Can we forget to remember?

The conversation of the internet as an alternate form of consciousness has, not ironically, hastily progressed from a contentious question of whether it is a possible evolution of the human race to whether it is the best evolution for the human being. Accepting the inevitable assistance of our personalized technology as machinable memory and moving up the intellectual hierarchy to become a being of pure executive function is the counter culture decision du jour.

As a post-human I seek to reconceive the human. Therefore, I accept the current digital transfer aforementioned as part of my emergent ontology. However, in congruence with this lack of singularity in being resides a lack of singularity in perspective and my critical examination of this existence wearily pulls against the separation of the primitive “memory brain” from the advanced “executive brain”.

Understanding the brain as an organ of geographically separate processing related in function by connectedness, it is a significant leap over an unknown knowledge gap to accept that severing the connections won’t have an effect on function. An academic grievance with my depiction of the memory transfer as a break as opposed to an extension is not unwarranted but not addressed in this discourse abandoned for a much more curious divergence.

Understanding the “growth” of the brain not as an increase in the number or power of areas of processing but as an increase in the number and power of connections the investigation again polarizes. Logically following this understanding, elimination of the burden of memory from the brain would not allow the areas designated to executive function to increase in size and power. The frontal cortex would remain intact, unchanged in function with the same localized limits. When it comes to processing elimination is loss without the chance for redistribution of means and this can’t be argued.

But what if this transference of memory is looked at not as an elimination but as a separation. Does the separation of the burden of memory free the brain of unnecessary and perhaps counterproductive neural loops, in essence allowing better distribution of working connections and therefore enhanced functioning? Furthermore, does this enucleation of the hippocampus out of the skull and into the ether dissociate the channel of connectedness into a field of exponential dimensions making extinct the vestigial cord of the neuron in exchange for the developed cloud of the internet?

Under this postulate function has improved. It has evolved. At this point in the discourse we have aligned ourselves with the present. The tension within our existence still coupling the human to the posthuman equal to the tension within our brains coupling the primitive to the advanced stems from the uncertainty as to whether the frontal cortex, limited in its nature, can keep up with the new demand of memory as an alternate consciousness, unlimited in its connectedness.

PRIDE
ok I hate being serious about things ever but I just got a message that scares me and because for some weird reason girls look up to me, I think I should probably address this awkward lame shit even though I’m not goin to post it because it wasn’t anonymous and yeah
the way I look in the Orion’s Belt video and a few other videos (the tumblr closet one, etc) - that isn’t good. the reason I don’t look like that anymore is because I was dying…my organs were failing, bad stuff was goin on with my body. it was definitely a cool time of my life because I was always flyin all around for shows and going to London and meeting with labels and stuff like that, and I was told that if I didn’t gain weight I was going to die because my body couldnt function and I was going to be forcibly placed in an in-patient treatment facility.
naturally I took my priorities into consideration and realized that my dreams have always been to 1. fall in love and be happily ever after with a cool smart person who treats me like a cute puppy princess, 2. make a living by trolling thefuck out of millions of people at once, and 3. party with Andrew WK. basically, up until that point I’d been treating myself like hitler treated gypsies in death camps, and if I didn’t fix it I would be giving up the opportunity to move to new York and achieve all my life goals at the age of 19. if u have ever played the sims 3, you know that I basically enabled testing cheats in real life.
so I gained a little bit of weight and it was the hardest and scariest thing I ever did and it’s still pretty awful for me but it’s worth it to be alive I guess, even if I keep almost fucking it up by accidentally doing ketamine. I don’t ever want to get another message asking for tips on how to get the bruised up/thin hair/no sex drive (U CAN’T GET WET WHEN UR MALNOURISHED IMNOT JOKING)/bad skin/sleep 15 hours a day body I had over the summer. if you want to look and feel like I did you’re a fucking moron and I will straight up tell you that forever
I am lucky to have a grown-up, stable, perfect human who loves me and helps me to remember that I am beautiful no matter what they say all the time. some people are not as lucky and if that’s the case, I am here for you. if you ever feel the urge to be a stupid bitch like I was, please message me and I will be lovingly mean to you and tellvyou all the disgusting things that happened to my body until you realize how dumb you are for wanting to have such a terrible life. xoxo kitty
:::> Kitty Pryde
:::> dacops

