Steve Goodman / Kode9 · Virologia Audio

15.04.2021 18:30

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15.04.2021 18:30 Steve Goodman / Kode9 · Virologia Audio Link: https:///pt/central-eventos/steve-goodman-kode9-virologia-audio

Como Chegar / How to Arrive
Universidade Católica Portuguesa - Porto



Aulas abertas 2021 · Arte / Pensamento / Som
Steve Goodman / Kode9 · Virologia Audio 
15 ABR · 18H30 · On-Line Lecture

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.


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.

Open programme 2021 · Art / Thought / Sound
Steve Goodman / Kode9 · Audio Virology 
15 ABR · 18H30 · On-Line Lecture

Moderator · Diogo Tudela

In the context of the current global pandemic, it is an opportune moment to examine theories and sonic fictions that I have loosely termed audio virologies. One key source of the concept of a cultural virus derives from the idea of the meme, the cultural equivalent of the gene, a basic unit of culture. Converging as it has with social media, the concept has become fixated on virulent (moving) image/text combinations. But is there an auditory equivalent? From evolutionary genetics and modelling applied to generative music, AI driven data sonification of protein structures, psychologies of earworms through to sonic fictions of electronic music and science fiction, we will question the neo-Darwinian underpinning of memetics and attempt to go beyond a merely metaphorical notion of virality applied to sonic and musical culture.


Steve Goodman (aka Kode9) is a musician, DJ, artist and writer. He has recorded 3 albums, 2 with the late vocalist The Spaceape; Memories of Future (2006) and Black Sun (2010), and a solo album, Nothing (2015). He has compiled 4 DJ mix compilations, Dubstep Allstars vol.3 (Tempa 2006), DJ Kicks (K7 2011) and Rinse 22 (Rinse 2013), and in 2018, Fabric 100 with Burial. In additional to the record label Hyperdub which he founded in 2004, he has also released tracks on Aphex Twin’s Rephlex label, Soul Jazz and Rinse and remixed for Mr. Fingers, Lee Scratch Perry, the Junior Boys, Battles and Dabrye among others.
In 2014 he was awarded Innovator and Small Label of the Year from AIM (the Association of Independent Music). With the group AUDINT he has produced numerous sound installations, and his sound designs have recently been presented as part of the Hyundai commission at the Tate Modern (2018) and the Barbican ‘AI: More than Human’ in London (2019). He has produced a soundtrack to AUDINT’s short film Ghostcode (2016) and peformed a remixed score to a reimagined version of Chris Marker’s La Jetee entitled Her Ghost at the BFI in London and the Pompidou Centre in Paris (2013).
His book ‘Sonic Warfare’ was published on MIT Press in 2009 and with AUDINT he co-edited the book ‘Unsound: Undead’ for Urbanomic Press in 2019.

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.