Archive Stories

Many are the ways in which the perplexities caused by the indeterminancy of terminology can be perceived. There are probably just as many possibilities to interpret them. Additionally, zillions of approaches, known and unknown alike, can be thought of in an attempt to conjure up a meaningful, inspiring, exciting, interesting, logical, justifiable, tenable, understandable, beautiful, moral,  and /or comprehensible explanations, claims, arguments, descriptions, proofs, and / or statements about the puzzles such as: (a) The intricacies of the hardly explicable reflections of the sunbeam on a grain of sand and the glow spreading over the seashore; (b) The sinuous edges of certain architectonic specimens evoking the floating sound of saxophone; or, acute, robust minimalist lines of another type invoking a combination of an unadulterated chord reverberating from the solid guitar body and a disinterested, detached, alienated vocal disguising an emotional load; or, some plain windows and facades suggestive of anything but the stardust being dispersed from the keyboard of a century old piano; (c) A redemptive impact of dialectical architecture on the urban mind.

Colliding concepts and their meanings, or absence thereof, entail a further examination of the imagery inspired by the notions. The collision typically triggers a series of loops propagated from the meaning of samples in contact. Not only are the loops a manifestation of such communication, but they also create an additional layer of the interpretative potential that demonstrates a simple aspect of the everyday: the cyclicity of oscillations between auto-consuming and auto-generating discursive powers.

On How To Phunkie ReadWriteRemix (ØøøØ) shows dozens of examples  that trace the thematic from the infamous A Pangalactic Manifesto featuring a study of postcoital phobic demeanor of chronically depressive mammals and birds. The proverbially notorious narrative about the obscure colossus who happened to be suffering from the syndrome hides a symbolic level indicating an inclination towards a certain lifestyle since the time that the book looks at. The paradox is tracked through the examples archived both in the walls of the ancient suburban  factory buildings and in the Café Club Museum on the Beach whose cliffs bear witness to the numberless occasions of counterrites confronting nihilo-cannibalist raids. The comrades engaged in the resistance against robozomboid attacks are a gang of chancers, fellow-cyborgs, devotees of science, worshippers of aesthetics of boredom, admirers of steam engine verse, acolytes of powerhouse metaphor, disciples of enlightening allegory, followers of heavy duty syntax and light punctuation, a.k.a. The Abreville Kids.

Numerous studies signal the trajectory leading from modest assumptions towards a more clearly marked insight into the discovery achieved through team work of the world’s top grooviologists. The findings address the challenging phenomenon bringing to awareness the peculiar relationship between discourse and the everyday. Namely, the tendency towards refutation of a representational approach to discourse ended up in extremist championing of extralinguistic experiences. Right as they might be in divesting the everyday of the narrative, thereby preventing colonization of the former by the latter, they failed to acknowledge that it implied transferring onto the empirical level the content that belongs in storytelling, thereby allowing colonization in the opposite direction. Put differently, the other extreme was a scenario of the world being hijacked by the realm of letters. One pole on the scale of increments of discourse and the everyday provided humans with an unrealistic sense of omnipotence verging on divine power. The other reduced them to infinitely impotent robozombies. 

The glory of the dialectic is in showing either to be, in fact, impossible. The reason for this is that total control is an impossibility. A singular instance of the enigma is an attempt to purify art from any imperfection. That, as a rule, signifies a narcissistic delusion that magically sabotages itself, thereby revealing the imperfection of the artist and, at the same time, protecting one from somnambulism. This, however, by no means is to suggest that a reversal proves the opposite, i.e. one’s perfection. Nor is it to support the opinion that insisting on impurities ensures preservation of a human being. Finally, it certainly is not a claim in favor of the belief in the presumption that discourse is that what does all the miracle.