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Untitled review of THE CITIZEN and the making of City, ed. Peter Robinson (Bloodaxe)
Get PDFUntitled review of THE CITIZEN and the making of City, ed. Peter Robinson (Bloodaxe
Grime, gangs and the perpetuation of stereotypes by sportswear brands in the United Kingdom
Get PDFSportswear, particularly Nike, has been a fundamental component of the aesthetic of grime since the genre emerged in the United Kingdom in the early 2000s. Whilst grime is primarily known as a genre of electronic music, it can be seen as a multi-faceted creative practice allowing marginalized communities to articulate their antipathy towards existing sociopolitical mores, whilst simultaneously offering alternative sources of income, skills, cohesion and hope. Grime’s aesthetic intersects with that of gang culture in several areas including through sportswear. As grime has grown economically brands have noticed – resulting in various collaborations including the 2018 Nike ‘Nothing Beats a Londoner’ campaign with grime artist Skepta. This article sets out to evaluate this advert and argues that through this collaboration Nike has perpetuated racial stereotyping via culturally appropriating grime culture. In doing so, authentic grime artists have been employed to give the advert greater authenticity, staged in the city that birthed grime. This cultural appropriation has resulted in the perpetuation of dangerous Black male stereotypes, utilizing this to boost sales for the world’s largest sport corporation, in stark contrast to the founding principles of grime
‘Chance Meeting: disembodied voices in the work of Nurse With Wound and Cabaret Voltaire’
Get PDFWhilst '[t]he collections of Val-de-Grâce [hospital] proposed a grammar of the human body that parsed the human form into pieces that could be manipulated for aesthetic purposes just as words and parts of speech were mobilized in the process of poetic construction.’ (Lyford, 2000, 51), ‘[t]he first association we make [...]with a voice is its source – the existence of a physical body. However, a characteristic of voice is its ephemerality; as soon as a voice is uttered, it disappears with that moment in time. Therefore, the existence of voice always creates a certain level of illusion […]’ (Li and Lai, 2013, 351).
‘Steve Stapleton’s haunted tape-loop collages infect the subconscious before dissolving like nightmares. A painter first, Stapleton’s greatest inspirations are Dada and surrealism. Like Dalí, he draws directly from dreams, and his ability to sublimate an everyday object into a new form is reminiscent of Magritte’s hypnotically impossible images and Duchamp’s absurd readymade sculptures’ (Bowe, 2018); ‘[l]ike his dadaist heroes, Stapleton makes arresting sequences out of utter chaos’ (Linhardt, 2006), ‘[m]apping hypnagogic dream states via disembodied ghost voices, detourned easy listening and what sounds like cattle being flayed’. (Keenan, 2013/2016, 89)
Using quotation, juxtaposition, collage and remix, Rupert Loydell will evoke, mirror and explore the collaged and cut-up music and video of Nurse With Wound and Cabaret Voltaire, and the sampled voices therein.
Rupert Loydell: Why is cut up such a great tool? […]
Stephen Mallinder: Perhaps it’s because like energy nothing is really created, nothing is lost and everything becomes transformed. Everything in essence is a remix, a recontext.
(in Loydell, 2018, 97
from When We Were There (1)
Get PDFWhen We Were There is a collaborative sequence of short prose-poem haibun whose subject is ostensibly the 40 cities of their titles. Unlike most gazetteers, however, they are not about the architecture, geography or history of a place but are personal responses which implicitly consider how we relate to and interpret the places we visit, remember, travel through or around.
Axon will publish a selection of work from our collaborative gazetteer + a contextualising short essay
Vicissitudes and Their Inscriptions
Get PDFThe first part of this paper will examine Freud’s implicit proposition that psychoanalysis comprises a complex articulation of history in that symptoms are noted and inscribed as consequential, present indicators of causal instincts which have been variously, “fatefully” re-routed. For Freud, instincts always carry with them changes, fluctuations, mutabilities, translated into English as “Vicissitudes.” The sequentially performative character of the Instinct, as conjoined with the Vicissitude, articulates a historical trajectory of the Subject, and also suggests the historiographical operation of the psychoanalyst. Freud’s defensive presentation of the inaugural case study, the “broken fragment” of Dora and her hysteria, will be considered in the second part of this essay, reading Freud’s ambivalence towards his own historiographic operation, and his ambivalence serves here as an index to the more general ambivalent nature of historiography as outlined by De Certeau
Looking down the wrong end of a telescope
Get PDFAn article about the UK's Christian music and arts subculture in the 1970s and 1980s
Back On The Road Again
Get PDFA book review of Blood, Sweat & Chrome: the Wild and True Story of Mad Max: Fury Road, Kyle Buchanan (hbck, £20, William Morrow
Wish You Were Here?
Get PDFA book review of Ugly Beauty. Jazz in the 21st Century, Phil Freeman (£16.99, 250pp, Zero Books