PRIDE

ok I hate being serious about things ever but I just got a message that scares me and because for some weird reason girls look up to me, I think I should probably address this awkward lame shit even though I’m not goin to post it because it wasn’t anonymous and yeah

the way I look in the Orion’s Belt video and a few other videos (the tumblr closet one, etc) - that isn’t good. the reason I don’t look like that anymore is because I was dying…my organs were failing, bad stuff was goin on with my body. it was definitely a cool time of my life because I was always flyin all around for shows and going to London and meeting with labels and stuff like that, and I was told that if I didn’t gain weight I was going to die because my body couldnt function and I was going to be forcibly placed in an in-patient treatment facility.

naturally I took my priorities into consideration and realized that my dreams have always been to 1. fall in love and be happily ever after with a cool smart person who treats me like a cute puppy princess, 2. make a living by trolling thefuck out of millions of people at once, and 3. party with Andrew WK. basically, up until that point I’d been treating myself like hitler treated gypsies in death camps, and if I didn’t fix it I would be giving up the opportunity to move to new York and achieve all my life goals at the age of 19. if u have ever played the sims 3, you know that I basically enabled testing cheats in real life.

so I gained a little bit of weight and it was the hardest and scariest thing I ever did and it’s still pretty awful for me but it’s worth it to be alive I guess, even if I keep almost fucking it up by accidentally doing ketamine. I don’t ever want to get another message asking for tips on how to get the bruised up/thin hair/no sex drive (U CAN’T GET WET WHEN UR MALNOURISHED IMNOT JOKING)/bad skin/sleep 15 hours a day body I had over the summer. if you want to look and feel like I did you’re a fucking moron and I will straight up tell you that forever

I am lucky to have a grown-up, stable, perfect human who loves me and helps me to remember that I am beautiful no matter what they say all the time. some people are not as lucky and if that’s the case, I am here for you. if you ever feel the urge to be a stupid bitch like I was, please message me and I will be lovingly mean to you and tellvyou all the disgusting things that happened to my body until you realize how dumb you are for wanting to have such a terrible life. xoxo kitty

:::> Kitty Pryde

:::> dacops

Hyperrelational Aesthetics
For most artists today, the laptop and phone have already supplanted the studio as primary sites of production. Early signs of this shift were evident in what became known as relational aesthetics, which, in retrospect, seems wrongly defined as a practice in which communal experience became the medium. It is more properly understood, rather, as a capitalist-realist adaptation of art to the experience economy, obviously, but also to the new productive imperative to go mobile, as a body and a practice. In other words, community declared itself a medium at the very moment that it was laying itself open to displacements it could never survive. Meanwhile, exhibitions were planned on laptops, then dragged and dropped into institutions. Work took a discursive turn, meaning it was now efficiently distributable on a global scale. In the mid-1990s, the figure of the artist, too, seemed to undergo a decisive mutation: The Margiela-clad PowerBook user was more nomadic and adaptive than his antecedents, smoother and more agreeable, better organized and more instantly connected with other members of the burgeoning creative class that had emerged on the front lines of economic deregulation. The contemporary artist now functioned as a sort of lubricant, as both a tourist and a travel agent of art, following the newly liberated flows of capital while seeming always to be just temping within the nonstop tempo of increasingly flexible, dematerialized projects, always just passing through. This was all vaguely political, too, in a Negrist sort of way that promoted the emancipatory possibilities of connection and communication, linking the new speed of culture to the “convivial” spirit of everything relational. The mutation of the artist continued to follow its irrevocable logic until we eventually arrived at the fully wireless, fully precarious, Adderall-enhanced, manic-depressive, post- or hyperrelational figure who is more networked than ever but who presently exhibits signs of panic and disgust with a speed of connection that we can no longer either choose or escape. Hyperrelational aesthetics emerged between 9/11 and the credit crisis and so can be squarely situated in relation to the collapse of the neoliberal economy, or more accurately to the situation of its drawn-out living death, since neoliberalism continues to provide both the cause and the only available cure for its own epic failure.
:::> ARTFORUM
:::> Brad Troemel

