of a paradox since I associate light with upward movement, and the concept of falling makes me think of darkness. So it's this juxtaposition of light and dark which can be taken literally or figuratively, and I like that it's left open for interpretation. Maybe it means opening opening up yourself enough to see your true self." - Beca

 

In 2009, David Daniell of San Agustin and Douglas McCombs of Tortoise disassembled and reassembled seven hours of in-studio improvisation into their collaborative LP, Sycamore. For their upcoming 2012 release, Versions, they've given the same seven hours of material and the same creative liberties to engineer and producer Ken Brown to offer up his assemblage of choice. The experimental approach has led to two vastly different records that still live in the same sonic universe. The surprisingly little amount of content overlap between the two releases sees to be, in and of itself, evidence of the importance of individual perspectives. Versions comes out May 15th on Thrill Jockey Records, and its initial introduction to the public comes in the form of a slow-motion video directed and conceptualized by filmmaker Timothy Leeds, with the help of David Merten. As the sounds of "30265" teeter gently upon small instrumental seesaws, shapes in Leeds' video pulse and throb in subtle response. In the Q&A below, Leeds describes the video creation process and some of the decisions behind it.

 

 

In Midday Veil's new video for "Moon Temple," vocalist Emily Pothast has edited source material she and guitarist Timm Mason generated last year during a residency at Experimental Television Center in Upstate New York. At its gentlest, the video is a silky smooth ripple; at...

Part I: Now Age Manifesto And Q&A

TEXT BY THAD MCKRAKEN; Q&A BY VIVIAN HUA; MANIFESTO AND ANSWERS BY TARAKA LARSON The fundamental nature of time itself wasn't something I'd contemplated at great length until roughly a year ago. I think what turned it around for me was when I accidentally summoned what classic occultists would refer to as my Holy Guardian Angel. Out of nowhere in the summer of 2010, I started performing sigil projection exercises which seemed to be coming from somewhere else. I felt strangely and unconsciously compelled to envision myself in third person, as an external character wearing a sleek black suit. I was confronting my demonic persona -- the part of me that longed for frivolous shit like wealth and power -- or something to that effect. Who am I kidding, I had no fucking idea why I was doing this, but the further in I got, the more the scenarios played themselves out in my head; they had me shaking hands with the world's elite and proceeding to haunt their unconscious. To make a long story short, this version of myself that I'd been unwittingly focusing on actually showed up in my room one night. I will confess that I wasn't fully awake. I was in a hynagogic sleep state that a lot of mainstream psychologists would refer to as sleep paralysis. I taught myself how to do this by experimenting with astral projection years earlier; it fucked with my head forever. But it's what "I" told myself that's relevant here:
"We are the beings from the Sirius star system that were communicating with Robert Anton Wilson. We are the grey aliens. We are death. WE EXIST OUTSIDE OF TIME. That's why it's difficult for us to communicate with you."
They then projected a telepathic communiqué into the depths of my spirit. My reality became this video-like demonstration which oscillated between perspectives, drawing connections to something I'd also randomly started contemplating months prior – the Gnostic concept of the Holy Trinity:
  • The Father (or Holy Guardian Angel) – the me who is eternal and exists outside of time;
  • The Son – the me who exists inside what we refer to as human reality;
  • The Holy Spirit – the conjunctive tissue which binds us all into one coherent plotline; time itself, shown to me like a glowing orb which I existed inside of, though apart from my cosmic overmind persona (it/I watched from outside as if floating motionless in outer space).
Sounds completely nuts right? Well, it does until you realize you're one of about a billion people throughout history who have had this type of shit happen to them. Unfortunately, these topics are usually relegated to the easily disregarded world of "New Age" literature, ensuring that anyone who believes a half-man half-God walked the earth 2,000 years ago will laugh them off without a second thought. The term "New Age" has been so intentionally co-opted throughout the years by military and religious interests that even I hate it. Luckily, writer Daniel Pinchbeck has been trying to rebrand the neo-psychedelic evolution of these concepts as "Next Age." And here, we have the multi-talented Taraka Larson of Brooklyn's Prince Rama putting a much needed artier spin on ancient New Age ideas with The Now Age Manifesto. It's a work about the importance of intentionally transcending so called normal space-time perception and entering what Larson and English philosopher John G. Bennett refer to as Hyparxis, a hypertime dimension that has a timeless quality noticeable to human perception. In a way, these experiences and mind states kind of have to happen to you before you'll take any interest in them – but The Now Age Manifesto details concepts that will help you get there if you try. The entirety of Larson's manifesto can be viewed online at www.now-age.org.

