Friday, May 27, 2022

Just read the amazing essay: "False Passives" by Anna Badkhen. We all might be Climate Hostages, Climate Refugees without even knowing it.


Industry, climate change, extraction of resources, colonialism. social injustice. What's the connection?

     Industry, our technological life-style, our culture of convenience and comfort needs (infinite) resources extracted from (finite) locations appropriated by colonizers (foreigners) who displace native peoples (muting or destroying indigenous cultures) or removing them by genocide or enslavement (stripping them of identity, renaming them, mangling their psyches). Industry blossoms into poisonous world-engulfing culture of machines and exploitation and conformists. Indigenous people's lands are looted, infrastructures built up fall into neglect and the people, finding themselves in unliveable zones, begin to migrate to the nations of their former occupiers and exploiters, who, ironically, won't let them inside. 

 Anna Badkhen paints the pictures in depth.

https://emergencemagazine.org/essay/false-passives/?fbclid=IwAR21bVPCnZMiVqh8Yoc48xhDtdutwPQUEWYblDMEGbXCTChIa_lvUfrnoYw

     An excerpt from this very fine essay linking climate change, migration, geology, colonialism

  "The UN Environmental Migration Portal adds that “in the context of climate change, some populations might not be able to move due [to] lack of resources, disability or social reasons (e.g., gender issues), and other[s] might choose not to move due [to] cultural reasons, such as the ancestral links people have with their land.” Might not be able to or might choose not to: how uncharacteristically vague for NGO-speak; how definition washes out into the indefinite, undefinable, actually and acutely human.

    It is impossible to estimate how many people fit the description of “trapped populations,” writes the International Organization for Migration. “They are highly vulnerable populations, but data to inform action and protection are scarce”—though the World Bank by some means has calculated that by 2050 “trapped populations” will number 140 million people.

    Note the adjectival construct “trapped.” Linguists call such constructs false passives, or stative or static passives, or resultative passives. “Trapped” represents a result, but it conceals the cause, obscures the continuing fault that is creating both the climate catastrophe from which people might need to (and might not be able to, or might choose not to) migrate, and the conditions that prevent them from doing so, that force them to be static. It does not address the unabating gap between the mostly white power structures that generate and foster and exacerbate climate inequality and the mostly poor, mostly Black and Brown communities that bear its brunt.

    One policy paper I read warned that “trapped populations” was a label that “may reduce or remove an individual’s agency and independence in determining their own destiny.” (Another term relief organizations use to describe people who cannot, or do not, leave environments imperiled by climate change is “climate hostages.”) But it is the racist world order, which centers and upholds extractive industries and largely temperate-climate powers, that really does most of the determining. Scientists predict that almost one-fifth of our planet will be unlivable by 2070, at which time, unless they will have moved by then, 3.5 billion people—half of the world’s population today—will live in the unlivable zone. And why would they not have moved? “Trapped populations”: the term ignores the cognitive rift between the axiom that migration is a primary form of climate adaptation and the actuality that most destination geographies for migrants are responsible for the unfolding climate catastrophe and do all they can to keep out the people whose lives they have imperiled: they are doing the trapping. "

      Also worth checking out, this article wherein a Korean research team uses computer modelling of the Earth's climatic history and correlates these with paleontological data concerning human habitations. Astronomically related periods of climate change influenced human evolution, where we could live and who among the hominin would adapt and move out of their niches, determining and shaping the paths we wander

  https://phys.org/news/2022-04-early-human-habitats-linked-climate.html?fbclid=IwAR28ZnDAtl7JUBd-8iWBW4oZ49YYVasdWOaflGVc-3mNMuYmrYlFzJDLgHI

    "Even though different groups of archaic humans preferred different climatic environments, their habitats all responded to climate shifts caused by astronomical changes in earth's axis wobble, tilt, and orbital eccentricity with timescales ranging from 21 to 400 thousand years," said Axel Timmermann, lead author of the study and Director of the IBS Center for Climate Physics (ICCP) at Pusan National University in South Korea."

 



Sunday, May 22, 2022

Never-Before-Seen Type of Signal Has Been Detected in The Human Brain/ Wet Bulb temperature is the scariest part of climate change Never Heard

   THOSE OF US who do not yet concede that everything is connected and that there are no accidents are obviously not taking some things into consideration. We ain't integrated, not been integrated, ain't integrating, overmuch. Not all things can be understood simultaneously, yes, this seems true. Space takes place in time, sends you letters from Heart Springs, Moldovia

   Sun Ra used to insist that the entire band learn and incorporate the mistake that one player made. In this way the accidental became deliberate and the wrong became the correct, the greatest act of subversion is to prove that order is arbitary. When I have memories I get some parts right and some parts wrong. The incorrect passages correspond to alternatives. But I am still happy when some adjusted version of the narrative resolves. I can pull from the eucalyptus leaves I smell now the times lived I've sensed through my nose the eucalyptus in the pan-handle of Golden Gate Park in San Francisco, an odor wafting back mentally from 1990, a blackbird in South Dakota in 1986 under the sign of the mushroom, 9 hour night of the dalang during a shadow-puppet gamelan performance intoning and rapping on wood in Yogyakarta in 1998, meeting my future wife across the table in 2008 in Zbązsyn, that first snowball in child-gloves in 1966 in Buffalo...many firsts and many facts-- despite the losses (I also can remember that I can't remember something -- something holds the space of the forgotten open). Eucalyptus? Years in memory are condensed matter physics in the brain. 