Hyperrelational Aesthetics

For most artists today, the laptop and phone have already supplanted the studio as primary sites of production. Early signs of this shift were evident in what became known as relational aesthetics, which, in retrospect, seems wrongly defined as a practice in which communal experience became the medium. It is more properly understood, rather, as a capitalist-realist adaptation of art to the experience economy, obviously, but also to the new productive imperative to go mobile, as a body and a practice. In other words, community declared itself a medium at the very moment that it was laying itself open to displacements it could never survive. Meanwhile, exhibitions were planned on laptops, then dragged and dropped into institutions. Work took a discursive turn, meaning it was now efficiently distributable on a global scale. In the mid-1990s, the figure of the artist, too, seemed to undergo a decisive mutation: The Margiela-clad PowerBook user was more nomadic and adaptive than his antecedents, smoother and more agreeable, better organized and more instantly connected with other members of the burgeoning creative class that had emerged on the front lines of economic deregulation. The contemporary artist now functioned as a sort of lubricant, as both a tourist and a travel agent of art, following the newly liberated flows of capital while seeming always to be just temping within the nonstop tempo of increasingly flexible, dematerialized projects, always just passing through. This was all vaguely political, too, in a Negrist sort of way that promoted the emancipatory possibilities of connection and communication, linking the new speed of culture to the “convivial” spirit of everything relational. The mutation of the artist continued to follow its irrevocable logic until we eventually arrived at the fully wireless, fully precarious, Adderall-enhanced, manic-depressive, post- or hyperrelational figure who is more networked than ever but who presently exhibits signs of panic and disgust with a speed of connection that we can no longer either choose or escape. Hyperrelational aesthetics emerged between 9/11 and the credit crisis and so can be squarely situated in relation to the collapse of the neoliberal economy, or more accurately to the situation of its drawn-out living death, since neoliberalism continues to provide both the cause and the only available cure for its own epic failure.

:::> ARTFORUM

:::> Brad Troemel

PODCAST

The continuing effort to better manage pathological music consumption was disabled by the automatic content protection system. While this delayed the ongoing expression of our compulsion, in the end it was the motivation for completing an idea sparked a decade prior. The DVD Mixtape. Inspired by TV Carnage and the pregame ritual of muted television combined with CD carousels, dac operations has been attempting to provide the party going masses with an audio/visual experience to accompany the typical night out. However it was never completed and now we live in the internet age and the concept has moved past the tangible and into the ether.

This petty censorship marks the turning point in the dacops soundtrack experience as we move from the stagnant aural streaming to the beginnings of interactive dacops radio. The November PODCAST is the preliminary framework for the future stand-alone, curated, audio/visual interactive website which will house every dacops track streaming 24/7 and allow all users to add their interpretive video storyboard to the music.

Again this mix spotlights the songs, new and old, that were in heavy rotation over here at dac operations and is set to the visual interpretation by hana marie newman. This continuous mix is less about the dj skills and more just a snippet of radio time from the past month of the dacops soundtrack.

