Author Archives: d.perry

“Nature has always been and will always be my main teacher. I first learned to listen in nature. I love creating with analogue synthesizers because it allows humans to sculpt electricity which is a beautiful and powerful part of nature. I only think of instruments as breath that is in different containers or bodies – There are many different ways to breathe that communicate different emotions.”

“What came first, the music or the misery? People worry about kids playing with guns, or watching violent videos, that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands, literally thousands of songs about heartbreak, rejection, pain, misery and loss. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?”

From Arthur Mag:

OLD MAN BURROUGHS ON PRECISION WRITING (from Burroughs Live: The Collected Interviews of William S. Burroughs, 1960-1997):

“It’s a question of getting a sufficient degree of precision. If I really knew how to write, I could write something that someone would read and it would kill them.”

‘I‘ve written about love before. I’m not going to write about love again. Maybe this is selfish, maybe it is foolish. But I hope it will lead to nuance.

I’ll write about not-love-yet, maybe, about into-love. I want to write through it, to remain porous.

Or: “I’ll write about the process of becoming other: vibration, selection, recombination, recomposition” (Franco “Bifo” Berardi). Maybe then I can return to love.

…

“Possibility is content, potency is energy, and power is form”

…

“But now you are talking as if love were a consolation. Simone Weil warned otherwise. ‘Love is not consolation,’ she wrote. ‘It is light.’”

…

“like planting a flag on the moon after forty countries have landed there before you, or on a moon whose sole purpose is to host flags” (Maggie Nelson, 2011).

…

“I call power the selections (and the exclusions) that are implied in the structure of the present as a prescription: power is the selection and enforcement of one possibility among many, and simultaneously it is the exclusion (and invisibilization) of many other possibilities.”

…

“Sometimes you lie in a strange room, in a strange person’s home, and you feel yourself bending out of shape. Melting, touching something hot, something that warps you in drastic and probably irreversible ways you won’t get to take stock of until it’s too late.”

Excerpts (from https://www.tinymixtapes.com/features/lips-in-the-streetlights-pop-future-pop-bops)

‘Marker, who continually challenges his viewer, has provoked me to search the origin of “ornate” and I find that it comes from the Latin verb “to equip.”  It means, originally, well equipped; then later, adorned and elaborately embellished.  I remember that when I played the partitas of J. S. Bach, there came a point when the embellishments were so thoroughly learned and accomplished that they became, in themselves, only music:  that is, the notes being embellished and the embellishments upon those notes ceased belonging to separate categories, and there were no longer any embellishments at all.  To see adornment is always to presume the true “unadorned” nature of a thing.  Schivelbusch, for instance, notes “the typical nineteenth-century desire to disguise the industrial aspect of things by means of ornamentation.”’

‘I was inspired by the image which Ornette Coleman had at the beginning of his career: the image of the untrained “folk creature” as avant-gardiste.’

‘Now I know “new” is just an illusion. “New” is not my logic, it’s capitalism’s logic. “New” is a lie, actually. It’s not about possibility, it’s just killing the possibility. Capitalism’s culture is always the same: we are creating a new thing, we are discovering the possibilities of the world, of everything. But this discovery is actually to manage it, to name it, to fix it. After this, no more possibilities. Real possibility means you have to keep something in the unknown, in the mystery, in the chaos.’