The Now Age Manifesto: Introduction

The Now Age seeks to reconnect the current dislocation between time and space and resurrect the symbolic power of music by means of UTOPIA. NOW AGE = NO AGE Somewhere between Time and Eternity lies a dimension called Hyparxis**. Hyparxis is defined as an 'ableness-to-be'. It does not indicate a change in time, or a manifestation of eternity. Instead it refers to transformations in 'inner time'. Hyparxis combines what is actual with what is potential, thus creating a 'present moment' based on the internalized experience of external temporal events, past, present, or future. Thus, the Now Age refers to no age at all, but instead describes an elemental quality of being. UTOPIA = NO PLACE The word UTOPIA by definition signifies "NO PLACE". It is neither here nor there, of this world or transcendental to it. Its existence as a non-existence can be seen as a singularity, but within this "no place" exists an infinity of space. Thus an invisible "space between worlds" is created that acts as a medium between the real and the ideal environments. This aspiration for a space within a pre-existing place is vital for distinguishing the utopian impulse from the transcendental impulse; whereas transcendentalism seeks escape from the "real" world in exchange for an ideal one, utopia instead seeks a deeper connection with this world in the form of tapping into its inner potential, a REALIZATION of the REAL. It is here that the musical environment lives. Sound in and of itself is a tangible example of "no place". It is pure vibration, a shifting of air particles, and is thus (by sheer virtue of its nature) wholly meta-physical. **John G. Bennett, The Dramatic Universe

 

I've oft wondered how radically different our music culture would be if say, venues were allowed to turn a profit from other drugs. Thanks to John Hopkins University, we're now for the first time since the '60s seeing studies which suggest psilocybin can be used for all kinds of freaky deaky shit -- like say, alleviating people's fear of death. I personally use them to peer into the intricate depths of the thousand-eyed hive mind, but to each their own. Am I the only one who's beyond weirded out by the fact that there's only one legal recreational drug? It's shamelessly pushed down our throats, and what does it do? It binds us here and keeps us stupid; that's what it does. It's called mind control my friends, pure and simple. You can drink booze! It's all over the fucking place. There are literally billions of potential recreational compounds which we could choose as the foundation for our cultural activities, and that's the one we get. You've got to stop thinking this makes any sense. I've always joked that if you want to get paid playing music, you should start a cover band. The reason is simple: the game's been rigged. Clubs make their money off booze and drunk people want to hear songs they already know and can sing along with. Hell, I do when I'm drunk. Timeless states of being are always within our reach through the use of psychoactive substances, meditation, breathing exercises, dream manipulation, and other natural methods -- but it's also nice to know that Midday Veil frontwoman Emily Pothast's fledgling record label, Translinguistic Other, is on the forefront of helping you achieve them with even greater ease through sonic invocation. I caught up with the prolific Miss Pothast (pronounced like “hottest") to discuss some of these topics, and some other stuff that happened to be going through my head when I drew up the questions. I was kind of drunk.

Q&A With Emily Pothast, Translinguistic Other Founder & Midday Veil Vocalist

I first became interested in Gnosticism when I was living in a part of Texas that is completely dominated by fundamentalist Christianity. I knew the dominant culture was fucked, but I didn’t feel like it was useful to be completely dismissive of the religious mythologies that held so much resonance for these people. I wanted to know where these ideas came from and to see if I could learn something about the patterns behind them. -- Emily Pothast, on mysticism

Thursday, August 25th, 2011 Doors 8:30pm, Show 9:00pm @ Holocene, Portland $5.00 21+ FACEBOOK EVENT: http://www.facebook.com/event.php?eid=221291931247972 After last winter's successful MMMicrofestival, REDEFINE magazine returns to Holocene to bring you another evening of bounds-pushing cross-disciplinary performances. INTUITIVE NAVIGATION invites like-minded performers from Portland and Seattle to transform the atmosphere of Holocene into a hypnotic,...