Tracklist
——————————————————————————————

Grimes - genesis
Adam F - circles
Adam F - circles[eats everything rework]
Simian Mobile Disco - everyday
Zombie Disco Squad - ibiza hooligan
Santigold - the keepers[duke dumont remix]
Urulu - 1991[original mix]
A$AP Rocky feat. 2 Chainz, Drake - fuckin’ problems
AV - strip
Tyga feat. Lil Wayne - faded
Eli Escobar - hevenly break
Quakers feat. Guilty Simpson, MED - fitta happier
Pictureplane - goth star
John Maus - bennington
Pale - too much
Lana Del Rey - born to die[clams casino remix]
Miguel - adorn

PODCAST 0017 | October 2012

PODCAST

The continuing effort to better manage pathological music consumption is a dirty sport. Sifting through anything and anyone, the compulsion is blind to new and old, to genre and format, and to taste becoming a sieve in which only repetition can save a track from sifting away into the fog of heard and not listened.

This mix continues the driving pulse from the live summer sets, yet that true essence of the dacops podcast seems to be creeping back into the rotation. Sleepy soul and surprising rarities speckle this hardbody finish as the podcast settles back into equilibrium. This is a transition. Welcome to the big here.

Again this mix spotlights the songs, new and old, that were in heavy rotation over here at dac operations. This continuous mix is less about the dj skills and more just a snippet of radio time from the past month of the dacops soundtrack.

TRACKLIST | October 2012

———————————————————————————————————

 Plaitum - geisha

Nicolas Jaar feat. Scout LaRue - with just one glance

Eliphino - more than me

Rudimental feat. MNEK & Syron - spoons

Four Tet - locked

Daphni - ye ye

Peaches - burst! [dacops trapsition]

Hudson Mohawke - furnace loop

Kitty Pryde - okay cupid

Disclosure - tenderly [tom wrecks remix]

Brenmar – temperature rising

XXYYXX - about you

Kendrick Lamar - swimming pools [drank]

Rick Ross feat. Jay-Z & Dr. Dre - 3 kings

Ariel Pink’s Haunted Graffiti - baby

PODCAST 0016 | September 2012

PODCAST

The continuing effort to better manage pathological music consumption sacrificed the structure of the studio sound for the raw power of the live set in the summer of 2012. Touring the city, the obssesions strayed from curation of mood to managing expectation. Turning over the season dac operations is excited to bring the grit and energy from the performing space into the sphere of the soundtrack. Expect this month’s PODCAST to be hard, regurgitating the TRAP music phenomenon that has taken over the closing half of 2012, and fast, packaging an entire summer of bangers into a single set.

Again this mix spotlights the songs, new and old, that were in heavy rotation over here at dac operations. This continuous mix is less about the dj skills and more just a snippet of radio time from the past 3 months of the dacops soundtrack.

TRACKLIST | September 2012

———————————————————————————————————

Michna – wanted exotic

Wild Nothing X MDM – paradise fades away [dacops edit]

Jaques Greene – ready

2 Chainz feat. Drake – no lie [130-65 dirty]

TNGHT – goooo

Azealia Banks feat. Styles P – nathan

Waka Flacka Flame – rooster in my rari [a lovetrap remix]

Sun City – high [shazam remix]

Diplo feat Lazerdisk Party Sex – set it off

Steve Aoki & Anger Dimas feat. Iggy Azeala – beat down [original mix]

Travis Porter – wobble

Baauer – harlem shake

Nicki Minuwine – pony in the trap [quarters edit]

Balam Acab – ass pop

ETC! ETC! & Brillz feat. Whiskey Pete – Bueller

Purity Ring – obedear

Selebrities – night heat

:::> dacops

On or Off
I believe the artist is afraid of failure and in order to protect himself from that destiny he practices art in order to maintain complete control of his circumstances and consequences. Through art he is able to achieve total power. Life becomes a factor of imagination and creativity without bounds and therefore without stratification and judgment. The spirit is in control. The world must watch and either accept as truth or be on the defense.
The Master
:::> dacops

On or Off

I believe the artist is afraid of failure and in order to protect himself from that destiny he practices art in order to maintain complete control of his circumstances and consequences. Through art he is able to achieve total power. Life becomes a factor of imagination and creativity without bounds and therefore without stratification and judgment. The spirit is in control. The world must watch and either accept as truth or be on the defense.

