December 2, 2015

ben okri on naming

Filed under: philosophy — ABRAXAS @ 8:38 am

“Names have a way of making
things disappear”
“When you name something, it
loses it’s existence to you. Things
die a little when we name them.” –

Ben Okri
Astonishing the gods

November 30, 2015


Filed under: nicola deane — ABRAXAS @ 7:15 pm

“Through the ear, we shall enter the invisibility of things.”
― Edmond Jabès

jitsvinger on afrikaaps

Filed under: afrikaaps — ABRAXAS @ 12:50 pm


Filed under: sex — ABRAXAS @ 7:36 am


Stalking Kaganof – an interview with Wamuwi Mbao

Filed under: kaganof — ABRAXAS @ 6:49 am

Screen shot 2015-11-30 at 9.28.19 AM0


this interview first published here: http://slipnet.co.za/view/blog/stalking-kaganof-an-interview-with-aryan-kaganof/


Filed under: art — ABRAXAS @ 6:26 am

Moving and statics, electronic and celluloid, digital and analog signals are intermingle in a wild ride. Raw Territories symposium is fostering experiments and innovations in the fields of aesthetics, art, technology, philosophy and mysticism deployed in the sonic & visual arena. Operating in the domains of creation, research/destruction and rizhomic trajectories, Raw Territories showcase cinema & music works manifesting new horizons for subversive creations and strengthening the present momentum for raw disciplines.

2–7 May 2016 / Porto, PORTUGAL

November 29, 2015

a loss for afrikaans?

Filed under: 2015 - Open Stellenbosch — ABRAXAS @ 8:14 am


Lamentation / Klaaglied premiere, IDFA Amsterdam, 21 Nov 2015

Filed under: 2015- Lamentation/Klaaglied,christo doherty — ABRAXAS @ 8:08 am


November 28, 2015

Filed under: Mbe Mbhele,registered — ABRAXAS @ 4:25 pm



Filed under: 2015- Lamentation/Klaaglied — ABRAXAS @ 3:48 pm


Filed under: kaganof — ABRAXAS @ 11:36 am


November 27, 2015

stephanus muller’s nagmusiek wins both fiction and non-fiction prizes

Filed under: stephanus muller — ABRAXAS @ 8:09 pm

Screen shot 2015-11-27 at 8.07.30 PM

first published here: http://bookslive.co.za/blog/2015/11/20/hoe-kon-nagmusiek-deur-stephanus-muller-vir-beide-fiksie-en-niefiksie-boekpryse-wen/

Filed under: 2015 - Decolonising WITS — ABRAXAS @ 7:50 pm


on poets…

Filed under: poetry — ABRAXAS @ 7:18 pm

Poets are set against the world because they cannot accept that what there seems to be is all there is.

Ben Okri

Flesh and Excess – Jack Sargeant


November 26, 2015

stellenbosch university now

Filed under: 2015 - Open Stellenbosch — ABRAXAS @ 5:38 pm


TECHNO: Space and Flow in the Radical Frame

Filed under: kaganof short films — ABRAXAS @ 5:14 pm


Filed under: unga dada — ABRAXAS @ 5:09 pm


unga dada is real

Filed under: unga dada — ABRAXAS @ 4:55 pm


Wamuwi Mbao on Lamentation/Klaaglied

Filed under: 2015- Lamentation/Klaaglied,christo doherty — ABRAXAS @ 4:46 pm


first published here: http://slipnet.co.za/view/blog/stalking-kaganof-an-interview-with-aryan-kaganof/

ten thousand views!

Filed under: kaganof short films,nicola deane — ABRAXAS @ 4:33 pm


Bronwyn Law-Viljoen and Stephanus Muller

Filed under: just good friends,stephanus muller — ABRAXAS @ 4:26 pm


November 25, 2015

HIDDEN FILMING: #OPENingSTELLENBOSCH’s many plot holes and why.

Filed under: 2015 - Open Stellenbosch — ABRAXAS @ 7:29 am

Hidden Filming suggests we view films through their plot holes. If films with narrative plots and wholesome structures are viewed and edited according to disciplines and procedures conforming to their configurations, then perforated structures, degenerate formations and plot holes must have viewing and editing methodologies of their own.


More than a mere interdisciplinary investigation, Hidden Filming suggests a politics of contribution to, or participation with, perforated structures and degenerate formations. Reading through the plot holes of a story is possible only by devising a line capable of twisting in and out of them. The chthonic ballistics of such a line not only encompasses solidity with a perforated transcendence and porous realism, but also convolves and terminally bends the formative matrix of the structure itself. Drawing upon two major quandries for consolidated plots and consistent narratives, Hidden Filming reformulates and utilizes the components of apocryphality and steganography – that is, inauthenticity and hidden filming. Whereas the former predominantly concerns problems arising from misauthorship or the intervention of anonymous collectivities (the crowd) in editing a film, the latter addresses perforations or anomalies in a film caused by the existence and activities of something other than the governing structure of the assumed base plot.