 Years in memory are condensed matter physics in the brain.

Or maybe time fragments stack up in the chemical structures of the neurons, perhaps like strings of dna, proteins, peptides, folded into dense packages. As if memory itself were what DNA was all about. One would have to listen and guess about the meanings. The experience returns but what is experience but the impression of a feeling of greater significance, an omen. Perhaps I am overestimating the significance of something. But why would I do that? And why so often? Perhaps I am trying simply to implant a memory. Isn't any idea an over-estimation of what is being thought, seen, heard? Why did my brain store these sets of impressions amid the 86 million cells -- patterns for nesting, learning, retrieving? And why can I think of different spatial arrangements and also recognize what is new, what doesn't fit the previous puzzle? Why must I reconfigure? Why hunt?

  they say some people are unable to listen to new music because they don't recognize it as music. it's all noise to them. the first time I heard noise and thought it musical changed how I perceived almost everything in life and my experience began encountering new dimensions although there is a limit to what my mind can process. somethings are simply noise or unwanted sounds and never can be music seemingly, which also includes a lot of so-called music. but I often don't know how to draw the line. if I draw an analogy between music and memory I see that sounds are in the positions of objects of thought (a memory) and that sounds have no sense in and of themselves just as the objects of thought in and of themselves are anonymous neuro-chemical reactions

dendritic action potentials, a temporal sequence of these triggered together to form a spike train, voltage-gated ion-channels being transmembrane proteins -- these words imply to me something both electrical and sticky at the same time, like some goop that can trap tiny flames & sparks inside a gelatinous bubble, like a spider in amber, but it's all salts and calcium trading electrons, bits and pieces that can't have anything even remotely as personal about them as my memories and yet these same minute chemical reactions indifferently carry forward all we think of as culture and history and knowledge. that they cannot know themselves seems sad and wrong. I want them to know I appreciate them but they of course could care less. they are just too busy supporting everything I think and do to be concerned about what I think and do.

about our brain, read this;

 https://www.sciencealert.com/a-never-before-seen-type-of-signal-has-been-detected-in-the-human-brain?fbclid=IwAR0BOCPZC0pW8rpt7rvPNEfHAd4dSUpMsaG30WEr2t182j7EkpxT8Bn2my8

  this link below refers to areas where wet bulb temperatures (when the outside temperature is too constantly close to that of the human body) can render whole regions unliveable and create a massive wave of displaced people seeking to escape. the climate change means species will migrat and where there is mass migration there will be resource issues. everything is connected.

https://medium.com/the-infinite-universe/wet-bulb-temperature-is-the-scariest-part-of-climate-change-youve-never-heard-of-8d85bef1ca98

 this is a link to a piec of music that evokes wonder through the creation of random scintillating particles building into waves. micro to macro with cosmogonic overtures, one might say

Xenakis La Legende d'Earr

 

 

Postcard Poem 2022


 are we not then
what we do
when fully
immersed in
vital matter
undying dirt
droplets shattered 
eaves' beams
speaking their
creaky language
back into
deathless trees
evolving ships
& violins?
whoever inside
my language chatters
finds the wind
 wild, insane,
serene, indifferent,
all over
in no one
place, within itself,
against that
unknown field
our stars
rise for
seen in the unseen
worlds apart

That's how the insomniac settles the score, 
types the void with one finger 
crossing now ether, now ocean, 
now screen & melting hard wires

Thursday, January 27, 2022

Some words from Tim Williams about Trans_Beskid_Radio_Vol. Four, which may very well describe the whole series & my radio works in general. Thanks Tim.

 

 

"Trans_Beskid_Radio exists in the tension between narrative (melody) and trance, between time and egolessness. The ambient, meditative noises of everyday life, expressive of what is, of being, become harnessed in time, while the glimmers and blips of radio transmissions, recalling road trips as well as lonely late night pit stops, bring to mind Thich Nath Hanh's observation about radio waves: the fact that we don't see them but know they are there may be true of (other) beings we have known. Untethering us from the narrative of melodic line and from the suffocation of uninterrupted being, we become capable of stepping outside of our bodies, dancing on the ceiling looking down at ourselves. The experience also gives new meaning to Keats's unheard music sweeter; could it be not just inchoate musings but the memory of a song, or something in between, where we hear a fragment and fill in the gaps, half-heard, half-created?"  

-- Tim Williams

 Thanks, Tim.