The Master

:::> dacops

Radiohead | Kid A
I decided to walk in the rain. I wanted to feel isolated in this big city.  I wanted to stroll along the skyscrapers of midtown as if I was whirling through the red woods along route 1. And I did.  I waded my way to my new apartment through the monsoon that came so unexpectedly from the west last night. And as I reached home I thought about my time in Japan and how I would bath every night- time to think. So I put on something that captured the memory and scope of that feeling of pleasant isolation. Kid A. Is it not 2001? The crispy production and bold territories of the album suggest nothing but the future. I am reliving the changeover. When music became an experiment again. Something Post-. Something now. I drown inside myself.
LINK
:::> dacops

Radiohead | Kid A

I decided to walk in the rain. I wanted to feel isolated in this big city.  I wanted to stroll along the skyscrapers of midtown as if I was whirling through the red woods along route 1. And I did.  I waded my way to my new apartment through the monsoon that came so unexpectedly from the west last night. And as I reached home I thought about my time in Japan and how I would bath every night- time to think. So I put on something that captured the memory and scope of that feeling of pleasant isolation. Kid A. Is it not 2001? The crispy production and bold territories of the album suggest nothing but the future. I am reliving the changeover. When music became an experiment again. Something Post-. Something now. I drown inside myself.

LINK

:::> dacops

Four Tet | Pink
Back in the Berlin basement. No lights. Just sound and that strobe going off erratically letting you know that you are being devoured by the terror of the night. Pink has this raw pulsing core to it that links the tracks into a narrative of the motto : destruction advances creativity. And how does it destroy? Progression. This album is Prog. The tracks are driving pieces of minimalism. The stuttering bass is short with a heavy undercurrent leaving you only the tweaking static of the cold electronic melodies to bubble over into a frenzy. With Molly so ubiquitous in the party life right now this Futuristic basement effort from Four Tet should keep you involuted inside the neural loops of your satiety. 
LINK
:::> dacops

Four Tet | Pink

Back in the Berlin basement. No lights. Just sound and that strobe going off erratically letting you know that you are being devoured by the terror of the night. Pink has this raw pulsing core to it that links the tracks into a narrative of the motto : destruction advances creativity. And how does it destroy? Progression. This album is Prog. The tracks are driving pieces of minimalism. The stuttering bass is short with a heavy undercurrent leaving you only the tweaking static of the cold electronic melodies to bubble over into a frenzy. With Molly so ubiquitous in the party life right now this Futuristic basement effort from Four Tet should keep you involuted inside the neural loops of your satiety. 

LINK

:::> dacops

The Music Tapes | Mary’s Voice
Pulling together the sounds of so many incredible seasonal albums from my listening past The Music Tapes manages to score the mixtape to the mood of this transition from summer to fall. The orchestration is simple but diverse throughout each track. The sounds are visual mustering up the scenes from an imaginative indie film within your occipital cortex. And this is the strength of the album – it’s dynamic.  I keep going back to this, listening to this in its entirety almost 12 times in the past week. Mary’s Voice, sleep without losing time.
LINK
:::> dacops

The Music Tapes | Mary’s Voice


Pulling together the sounds of so many incredible seasonal albums from my listening past The Music Tapes manages to score the mixtape to the mood of this transition from summer to fall. The orchestration is simple but diverse throughout each track. The sounds are visual mustering up the scenes from an imaginative indie film within your occipital cortex. And this is the strength of the album – it’s dynamic.  I keep going back to this, listening to this in its entirety almost 12 times in the past week. Mary’s Voice, sleep without losing time.

