Steve Goodman / Kode9

ENGLISH

15 ABR · 18H30 · Steve Goodman / Kode9
Virologia Audio

Moderador · Diogo Tudela


No contexto da atual pandemia global, vivemos um momento oportuno para examinar teorias e ficções sónicas que Steve Goodman define livremente por virologias audio. Uma fonte essencial para o conceito de virus cultural deriva da ideia de meme, o equivalente cultural ao gene, uma unidade básica de cultura. À medida que tem vindo a convergir com os media sociais, o conceito tem se vindo a fixar em (movimentos) virulentos de combinações de imagem/texto. Mas existe algum equivalente auditivo? Desde a genética evolutica à modelação aplicada a música generativa, à sonificação de dados induzidos pela inteligência artificial de estruturas protéicas, psicologias de earworms (malware do/para o ouvido) passando por ficções sónicas de música eletrónica e ficção científica, nesta aula aberta será questionada a memética suportada pelo neo-Darwinismo, numa procura por ir além de uma noção meramente metafórica de viralidade aplicada à cultura sónica e musical.

 


Presentation by Diogo Tudela
 
Under cognitive capitalism, virality is rendered as a measurement of success. The prosperity, and therefore, the validity of a unity of content is accessed by the interdependence of its virulence, the ability to affect a host (time), and its contagion (or replication) level, its capacity the proliferate transversally across a system or network, affecting new agents, bodies or nodes (space). Thus, under the guise of such socio-cultural hyper-structure, becoming viral stands as a pivotal target and constitutive component of a cultural object’s teleology. In that, such units — or memes — respond directly to a series of quantification protocols —  analytics and statistics — that map their rhizomatic advancements through parameters of visualisations, clicks, hits, accesses, identifications or sharing rates. 
 
In the 25th chapter of his 2010 book Sonic Warfare: Sound, Affect and the Ecology of Fear, entitled Capitalism and Schizophonia, Steve Goodman sketches the outlines of an Audio Virology, a subset of the Cultural Viruses, understood as a collection of contagious objects or artefacts deployed through the mechanisms of late capitalism. Drawing from Dawkin’s notion of meme and Sampson’s diagram of an imitative wave, Goodman describes the mutation of artists/musicians and producers into carriers, events into outbreaks, scenes into platforms contagion, media and communication networks into transmission grids. Consequently, a speculative isomorphism connecting biological structures and sonic-cultural manifestations poses an array of interrogations on what would entail to be infected by a sound? What register of affectivity would need to be in place for such phenomena to occur? 
 
Arguably, Goodman’s work seems to operate within a Spinozian framework, moving across a body-mind and nature-culture continuum. The possibility of a virus — that despite its metaphorical nature doesn’t renounce to its actuality — brought by cultural forms stands precisely on the refusal of the Cartesian dichotomy of mind and body. Bodies should then be regarded as metastable actualisation of a flexible matrix whose longitudinal vectors describe an extensive kinetic progression, while its latitudinal vectores trace a body’s competence in being intensively affected by cross modal events. As such, a body’s performativity as a constructive/reconstructive structure should not be precluded by the biological given, nor by the transcendental power of a post-modern discourse.
 
The global scenario articulated by SARS-COV-2 over the past two years asks for updates on the concepts and notions of virality. This urgency is perhaps more prominent within the construct of a Cultural Virus and, subsequently, within the idea of an Audio Virology. Remaining true to its personal methodology as a concept-engineer operating a super-collider of trans-medial references, Steve Goodman summons Bourroughs media guerrilla tactics, Julian Henrique’s conception of a sound-system as a global transmitter, and Kodwo Eshun’s sonic fictions and futurerhythmachine, among many others, in order to investigate what an Audio Virology would yield after COVID-19.

BIO
Steve Goodman (aka Kode9) é um músico, artista e escritor. Gravou 3 álbuns, 2 com o vocalista Spaceape; Memories of Future (2006) e Black Sun (2010), e um álbum a solo, Nothing (2015). Enquanto DJ já produziu três compilações de mixes, Dubstep Allstars vol.3 (Tempa 2006), DJ Kicks (K7 2011) e Rinse 22 (Rinse 2013), e em 2018, Fabric 100 com Burial. Além da editora Hyperdub, a qual fundou em 2004, também lançou faixas pela editora de Aphex Twin, Rephlex, e pelas Soul Jazz e Rinse e remisturou para Mr. Fingers, Lee Scratch Perry, the Junior Boys, Battles e Dabrye, entre outros. 

Em 2014 recebeu o prémio de Inovação e de melhor Pequena editora do ano pela AIM (the Association of Independent Music). Com o grupo AUDINT produziu numerosas instalações sonoras, e os seus trabalhos em sound design foram recentemente apresentados como parte da Hyundai commission no Tate Modern (2018) e no Barbican ‘AI: More than Human’ em Londres (2019). Ele produziu uma banda-sonora para a curta-metragem do grupo AUDINT, Ghostcode (2016) e apresentou e remisturou uma versão reimaginada da banda sonora de La Jetée, de Chris Marker, com o título Her Ghost no BFI em Londres e no Pompidou Centre em Paris (2013).

O seu livro ‘Sonic Warfare’ foi publicado pela MIT Press em 2009 e com o AUDINT co-editou o livro ‘Unsound: Undead’ pela Urbanomic Press em 2019.

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