De Paul D. Miller AKA Dj Spooky de Sound Unbound...

There's always a rhythm to the space between things...

De Paul D. Miller AKA Dj Spooky de Sound Unbound...

"Civilization isolates all of us, ideologically and physically, from the source of all life-nature."

De Azadi (The new complexity) de Dj Spooky y Sussan Deyhim...

SHOW ME YOUR FACE

i crave
flowers and gardens

open your lips
i crave
the taste of honey

come out from
behind the clouds
i desire a sunny face

your voice echoed
saying “leave me alone”
i wish to hear your voice
again saying “leave me alone”

i swear this city without you
is a prison
i am dying to get out
to roam in deserts and mountains

i am tired of
flimsy friends and
submissive companions

i am blue hearing
nagging voices and meek cries
i desire loud music
drunken parties and
wild dances

one hand holding
a cup of wine
one hand caressing your hair
then dancing in orbital circle
that is what i yearn for

i can sing better than any nightingale
but because of
this city’s freaks
i seal my lips
while my heart weeps

yesterday the wisest man
holding a lit lantern
in daylight
was searching around town saying

i am tired of
all these beast and brutes
i seek
a true human

we have all looked
for one but
no one could be found
they said

yes he replied
but my search is
for the one
who cannot be found

De DJ Spooky Interview with Carlo Simula for his book MILLESUONI. OMAGGIO A DELEUZE E GUATTARI (Cronopio Edizioni)

"The idea of the "remix" is pretty trendy these days - as usual people tend to "script" over the multi-cultural links: the economics of "re-purposing," "outsourcing" and above all, of living in an "experience economy" - these are things that fuel African American culture, and it's active dissemination in all of the diaspora of Afro-Modernity. My take on Deleuze and Guattari is to apply a "logic of the particular" to the concept of contemporary art. Basically it's to say that software has undermined all of the categories of previous production models, and in turn, molded the "computational models" of how "cultural capital," as Pierre Bourdieu coined it, mirrors various kinds of production models in a world where "sampling" (mathematical and musical), has become the global language of urban youth culture. Eduoard Glissant, the Afro-Caribbean philosopher/linguist liked to call this "creolization" - I like to call it "the remix." Philosophy is basically a reflective activity. It always requires a surface to bounce off of. We don't exist in a cultural vacuum...Essentially, for me, music is a metaphor, a tool for reflection. We need to think of music as information, not simply as rhythms, but as codes for aesthetic translation between blurred categories that have slowly become more and more obsolete. For me, the Dj metaphor is about thinking around the concept of collage and its place in the everyday world of information, computational modelling, and conceptual art. All of them offer exits from the tired realms of Euro-centric philosophy into some kind of pan humanism. That's why I like Deleuze and Guattari's work. Other figures from the European aesthetic realm like Ludwig Feuerbach (who promoted the idea of "humanism" in his works of the mid 19th century), Spinoza, and Giordano Bruno's exploration of Semiotics are also influences, but the basic sense of "rhizomatic" thought - thinking in meshworks, in nets that extend to other nets - it's the driving force of my music and art. I think it's a great place to start thinking about a philosophy of "the remix." The "remix" is about certain kinds of polyphony - it's about making multiple rhythms work together, synchronized, cut, pasted, and collaged. That's the real "abstract machine"..."

De Neón fluido, sombras brillantes: La música de Iannis Xenakis de Dj Spooky::that subliminal kid aka Paul D Miller...

"La puesta en marcha mecánica de formas secuenciales y no-secuenciales de texto, la música como referente a otras zonas de la expresión humana, un compromiso con la cultura como archivo colectivo, asimetrías en el sonido en tanto se traduce a significantes culturales, metonimia auditiva, recursos electrónicos para componer y recorrer el sonido y una variedad de otras características vinculan las estructuras experimentales de composición de la vanguardia de la música clásica del siglo XX a la práctica del DJ. Por cierto, si lo vemos bajo esta óptica, la idiosincrasia de la cultura del DJ ha absorbido casi todo de los movimientos artísticos precedentes del siglo pasado."