LINK

:::> dacops

Zombie Disco Squad | Brains
The progression from blacked out DJ sets in the LES highlighted by remixes and edits of popular hipster bangers to a full album release of post 90s original dance material on Made To Play makes a DJ daddy come to tears. Brains is the culmination of Zombie Disco’s efforts over the years and can’t be more current in its production style and execution. Moving past their mixtape formula on ‘I wish I was black and gay in the 80s’ which experimented in esoteric house origins this current release is a hard hitting collection of HiNRG danceable house. Playing with big boy builds of today while simultaneously infusing the boner jam elements of the past the finished product is a classic addition to the growing collection of neo-90s house jams getting us all wet right now.





LINK
:::> dacops

Zombie Disco Squad | Brains


The progression from blacked out DJ sets in the LES highlighted by remixes and edits of popular hipster bangers to a full album release of post 90s original dance material on Made To Play makes a DJ daddy come to tears. Brains is the culmination of Zombie Disco’s efforts over the years and can’t be more current in its production style and execution. Moving past their mixtape formula on ‘I wish I was black and gay in the 80s’ which experimented in esoteric house origins this current release is a hard hitting collection of HiNRG danceable house. Playing with big boy builds of today while simultaneously infusing the boner jam elements of the past the finished product is a classic addition to the growing collection of neo-90s house jams getting us all wet right now.

LINK

:::> dacops

David Byrne & St. Vincent | Love This Giant
I wake up and its light out. She is above the eclipse to my morning sun. As my faded vision coalesces on her face I am inspired to put on something that might be the collaboration of her deepest interests: Talking Heads and Brooklyn Indie. Love This Giant is playful and bold with big orchestration and that familiar crooning that reminds me this is the house. The addition of St. Vincent’s soft female tones to the tribal post-RISD cacophony is a soothing baste for the album. Unable to follow a real progression the album remained an instant- a morning of my mind that will be lost in a dance ceremony.





LINK
:::> dacops

David Byrne & St. Vincent | Love This Giant


I wake up and its light out. She is above the eclipse to my morning sun. As my faded vision coalesces on her face I am inspired to put on something that might be the collaboration of her deepest interests: Talking Heads and Brooklyn Indie. Love This Giant is playful and bold with big orchestration and that familiar crooning that reminds me this is the house. The addition of St. Vincent’s soft female tones to the tribal post-RISD cacophony is a soothing baste for the album. Unable to follow a real progression the album remained an instant- a morning of my mind that will be lost in a dance ceremony.

LINK

:::> dacops

Grizzly Bear | Shields
The night is out. The fire is going.  The crackle of the coals adds enough to the night, but you must have more. The feeling is not complete without whiskey and the guitar. The ultimate camping soundtrack cannot be limited, but cannot be bold. Enter Grizzly Bear’s 4th album ‘Shields’. After touring with Tom Yorke and taking a substantial amount of time off they come back with the triumphant extension of the sound that you were left with at the end of Veckatamist. Much like those nights huddled on the boundary between chilling wind and steaming fire this album is an exercise in controlled chaos.
The overall sound is full with cohesive progression delivering the soundtrack to an ethereal memory. A new incarnation of the band as night and they are bound to the fire, flickering up with experimental hope yet remaining small. Simplicity as a small piece of perfection they extinguish leaving the bold for yet another time. 
LINK
:::> dacops

Grizzly Bear | Shields

The night is out. The fire is going.  The crackle of the coals adds enough to the night, but you must have more. The feeling is not complete without whiskey and the guitar. The ultimate camping soundtrack cannot be limited, but cannot be bold. Enter Grizzly Bear’s 4th album ‘Shields’. After touring with Tom Yorke and taking a substantial amount of time off they come back with the triumphant extension of the sound that you were left with at the end of Veckatamist. Much like those nights huddled on the boundary between chilling wind and steaming fire this album is an exercise in controlled chaos.

The overall sound is full with cohesive progression delivering the soundtrack to an ethereal memory. A new incarnation of the band as night and they are bound to the fire, flickering up with experimental hope yet remaining small. Simplicity as a small piece of perfection they extinguish leaving the bold for yet another time.

LINK

:::> dacops