Avoiding the Subject: Media, Culture and the Object by Justin Clemens

By Justin Clemens

What can Roger Rabbit let us know concerning the moment Gulf struggle? What can a lady married to the Berlin Wall let us know approximately posthumanism and inter-subjectivity? What can DJ Shadow let us know concerning the finish of heritage? What can our neighborhood bus path let us know in regards to the fortification of the West? What can truth television let us know concerning the difficulty of latest group? And what can unauthorized photos of Osama Bin weighted down let us know approximately new equipment of well known propaganda? those are just the various thought-provoking questions raised in fending off the topic, which highlights the feedback-loops among philosophy, know-how, and politics in modern-day mediascape.

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Their experiments in sound: recording the magnified mating calls of termites and then looping them to the glitch beat of a damaged CD, for instance, or insane arrhythmic beats, seem to qualify as postmodernist aesthetic practice. They seem in sharp contrast to DJ Shadow’s organic coherence. (How, for instance, are we to tell a genuine processing fault from a deliberate one on our glitch CDs? ) To refer back to our genealogy, however, and in contrast to DJ Shadow, they themselves are revealed as the true modernists, in their teleological, marginal approach.

It’s very difficult, as feelings are always very hard to explain. It is simply to be emotionally and sexually attracted to OBJECTS, things – not human beings or similar, but if you would have any chance to understand this, or get a true picture of it, I think it is very important to know the back-ground, and the ground ideas of persons who are objectum-sexual: We believe that all objects (things) are LIVING and having a SOUL, (Animism). I think that is very important to see objects as living, if one should be able to fall in love with an object ...

For while it is impossible to deny that Björk’s album is an intensely personal statement, neither can it be ignored that it is the fruit of interpersonal penetration of one form or another. This album was not recorded in a studio, but in private and domestic spaces, mostly on her own laptop. Thus, she could programme a beat while in her kitchen in Iceland, and then lay down some vocals while in a friend’s bathroom in Spain. It therefore becomes difficult to draw the line between Björk the “genius artist,” who excels in expressing her internal world through music, and Björk the organizing principle, who idiosyncratically tethers together a galaxy of contributions all which speak of the context from which they have been lifted.

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