Listen to Trans_Beskid_Radio_Volume Four in it's entirety here. 

https://jeffgburekprojects.bandcamp.com/album/trans-beskid-radio-volume-4-extended

If inclined to see the build up in the project please check out these links from Mahorka 

 https://mahorka.bandcamp.com/album/trans-beskid-radio-volume-ii-natural-complexity-of-zombie-signifiers

and Antenna Non Grata, who have been kind supporters of the project. 

https://antennanongrata.bandcamp.com/album/jeff-gburek-trans-beskid-radio-session-1

 Cassette version of the Antenna Non Grata release can be purchased also directly from me.

Thanks for listening, reading the radio waves, alerting me to the slight returns, and keeping in touch. Health and happiness to you all.

JG

 

 p.s. -- almost forgot trans-beskid radio volume 3: travels in retrotopia!

 which I released on my own bandcamp label.

https://jeffgburekprojects.bandcamp.com/album/trans-beskid-radio-volume-iii-travels-in-retrotopia

 



 



Tuesday, January 25, 2022

this is not china (on the passing of thich nhat hanh)



impersonal poem which began being 
about my cell phone...
 
a simple walk with open eyes and the device that sends 
chinese corporations all my personal data

my personal data is huge, expanding all the time

my personal data is conflation, inflation, apnea, all at once. my personal data is a blue algea pharmaceutical concern belching covid variants and bootleg bloodstreams. my data convolution programs spam snails for boring parameters and we consider ship-worms a possible anti-colonialist anti-slavery strategy of an ally or an alloy gripped by diamond sutra white dwarves emitting teslic or testical coils. 
 
blessings pour down ripples of accidentally surreal raincoats

part of my personal data is dedicated to the insane art of never repeating oneself, itself 
and therefore watching everything slowly at the accelerating rate of mindfulness. 
 
thank you thich nhat hanh for reminding me 
       by dying at 95 today
 
reminding how scattered dying might be, how integral
 
i walk the line within these words with open eyes, unblinded by death, depth
 
   in minneapolis or some city up there where 
davu seru's ancients wound up
thich nhat hanh went on the walking meditation 
the I who am nobody do daily
thanks to him or whoever blessed these feet
 
and the car stopped thich nhat hanh 
and the voice said, this is not china!
 
forced to agree, he walked on

Jan.22.22, Poznan

Saturday, November 27, 2021

Ode on the Experimental Muses. Reclaiming the Dignity of the Experimental in Music and Art.---- Opening Statement ;)

  

 Inspired by the convocation of George Christian's new podcast "Escutas Experimentais," 

I prepared a brief statement for him but then extended the idea into this short talk for my youtube channel.

 https://www.youtube.com/watch?v=aDinnAGvFvw

The idea that art and music were akin to, concerned with the exploration of metaphoric "terras incognitas", a place where star trekkers had gone not before. This is what comes to mind when I think of experimental music. That and how experimental became disparaged as inconclusive or too open to be substantial and how very wrong this is. For it is the close-minded world of consumerism and conservatism alone that forces us into conformity and genre and empty concepts of quality. What I'd wanted to do in poetry and music was to catch up with the actual world. Experimental is not academic. Experimental is radical and can be calm and reassuring as a gentle rain in the forest during summer or a cyclone disrupting space and time. Experimental music engages chaos and natural forces. Experimental music improvises and invents. Experimental music is clear and propositional. Experimental music involves one, two, three or more players, orchestras, species and states of matter. Experimental music is without precedent quite often and appears to be alien and unruly but experimental music has a history and great traditions. Shamans were experimental musicians.

 The tape music of John Cage and Pauline Oliveros and the statistical modeling adopted by Xenakis to further dilate & explode serialism into pure sounds, the acousmatic works of Pierre Henry, Schaefer, orchestrating noise, blending energy fields of lysergic acoustic ecology, of deep listening strategies, the advent of field recording devices which allow almost anyone to make music concrete. Experimental music is you and your life. It belongs not to corporations, not to governments nor schools nor cliques nor elites. In the digital era or what is called the microsound aspect of granular synthesis, in glitch, one can view ever smaller fractal versions of the cosmos. Experimental space travel in sound. Thank you Sun Ra. Experimental means to experience. Thank you tape recorders and dictaphones: re-listen to experience and enter into the laminal planes of somatic and geological time. The fascination with ancient modes, archaic instruments, ethnic forgery, old skool, trap, Africa, polyrhytmia, Indonesia, microtones, aboriginal, experi-mental. Experiment is dream time, dream incarnate. 

Jeff Gburek 25/11/2021

 


 

 

 

 


Tuesday, November 23, 2021

Framework Radio Podcast #778 featuring works from my Bulgaria Sound Specific album.

   Framework Radio podcast #778, featuring some of the pieces from my Bulgaria Sound Specific album, is now online. Curated and produced by Patrick Tubin McGinly, amid some familiar phonographers such as Tomáš Senkyřík and sound artists whose works I will soon be getting to know. Especially happy to appear in a playlist with Eric La Casa whose work impacted my own so positively early on. Buon ascolto!

https://frameworkradio.net/2021/11/778-2021-11-21/ 

 photos from autumnal Poznan