i think the 'parasitism' is a reflection of the lack of regulations etc. If a landlord needs to keep remortgaging and extracting all equity out of the asset, the tenant bears the brunt even more so in this current high interest rate environment. Whereby the landlord should just sell up, but they are not so making an already scarce market impossible to enter exploiting tenants.

its not good for society either! a lack of housing erodes at the social & community structure creating disadvantages for people

be interesed to hear an update on this 2 yrs on, with closed high streets shops, families crammed into bedsits, and rents higher than the average salary....its all a mess :/ who's winning???

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Ambient Hardcore

Nazanin Noori - AMBIENTHARDCORE 001

“Sonic Animism" is a site-determined body and sound performance that investigates the state of the sentient-being on the non-human agency brought by technological sonic happenings.

The framework of the performance is an artificial environmental cycle system where each element incorporates with each other in a dynamic process. It permits micro level of properties evolve to novel integrated wholes

With this performance, Yang aims to blur the binary separation between the “objective existence” and the “subjective experience”. He transforms the hierarchic relationship between man and the man-made preconception of machines, matters and physical phenomena into a coexistence of self-reflections within one another.
credits
releases September 9, 2022

Recorded & presented by
M3 festival & SPA event series

Special thanks to Antonin Brida & Petr Dlouhy, Matouš Lipus

Cover art photography by Aloïs Yang
license
all rights reserved

Project Link and Video:
https://aloisyang.com/Sonic-Animism-Lava-Stone-Copper-Wire-Fire-Metal-a-Wave-12-Feedback

Sonic Animism: The Emergence (Dinzu Artefacts 2022  album preview)

For solo cello with curved bow. Composed in 2002.
Live performance by Anton Lukoszevieze at the Kintai Festival, Lithuania, on 20 August 2022.

Raimondas Rumsas

Object number: 97/254/1 

Alexandra Spence’s work explores earth’s material relationship with space via satellite disposal and debris, and the uncanny historic connections between electronic music and space exploration. Travelling through orbits, life cycles and transmissions, Stellar Nullius reconsiders the earth’s atmosphere, not as a liminal zone, but as a provisioning body whose wellbeing is deeply intertwined with our own. 

Alexandra Spence is a sound artist/musician based in Eora (Sydney). Through her practice Alexandra reimagines the intricate relationships between the listener, the object, and the surrounding environment as a kind of communion or conversation. She has presented her work worldwide and released music with Room40, Longform Editions, MoreMars (with MP Hopkins), Canti Magnetici, and Mappa. Find Alexandra on Instagram @alxandraspence and follow her work on Linktr.ee https://linktr.ee/alexandraspence.

With thanks to the interview subjects: Dr Annie Handmer, Professor Iver Cairns, Alan F Jones, Dr Sarah Reeves, Martin Gotfrit. Work title borrowed from Elizabeth Povinelli. 

Oscillations is presented by Jon Tjhia and sound design is by Erin Hyde (Sig Nu Gris).

ALEXANDRA SPENCE — STELLAR NULLIUS

Abby Lee Tee/Philip Sulidae, Troca Iônica

Mimo-Soto was recorded in London over two sessions in October and November, 2019

---

Ken Ikeda / buchla music easel
Daniel Kordik / modular synthesiser and korg sequencer SG-10

---

Mixed by Ken Ikeda and Daniel Kordik
Mastered by Daniel Kordik
Cover by Daniel Kordik

Earshots Recordings
Digital Editions
2020

Ken Ikeda   Daniel Kordík - Mimo - Soto - 04 D

"Soulcaster" is the third solo record by Brooklyn-based composer/performer Joanna Mattrey. Following Live in Accord and various Notice Recordings-curated performances in the Hudson Valley, this album is a further development in our years-long friendship. With "Soulcaster", Mattrey scrapes, scratches, and wails on viola, prepared viola, and a tromba marina, built by Webb Crawford. Mattrey’s love of unique and unusual sounds has inspired her to alter the pure tone of the viola through preparations with styrofoam, plastic toys, chains, and other objects. But the newest sounds in her arsenal come from the tromba marina, which has one primary playing string and thirteen sympathetic strings. Rather than gently coaxing out the harmonics, as the historical playing style suggests, Mattrey employs a raucous and roaring approach.

The title, "Soulcaster", is borrowed from Brandon Sanderson’s book series, "The Stormlight Archive". In the fantasy series, a soulcaster is an instrument that transforms one object or life form into another. Mattrey’s practice connects heavily to the idea of transformation. She uses preparations and objects not only to create new sounds from her instruments, but to embrace the unknown. No matter how many times the same object has been used, depending on the vibrations on a given day, the preparations might bring out totally different sounds. This randomness creates a joyful challenge for Mattrey, who believes that especially during improvisation, music has its own life that activates and guides the sound forward. Mattrey surrenders to this energetic line of sound over the eleven tracks featured on this tape.

NTR076 - Joanna Mattrey - Soulcaster - [Sing Out]

a single pass drone with just the 4ms Company's Ensemble Oscillator.

EnOsc Drone

https://nickashwood1.bandcamp.com/album/inside-the-body-of-a-wave

tones coalesce into a wash of colour exchanges, that shift, swell and absorb into one another, creating a wave that is ever-changing. When listening I hope for the listener to hear these small waves and exchanges coming together to create a larger meaning. 

Buchla 200e 
self made reed organ

inside the body of a wave

This episode was originally released for Death Panel patrons on October 16th 2023. We are re-releasing it today, alongside a new transcript (with links to referenced material), because of news of an inadequate four-day "humanitarian pause" that fails to meet demands to stop the genocide and to free Palestine, and because many of Rasha's observations from a few weeks ago have now come to pass. We'll be back with a new episode Monday in the patron feed.

Full transcript: https://www.deathpanel.net/transcripts/refusing-genocide-palestine

Original episode description: Beatrice speaks with Rasha Abdulhadi about how to stand in solidarity with Palestinians in this moment, the importance of refusing the idea that the genocide of Palestinians is inevitable, and how the language we use to resist the colonial project can sometimes fail to meet the scale of our demands.

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Death Panel

Death Panel 468 Refusing Genocide w/ Rasha Abdulhadi

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Refusing Genocide w/ Rasha Abdulhadi

Brett Christophers joins PTO to talk about his new book, Rentier Capitalism: Who Owns the Economy, and Who Pays for It? We chatted about the extraordinary dominance of monopolistic rent-seeking in the UK economy, why the concept of rentierisation is more useful and accurate than the notion of financialisation when talking about the trajectory of the UK and world economies, and we also talked about how and why entrepreneurialism and competitiveness are values that are taken up far more by ordinary people in the labour market than by UK business.

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#103 Rentier Capitalism: Who Owns the Economy, and Who Pays for It? w/ Brett Christophers

A podcast on radical politics, critical theory, and history. Hosted by Alex Doherty.

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Contact: politicstheoryother@gmail.com

#103 Rentier Capitalism: Who Owns the Economy, and Who Pays for It? w/ Brett Christophers

Politics Theory Other

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