Και για να ρίξω λίγο το αισθητικό επίπεδο και ν' ανεβάσω το επιστημολογικό -αλλά κυρίως για να αραδιάσω την εξαιρετική περιγραφή του Μ. Φούλερ:
the throat-scaring tortured roar of hardcore
What is hardcore? (1) Is it another "science," an abstract proving machine that governs the right to speak? (2) A science in the sense that all those who are allowed the capacity to practice it, who are hardcore and therefore need not speak about it but simply enact it, gain their ability to be hardcore by recognizing and invoking the epistemological, rhythmic, vocabulary modes by which it is made. This is the means of its dispersion, transport and eventual mutation, its means of connection with other operations. In this manner, hardcore, a meritocracy of sorts, is constitutionally open at certain scales within the wider dimensiions in which it operates. At the same time, it is because of the way in which all these stylistic and methodological elements are forged through multiscalar historical interactions with dynamics of social, aesthetic, and economic stratification and subjectivation -and demand that they be acknowledged as being so (3) (without falling into the trap of saying that is simply "about," or the "result of" those of class or race and so on)- that their self-determination functions. If subjectivation here is becoming at the scale of an individual, or of a social body, it can also be said to function as a filtering system, a generator of surplus value, and as a war machine of voices and beats.
(1) Some notes on "hardcore": Hardcore takes a number of routes. The name turns up in use for the most compelling areas of music (i.e., an initially US outcropping of punk beginning in the early '80s; a form of techno that introduced break-beats and accentuated its potential for "cheesy" sounds -this aspect is well covered by Reynolds in
Energy Flash) and also an approach to making music and being in life that transcends any specific area of music, such as the following sample: Q: What do you believe in? A: Hardcore..." Gunshot,
Patriot Games, Vinyl Solution, London, 1993.
(2) For one take of this process of inclusion, based on familiarity back in the day, see Oxide and Neutrino, "Up Middle Finger," on
Execute, Warner Music UK, 2001.
(3) See Paul Gilroy, "' ... To Be Real': The Dissident Forms of Black Expressive Culture," in Catherine Ugwu, ed.
Let's Get It On: The Politics of Black Performance, ICA and Bay Press, London, 1995, pp. 12-33.
Από το: Fuller, M., (2005)
Media Ecologies: Materialist Energies in Art and Technoculture. MIT Press; Cambridge, Massachusetts. p. 33.
Συγγνώμη για τις πολλές εγκυκλοπαιδικές πληροφορίες, αλλά νομίζω το είδος τις αξίζει.
Love or hate
