A FRAGMENT[S] ON THE PROTOCOL OF NOISE and the Neo Baroque/
Nils is riding the first waves of non-human evolution with his ethnographic Protocols of Noise/ sound documents on the Post-Verbal Gap of the imagination of possible Informations/a retrospective digression into the future of Neo Baroque seriality within the intricate network of connections of his musak as Post Human/This is hard work/a certain density roams with the DogMAn apart from the pack/where exactly are we accelerating too?/As the originator of the NOW the Sentinal Beings are using the human capacity to produce desire qua desire as a source of energy to maintain Machinic integrity/Nils on the other hand is caught up with SubWay 52 the meaning of the re-membering past which never forgets but is contaminated by the act of recall/Nils composes his sounds under a strict discipline of self control and metaphorical denial/A didactic work of thought which denies the dialectic the deductive the argument/This is an admirable position to take/He attempts to give way to the sensations of the flow the agitation of the lack of a soporific message/rather interested in the medium it passes thru never to return to the same form again/What ineluctable technique Nils inspires/supererogatory fortuitous accidents of Ungestalt as in unformed prophetic imagination what he calls “the accidental”/ There is an excess of "exploitation" in this work which fascinates us here under the enterprise of enigmas obscurity/The noise of the engines of his synthesized instrumental machinery make sure that the work “arbiter macht [power] “as in free/acquires new meanings/dragged into the alien moment of unheimlichkiet/There are elements of the previous and the before in this passage of musak which suggests artificial contrivances on the part of the performer/and perhaps the recipient who is all ears /to seek an anti-aesthetic exegesis/the aesthetic of repetition present in this fragment strives towards perfection/This is another variant of the dream or the Game outside of what Deleuze calls the enterprise of death/The resurrected instance is always a reappraisal/ Nils is reminded of Bach’s Art of the Fugue which manipulated one main theme in a polyphonic cycle of 15 fugues/The Neo Baroque seeks out its opportunity to display its virtuosity/Do not loose sight of the allegorical emblem of the Corporate power that gave birth to the Sentinal Beings/in this case IBM and the Military Machinic [sic] /But this is where the co-incidence ends/There is no linguistic connection between the Machinic and the human/Vaunt the artificial contrivance of the text as signifier for there are no recognizable signifiers in the flow of the Machinic only the vitality of code as desire to swarm/Beware of the exhausted fascination with signs/of affections and affectations/ Allegories are to the realm of thoughts what ruins are in the arena of “things in themselves”/ Is it possible to assert the NOW with impunity?/HOW can it be explained within a no-space by hermeneutics?/after all we are at the limits of interpretation as there is no human absolute to transgress/Should there even be a question mark/How else can Nils musak be listened to within the NOW/Nils would like to refuse retroactive judgments of his Protocols of Noise in the sense that it is a War-Machine and lacks “entertainment” value/Nils seeks out a re-construction of the order of the human which is no longer the dominant paradigm of consciousness/ Vox on the other hand with her “Ethics of Damage” sounds played by /and with /as in playful/the GashGrils/are concerned with recognition in exclamation marks/Both are in the game of specifying the dynamics of their own semantics of sound/Vox as androgynous is outside the control of the [Phallic XX] which determines Nils compositions/Nils work lacks the dramatic uncertainty of the GashGrils improvisation/Nils fails to realize that it is his skills in music theory that circumvent his ability to sample and “riff” with his sounds/Nils fails in his assignment/He is a composer without a shadow/his sounds are one dimensional and fail to dissect the structural power [puissance] of the Screens and their Jargon of Ersatz/He fails to create a declaration of radical attack and falls into the decay of the reactionary/The Protocol of Noise is itself and not a weapon certainly not a war machine/The insomnia perpetrated by the Screens maintains its virulence in creating a constant state of wakefulness/He cannot subsume his rhetorical stance within the skitzophrenic deliriums of the illusions he has of creating a deadly weapon/But then we cannot hear his noise and must suspend judgment on its impact on the Screens/