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Contents
editorial
NEVILLE DUBE
“What shall we do with the tools?”
PALESA MOTSUMI & TARIRO MUDZAMIRI
The Impact of Covid-19 on the Arts in South Africa
Theme Africa Synthesized
CARINA VENTER & STEPHANIE VOS
Africa Synthesized: Editorial Note
GEORGE E. LEWIS
Recharging Unyazi 2005
MICHAEL KHOURY
A Look at Lightning – The Life and Compositions of Halim el-Dabh
KAMILA METWALY
A Sonic letter to Halim El-Dabh
SHANE COOPER
Tape Collage
ADAM HARPER
Shane Cooper’s Tape Collage – a living archive
HANS ROOSENSCHOON
Tape loops: Cataclysm (1980)
STEPHANUS MULLER
Hans Roosenschoon's Cataclysm: message in a bubble or mere spectacular flotsam?
SAZI DLAMINI
Composing with Jurgen Brauninger: 1989-2019
LIZABÉ LAMBRECHTS
The Woodstock Sound System and South African sound reinforcement
CATHY LANE
Synthesizer and portastudio: their roles in the Tigrayan People’s Liberation struggle - an audio essay.
MICHAEL BHATCH
Africa Synthesized: A Sonic Essay
NEO MUYANGA
Afrotechnolomagic before the internet came to town – How electrons made Africans in music zing
NIKLAS ZIMMER
Interspeller (some B-sides)
WARRICK SWINNEY
House on Fire: Sankomota and the art of abstraction
MAËL PÉNEAU
Beatmaking in Dakar: The Shaping of a West-African Hip-hop Sound
ARAGORN ELOFF
Materials of Relation: A Sonic Pedagogy of Non-Mastery
BRIAN BAMANYA
Afrorack
ZARA JULIUS
(Whose) Vinyl in (Which) Africa? A Zoom Fiasco
galleri
SLOVO MAMPHAGA
Mandela is Dead
&and
Undercommons
HUGH MDLALOSE
Jazz Speaking
IBUKUN SUNDAY
A Peaceful City
NIKKI SHETH
Mmabolela
PIERRE-HENRI WICOMB
A Composition Machine
SONO-CHOREOGRAPHIC COLLECTIVE
Playing Grounds: a polymodal essay
STELARC & MAURIZIO LAZZARATO
Parasite: A Government of Signs
JURGEN MEEKEL
The Bauhaus Loops
borborygmus
KING SV & MARCO LONGARI
The Black Condition
SIPHELELE MAMBA
Enough is enough
SEGOMOTSO PALESA MOTSUMI
Explaining racism
KHANYISILE MBONGWA
Mombathiseni UnoDolly Wam
PHIWOKAZI QOZA
Choreographies of Protest Performance: 1. The Transgression of Space
TSEPO WA MAMATU
The Colonising Laughter in Leon Schuster’s Mr. Bones and Sweet ’n Short
ANA DEUMERT
On racism and how to read Hannah Arendt
TALLA NIANG
Sembène Ousmane
MAVAMBO CHAZUNGUZA
Sacred Sonic Cosmos
GRAYSON HAVER CURRIN
The Saharan WhatsApp Series - an Experiment in Immediacy
BEN EYES
Cross-cultural collaboration in African Electronica
STEVEN CRAIG HICKMAN
The Listening of Horror
MICHAEL C COLDWELL
The Noise made by Ghosts
GABRIEL GERMAINE DE LARCH
I will not be erased
frictions
JESÚS SEPÚLVEDA
Viaje a Tánatos
KATYA GANESHI
From Beyond the World of Dead Sirens
RIAAN OPPELT
(Ultra) Lockdown
SINDISWA BUSUKU
Let’s Talk Kaffir
JOHAN VAN WYK
Man Bitch
MAAKOMELE R. MANAKA
Four Indigenous Poems
claque
KOLEKA PUTUMA
Language & Storytelling: On Zöe Modiga’s Inganekwane
LINDELWA DALAMBA
After the Aftermath: Recovery?
ATHI MONGEZELELI JOJA
Uninterrogated Phallophilia
HILDE ROOS
Sicula iOpera – a raised fist?
PAUL ZISIWE
19 Feedbacks
TSELISO MONAHENG
How to build a Scene
WAMUWI MBAO
Struggle Sounds
MKHULU MAPHIKISA
Short but not sweet: Skeptical Erections and the Black Condition
MBALI KGAME
Tales from The UnderWorld
ekaya
STEPHANIE VOS
The Exhibition of Vandalizim – Improvising Healing, Politics and Film in South Africa
MARIETJIE PAUW, GARTH ERASMUS & FRANCOIS BLOM
Improvising Khoi’npsalms
off the record
KHADIJA TRACEY HEEGER
Lewis Nkosi – treasured memory
LEWIS NKOSI
Jazz in Exile
EUGENE SKEEF
Chant of Divination for Steve Biko
BRENDA SISANE
How I fell in love with music
SAM MATHE
Skylarks
THOKOZANI MHLAMBI
Early Sound Recordings in Africa: Challenges for Future Scholarship
MARIO PISSARRA
Everywhere but nowhere: reflections on DV8 magazine
DEREK DAVEY
Live Jimi Presley 1990-1995
HERMAN LATEGAN
Pentimento
ARGITEKBEKKE
AFRIKAAPS compIete script deel 3
feedback
PHILLIPPA YAA DE VILLIERS
An urgency to action
PABLO VAN WETTEN
Sort of a ramble
the selektah
PONE MASHIANGWAKO
Artists' Prayer - A Tribute to Motlhabane Mashiangwako
hotlynx
shopping
SHOPPING
Purchase or listen
contributors
the back page
MICHAEL TAUSSIG
Unpacking My Library: An Experiment in the Technique of Awakening
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    #04
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STELARC & MAURIZIO LAZZARATO

