Radio JUJU #3: Andante (Space/Place edition*)

18 May 2019, 8pm
Inigo Wilkins

Rib is pleased to present BRUD ‘s third episode of Radio JUJU, Andante following Gerriet Krishna Sharma’s Moderato, featuring philosopher, theorist, and writer Inigo Wilkins.

In Moderato Sharma focused on Collective Listening; in Andante Wilkins will speak on Psychedelic Listening: A Synthetic Philosophy of Contemporary Audition.

“Psychedelic Listening” refers to the self-realization of auditory cognition: making the operations of listening manifest and open to transformation. This is as much about the artifactual elaboration of sound technologies as it is the social-interactive elaboration of auditory meaning.

We’ll see how contemporary accounts of auditory perception draw on recent work in machine learning to describe conscious experience as an online hallucination or generative model supported by processes of analysis and synthesis within a hierarchically nested structure of Bayesian induction, and then describe how the properly trans-umweltic and horotic character of human auditory synthesis is way weirder than the surprisal minimising dynamics of predictive processing or the apophenic deep dreams of AI.

pictured: Inigo Wilkins during Regenerative Feedback 2018, courtesy ISSUE Project Room, credit: Cameron Kelly

* Space/Place edition:

During Moderato, BRUD (channeled through Benevolent Dictator Aditya Mandayam) and Paul Elliman (organiser of De Fluyt en de Hoi) met for the first time. An informal joining akin to a shared presence between Radio JUJU and De Fluyt en de Hoi was agreed upon.

During the conversation between Mandayam and Elliman BRUD suggested calling this mind-meld The Show and the Show, a reference to China Mieville’s The City and the City; two temporal events sharing the same space at the same time.

BRUD (channeled by Aditya Mandayam):
The City and the City is set in two separate cities that occupy the same space simultaneously. A geographical space that citizens of each city are legally enforced to perceive as two different places. This separation is emphasised by the style of clothing, architecture, gait, and the way denizens of each city generally carry themselves. Residents of the cities are taught from childhood to recognise things belonging to the other city without actually seeing them, at the same time the entire population of one city must dutifully “unsee” every detail of the other – even if they are an inch away. Perhaps we could join forces as The Show and the Show.

Paul Elliman:
I’ve never liked the word Show unless there’s a punk band playing. That’s a show. I believe I’m still loosely part of a group called ‘artists who don’t do shows’. We were never dogmatic about it but just wanted to register as equally valid the idea that artists don’t all want to do shows. What about a name that doesn’t follow Melville’s title so closely? Considering other possible options I thought (as I too often do) of Sun Ra’s Space is the Place. Don’t each of those terms more successfully address the kinds of ground we are attempting to bring together? The spaceness or space exploring nature of JUJU and the placeness (or place exploring nature) of the De Fluyt en de Hoi? Or is something like The Place and The Space (or the space and the place, or even the space in the place etc)… too Sun Ra-centric? They say Sun Ra never played in Charlois, Rotterdam, but it may not be true…

BRUD (Aditya Mandayam):
Paul, we hear you regarding artists who don’t do shows. BRUD itself is an attempt at moving away from the “solo” / “group” / “retrospective” gestalts that contemporary art has ossified into, and more towards a nebulousness, an atmosphere. BRUD is globular, in the cosmological sense. Our choice of the word “show” was deliberate—of sheen and gloss, and of glossing over—so common in art—a gloss is twisted unseeing after all. I’m happy to reword our mutual mind-meld. A couple of days ago we were in a meeting for Brud’s upcoming satellite launch—we’re calling it the Ilinx, after Roger Caillois—and we were told it was “Cosmonautics Day”. We had no idea, right while I was speaking of placing white cubesats in space. It was serendipitous, and serendipity is what brought us to Rib (literally, “serendip” being Sanskrit for “Golden Island”, or “Sri Lanka”).

I am a bit puzzled with BRUD’s references to Caillois and Mieville, both authors that Paul mentioned to me last year, before meeting BRUD. Is this a coincidence? Or is it an artificial serendipity intelligence at work? Space/Place is very good.

Contributors Radio JUJU #111

Inigo Wilkins took his masters in Sonic Culture at the University of East London, and completed his PhD in Cultural Studies at Goldsmiths, University of London in 2016. The title of his thesis was Irreversible Noise: The Rationalization of Randomness and the Fetishization of Indeterminacy, which he is now working on for a forthcoming publication by Urbanomic. He is a co-director of Glass Bead.

Brud are a Cult of the Eye. Often mistaken for a collective pseudonym or a religious sect, Brud are, in fact, an assemblage or framework of people, machines, ideas, and objects circling the Camera Obscura. Each iteration, exhibition, happening, or show is a new Brud configuration. Brud’s artwork consists of multiple intricate and overlapping automata that unfold over varying scales of space and time. Employing linguistic and musicological methods, Brud are known for their formally diverse, highly polymorphic, and erudite practice.
Brud meanders between the Screen, and the Stage. The goal of Brud is to replace Brud with better Brud. Recent exhibitions include CAC Vilnius, Art in General, New York, Kunstverein Munich, and Futura, Prague.

Paul Elliman (1961, UK) is an artist based in London. His work follows language through many of its social and technological guises, where typography, human voice and bodily gestures emerge as part of a direct correspondence with other visible forms and sounds of the city. His work has been exhibited internationally in many solo and group exhibitions, including Century City, the inaugural exhibition for Tate Modern, London, UK (2001), Unmonumental at the New Museum, New York, USA (2008); Ecstatic Alphabets at MoMA, New York, USA (2012) Objectif Antwerp (2014); KW Institute for Contemporary Art, Berlin, (2017); and the Liverpool Biennial (2018).