Archiv für September 2009

Schizo-Incest of Underpressure Grafitti

Metanarratives, of course, are in place. Graffiti is a crime and artificial individuals are criminal who, if discovered, will be fined and will face jail time. But what, exactly, makes artist such a social pariah? One way to understand graffiti is to contextualize the crime within a larger power struggle over the ownership of language. Far from being just a straight-forward representation of the spoken word, written language has always been in the possession of those in power. This ability to control language is directly transferable to the ability to control the physical bodies of those less powerful. As Michel de Certeau states in The Practice of Everyday Life, laws are „written first of all on the backs of its subjects“ and there is therefore an intimate hierarchal link between the written word and the physical body. But graffiti writers break this link and rearticulate the power of the written word. By illegally writing on property, writers are taking control of language and, in the postmodern sense, chaotically playing with it in ways that are disturbing to those in power. As Crispin Sartwell writes in his article „Graffiti and Language,“ „We could say that it’s an attempt to revamp or rearticulate authority, to read it through a new set of codes, to take control of it […] instead of merely knuckling under to it. It’s an attempt to take language back.“ Words are the most readily and easily accessible weapons of choice, and graffiti writers obsessively inscribe what is usually the first word that people learn how to write, their name. But unlike the name given to them, these self-imposed names are cultivated and designed. Through a form of creative destruction that is easily and cheaply (re)produced, writers are able to use their social marginality to control language and negotiate a (combative) relationship with society. While language implies a hierarchal power originating from above, writers use the language as letter-masks that symbolically mark their oppositional and elusive identity. Through graffiti, hierarchies are reversed as language is taken back by a subculture in a very physical contest and regurgitated onto the dominant culture’s property. Those outside the subculture who would normally not come into contact with writers are then forced to interact through the reading process. And this dialogue is certainly argumentative.

[1] Perhaps these threads should never be linked, questioned nor put into resonance, yet the reason why I insist on offering a relationship between the two (Britcore-Hip Hop and Grafitti Arts), is simply because they can be taken as a model – a model of a non-relational relationship – which has implications not only for a different line of flight but also for an explanation of how in Deleuze and Guattari sometimes concepts lead a life of their own without any necessity of a link. To obtain such a model when we have been talking about enigmas and missing links is without doubt a contradiction in terms; however, since both sound and schizo-incest are related to the question of form, and the link between the two is an eluding one, I believe, they can also be taken as bearing witness to an enigmatic model which is not a model at all.

[2] For all those concerns above, in this paper, first I will problematise Deleuze’s formulation of a certain passage from „noise to voice,“ and his approach to „distance,“ in The Logic of Sense, if only to be able to throw light on what baffles us in their reading of Kafka’s „The Investigations of a Dog,“ according to which sound, when deterritorialized, is a formless element that is still audible much against the aural experiences in Kafka’s stories, especially in „Josephine The Singer, or the Mouse Folk,“ „The Silence of the Sirens,“ and „The Investigations of a Dog,“ where the audience is most usually reported to have heard something, yet the knowledge of what is heard is suspended. Yet such a suspension, I shall argue, leads us to a different knowledge, that is, the realm of the „formless“ or the „unformed“ which cannot be obtained without destroying what we know as „hearing“ or the „audible.“

[3] One of the guiding questions here, therefore, will be whether the formless can be heard, or recognised as sound within the framework of the audible. Proposing in the end a limit experience which I call the „meta-audible,“ I will try to show that Kafka’s approach to sound, radicalising the thought on sound, creates a line of flight that escapes even from the line of flight itself. Moreover, such a flight operating on a notion of self-shattering prepares the missing link, or rather the resonance between the meta-audible and the schizo-incest.

Many Greetings to Hamburgs Grafitti-Store ‚Underpressure!‘


Still Dangerous on the run „Meta-Why Bly!“

As the present location within the DIY culture in Hamburg assembled and change, we, DJ Gato and me has to propose a location change: Britcore-Hip Hop on the run in Hamburg. We are looking for other drinking halls and structures where we‘ve a foregoing name between antifascist lyrics deploiment and rise of neo-liberal capitalism on fundamentally based by beerish significant changes not only in the realms of the political and the economic but also the ways in which these realms become intertwined with the realm of the intellect, which manifests through two kinds of anti-racist anthropological knowledge – one based on accumulative, historical, and normative experiences of becoming part of a “people” (properly speaking, a subject of the modern hood & state), and another based on contingent, indescribable, and alienating experiences of being part of a multitude (a subject without the nation-state’s representation). Historically, neo-liberalism reflects the changing relationship between institutions of power (especially the state and the market) and the governance of political subjects (people and multitude). Contemporary neo-liberal capitalism operates not merely through neo-liberal modes of governance but also through other modes, including police (coercive) and liberal modes.

We‘ll define with our records a new politics for resisting it.

Peace for everyone who supports us at the imaginary place at Hamburgs – Hafenstraße, where Hip Hop and its artificial outcome has a minor history, but nowadays its enough and we are looking forward for assembled new structures and bly the outcore for free……