How Aphex Twin Spurned the 90s Dance Mainstream (“Windowlicker”) | New British Canon.
For most of the 90s, Aphex Twin ran counter to what was happening in mainstream dance music. He was messing with low-key ambience during the forceful Eurodance of “Rhythm is a Dancer.” Moved to harsh industrial noise as Europe was smitten by the dreamy trance of Robert Miles’ “Children.” And when Prodigy and Chemical Brothers ruled the roost, Aphex Twin was attempting to rupture drum and bass with rapid stuttered software-programmed beats.
The Aphex Twin story is similarly antagonistic, filled with fabrication, half-truths and provocation pried from the man himself. Did he own a tank, live in a bank and do a DJ set using solely sandpaper and a food mixer? Quite possibly, but picking through everything he’s said for the presence of truth is a foolish exercise. The legend is more fun than the bedroom-based music geek reality. This is New British Canon and this is the story of “Windowlicker.”
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Every soul is engaged in a great work-the labor of personal liberation from the state of ignorance. The world is a great prison; its bars are the Unknown.
And each is a prisoner until, at last, he earns the right to tear these bars from their moldering sockets, and pass, illuminated and inspired into the darkness, which becomes lighted by that presence.
Alexey Egorov, Yakutsk, Russian Federation.
The true Mason is not creed-bound. He realizes with the divine illumination of his lodge that as Mason his religion must be universal: Christ, Buddha or Mohammed, the name means little, for he recognizes only the light and not the bearer. He worships at every shrine, bows before every altar, whether in temple, mosque or cathedral, realizing with his truer understanding the oneness of all spiritual truth.
All true Masons know that they only are heathen who, having great ideals, do not live up to them.
They know that all religions are but one story told in divers ways for peoples whose ideals differ but whose great purpose is in harmony with Masonic ideals. North, east, south and west stretch the diversities of human thought, and while the ideals of man apparently differ, when all is said and the crystallization of form with its false concepts is swept away, one basic truth remains: all existing things are Temple Builders, laboring for a single end. No true Mason can be narrow, for his Lodge is the divine expression of all broadness. There is no place for little minds in a great work.
We can only escape from the world by outgrowing the world. Death may take man out of the world but only wisdom can take the world out of the man. As long as the human being is obsessed by worldliness, he will suffer from the Karmic consequences of false allegiances. When however, worldliness is transmuted into Spiritual Integrity he is free, even though he still dwells physically among worldly things.
Jameson Nathan Jones + Jeremy Cunningham + Moodymann + Red Axes.
The six declarations laid the foundation for the wider project of surveillance capitalism and its original sin of dispossession. They must be defended at any cost because each declaration builds on the one before it. If one falls, they all fall:
• We claim human experience as raw material free for the taking. On the basis of this claim, we can ignore considerations of individuals’ rights, interests, awareness, or comprehension.
• On the basis of our claim, we assert the right to take an individual’s experience for translation into behavioral data.
• Our right to take, based on our claim of free raw material, confers the right to own the behavioral data derived from human experience.
• Our rights to take and to own confer the right to know what the data disclose.
• Our rights to take, to own, and to know confer the right to decide how we use our knowledge.
• Our rights to take, to own, to know, and to decide confer our rights to the conditions that preserve our rights to take, to own, to know, and to decide. Thus, the age of surveillance capitalism was inaugurated with six declarations that defined it as an age of conquest.
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