Parasite: A Government of Signs

The machinic register of the semiotic production of Capital operates on the basis of a-signifying semiotics that tune in directly to the body (to its affects, its desires, its emotions and perceptions) by means of signs. Instead of producing signification, these signs trigger an action, a reaction, a behaviour, an attitude, a posture. These semiotics have no meaning, but set things in motion, activate them. Money, television, science, music, etc. can function as sign production machines, which have a direct, unmediated impact on the real and on the body without being routed through a signification or a representation.

The cycle of fear, anxiety or panic penetrating the atmosphere and tonality in which our “surveillance societies” are steeped are triggered by sign machines; these machines appeal not to the consciousness, but to the nervous system, the affects, the emotions. The symbolic semiotics of the body, instead of being centred on language, are as such activity routed through the industrial, machinic, non-human production of images, sounds, words, intensities, movements, rhythms, etc.

One needs to remember that for Deleuze and Guattari these a-signifying systems of signs were very much material notions of productivity, not to be confused with the abstract representationalism of the signifying semiotics. His main point is that the Left for the most part since the 60’s has missed the boat and dealt with the representationalism dynamics of capital rather than its base materialist a-signifying semiotics:

The importance of a-signifying semiotics (money, machinic devices for the production of images, sounds, words, signs, equations, scientific formulae, music, etc.) and the role they play needs to be emphasized. They are ignored by most linguistic and political theories even though they constitute the pivotal point of new forms of capitalist government.

In fact Guattari has no qualms in saying that most Leftist thought in the “contemporary political and linguistic theories that refer either directly or indirectly to the polis and/or to the theatre, place us in a pre-capitalist situation”. In other words most Leftist thought is retrograde rather than innovative, it situates us in a dead world of representationalist mirrors that have nothing to say to the ongoing dilemmas of financial capitalism.

As Guattari suggests the technologies that we use and encompass every waking and sleeping moment of our lives are reformatting our subjectivations continuously, controlling and dominating our affective and representational systems: what many term the InfoSphere of Capital as an alien entity that surrounds us on all sides as a ubiquitous and invisible network of relations that have captured our physical, emotional, and mental existence. He asks: “how do we escape these relationships of domination and how do we develop practices of freedom and processes of individual and collective subjectivation using these same technologies?”

Translated by Mary O’Neill
first published here:

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