What is usually identified as a plot hole is nothing but the concrete trajectory of such activities which, however communicative it is on the subsurface level, is inconsistent and symptomatic on the outer surface and superficial level. Hidden Filming can grasp political plot holes without reducing them to a whole or separating them from each other. Therefore, for viewing events at Stellenbosch University in connection to the national movement for decolonization Hidden Filming is the ultimate tool of extraction, digging and participation, that is to say, viewing (watching) as both scrutiny and realization.


Hidden Filming integrates the utilitarian frenzy of ( ) hole complex as its functioning principle, inseparable from its convoluted structure. In Hidden Filming structure and function alike are the same as in the dynamism of emergence and formation in porous earth. Hidden Filming can be described as utilising every plot hole, all problematics, every suspicious obscurity or repulsive wrongness as a new plot with a tentacled and autonomous mobility. The aftermath of this utilization manifests itself as an act of filming and editing whose effect is to deteriorate the primary unified plot or remobilize the so-called central theme and its authority as a mere armature or primary substance for holding things together.


The central or main plot is reinvented solely in order that it may stealthily host, transport and nurture other plots. In Hidden Filming, a main plot is constructed to camouflage other plots (which can register themselves as plot holes) by overlapping them with the surface (superficially dynamic plot) or the grounded theme. In terms of such a filming, the main plot is the map of the concentration blueprint of plot holes (the other plots). Every hole is a footprint left by at least one more plot prowling underneath the garbage dump.


A plot hole does not operate on behalf of an absence but registers and conveys the activities of a sub-surface life. Plot holes are psychosomatic indications of at least one more plot densely populating itself in the holes it burrows through and digs out. However, the propagation of plot holes in Hidden Filming is not merely the evidence of actual independent plots beneath and through the visible surface of the so-called main story line. More importantly, it is the indication of the active in-authenticity and anti-Film distortions that Hidden Films carry.


In addition to being the manifest symptoms of other ongoing plots, plot holes originate from pseudonymity, anonymity and deliberate distortions linked to issues of authorship usually associated with Hidden Films. Shifting voices, veering authorial perspectives, inconsistent visual punctuations and audio divergences bespeak a crowd at work, one author multiplied into many. In fact, mis-authorial problems which are usually associated with Hidden Films give rise to tendrilled plots as new narratives spreading out from the surface plot in all directions, plots capable of seizing the surface story or the textual structure from the dominant authorial space.

These ideas are paraphrased from Reza Negarestani’s CYCLONOPEDIA.


November 24, 2015


Filed under: mphutlane wa bofelo,poetry — ABRAXAS @ 1:48 pm

say you love me

sing for me

scream your want for me

dance your lust for me

shout your desire for me

lie naked before me

table your body for my eyes

i am here for your taking

i cook myself for your mouth

i am your dish

serve me fresh and raw

keep me in your heart

cover me under your pants

let us be slaves to the passion

go with the stream

follow the flow our feelings

no philosophy

no ideology

no religion

no morals

no culture

no tradition

not even us.

no complexities

love be the only motion

love be the only law

love be the only culture

love be the only religion

love be the only philosophy.

beyond ultra-violence: uneasy listening by merzbow

first published here: http://slipnet.co.za/view/blog/stalking-kaganof-an-interview-with-aryan-kaganof/

“” Beyond the cruelty “- creative tandem Dutch director Tatiana Kaganova (Ian Kerkhof), and the famous Japanese noyzera and author Masami Akita (Merzbow). This is a film-story about the search for and development of the creative world of Akita, his views on art, life and care of the her, shot in the form of reportage, the film reveals the essence of the Japanese noise music, the mystery and controversial leaving the body through the ritual seppuku and hara-kiri, embodied in a series of pseudo-snuff videos Onna Harakiri; cast architectural landscapes of Tokyo, the development of BDSM culture in the Land of the Rising Sun. .
The inscription, sketching in the beginning of a very symbolic expresses the entire movie plot outline: the signal – Noise: What is the signal? What is that noise? Where does the weightlessness of music and where to open their bowels flow noise? Whether the noise is music? Is it possible the coexistence of mutually exclusive or is it the momentum? Narrating about sound structures Akita cleverly associates them with modern society, drawing parallels with the system and outsiders.
Masami Akita shares his views with the audience regarding the Gothic and postmodern architecture, western and eastern philosophy and eroticism.
Pornographic magazines and BDSM movement in Japan, the purpose and meaning of sadomasochism untroubled in art. “Beyond the cruelty” directly affects the theme of Japanese rituals of self-mortification, simultaneously severing adscititious zeitgeist similarity seppuku and hara-kiri. It is logical that the time given to the story of his own work on the Akita pseudo-snuff film Paradise Lost.
The work of the Dutch director was not limited to the direct recording of words and memories maestro; “Beyond the cruelty” – is artfully created a collage of images, sounds, geometric shapes, builds up in the subconscious of the viewer & canvas listener of his reflections – that there is a signal and that there is a noise … “(description taken from rutracker.org)

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