Tuesday, January 31, 2017

Jakarta Biennale Maximum City









Diasportal: Travels in Space and Sound

How to map the journey of sound through space and time? And in what ways can musical forms articulate aspects of migration, ethnicity and belonging – either to cultural groupings or across geographic strata? For ethnomusicologists, questions like these are often weighted with reference to the musical diaspora: the migration of sound, rhythm, sonic traditions and instruments that comes with the ebb and tide of human movement across the globe.

Dylan Martorell has been thinking around the idea of the musical diaspora for some years now. Even his 2007 exhibition Panter Cluster Rimbone was, in his words, “an attempt to marry the pentatonic traditions of Indian and Scottish music by tracing the line of the bagpipe through trade and military routes”.i These conceptual threads were properly physicalized in 2008, during a residency at Roommate in Yogyakarta. After transforming his makeshift bamboo and tarpaulin studio into a space to host public performances, Martorell’s Kraton Tea Ceremony took the form of a series of epic six to four hour long improvised musical events incorporating field recordings of buffalo bell’s, motor driven handmade instruments, crickets, stones, tiles, medicinal root vegetables, aquarium equipment, becak powered gongs, and ant-covered sugar crystals..
The performance was followed up with a large-scale musical parade of bicycles through the streets of Yogyakarta, presented with Roda Roda Sound System. A sonic event on wheels, this spectacular carnival of custom-built music machines was the lovechild of electrickery and tropical trash.


Post-Jogja, the ripples of Martorell’s experiences in Indonesia have continued to make waves. For projects such Duppy Housing (2010) and Agua de Marco (2011), Martorell repeatedly created spaces for invited and improvised performances while maintaining his focus on gleaning, ritual and, most prominently, sonic kinesis. For the 2011 Jakarta Biennale, Martorell has developed a series of nomadic musical sculptures that double as portable performance venues. His pedal-powered and pushcart vehicles incorporate elements of Indonesian transport, from becak (taxi bikes) to pedagang kaki lima (food vending carts) alongside experimental hand made electro-acoustic devices. Cobbled together from refuse materials gleaned from the streets, as the carts move across the city their shapes and sound-making capacities slowly evolve, accumulating new elements from the environments they traverse. “I am specifically drawn”, Martorell confesses, “to the ways in which music travels through space and is affected by changes in geography, materials, culture and climate to become an agent for cross cultural reciprocation.

Why this interest in music and movement, climatology and acculturation? For one, it stems from Martorell’s personal experience. One of Martorell’s earliest memories (we might call it a primal scene) was of a ritualistic performance that took place on the decks of a passenger ship travelling from Scotland to Australia in 1974. The ritual—based on the traditional rites of sacrifice to Neptune that have long accompanied maritime crossings of the equatorial line—was a loud, chaotic and crazy mixture of pantomime, music, dance and costume. At the climax of the rite, groups of passengers elaborately cloaked in wigs and fancy dress were drenched with buckets of fake blood and salt water, while African drummers and singers stamped and shouted around the deck. “It was,” Martorell recalls, “a real culture clash. And as you can imagine, every live show has kind of been downhill since then.”

Like this ritual, Martorell’s work also foregrounds the fantastic in its customisation of tradition and ritual. Amidst his complex audio-visual creations stirs the presence of an imaginary diaspora, a powerful current that speaks to the ways in which traditions are invented anew through the process of kinesis. Be it storytelling traditions, linguistic translations, sonic rituals or musical transcriptions, the key here is how singular forms are pluralised or mutated in their exposure to the multitude over time. Within this context, Martorell’s events and constructions become modular and flexible, able to adapt to their changed surrounds with ease.

The method is closer to nomadism than camouflage, but I suspect there’s something of a disappearing act being staged here too. In opening up channels of improvisation and collaboration to uncontrollable elements, Martorell has been increasingly distancing himself in the performance of his creations. “The ideal scenario”, he has said, “would be to be able to just set the situation up and then just see how it plays out, depending on what and who is around at the time”.ii This desire is also evident in Martorell’s other live projects—in the collaborative, constantly evolving soundscapes of Hi God People or the spatialised algorithmic relations of Snawklor, where sounds take on a life of their own, far beyond the intentions or expectations of their makers. Martorell’s motifs of masking, costume and the carnivalesque similarly signal the dissolution of the subject, leaving in its wake a kind of psychotropic visual tapestry influenced, he admits, “by generations of tricksters, scammers, travellers and other types of miscreants using fiction usually as a means to wield power, or to stop themselves getting killed”.iii

Is this, then, a story of survival? The survival of older elements in the making of the new is part of an evolutionary patterning—a way of connecting and also contributing to specific geographic and temporal sites. With their nomadic structure and recycled components, Martorell’s works play upon the ellipses of diasporic translation in a way that both acknowledges and expands upon cultural accretions. The flows of power that shape moments of exodus and colonisation may be traced across trade routes and migration patterns, but they are also subject to reinvention at the hands of subsequent generations of travellers. This is a way of “making with” rather than “making do”, a means of absorbing the contingencies of site to work with available materials in the process of creation. “The genesis of all musical instruments”, Martorell has written, “begins with things that already exist within the environment. Bones, holes in the earth, animal skins, rocks, cooking, farming and hunting implements, sinews, seeds, teeth, branches”.iv Martorell calls it ‘musique povera’, a naming that at once speaks to a poverty of material and to a philosophical ground for future experimentation.


Amelia Barikin is a writer and curator based in Melbourne.
i All citations unless otherwise noted are from email correspondence with the author, October 2011.
ii Dylan Martorell, conversation with the author, Melbourne, August 2011.
iii Dylan Martorell, in “Evolving Relationships: Nathan Gray + Dylan Martorell”, NOWmagazine, 1.1, December 2007, unpaginated.
iv Dylan Martorell, in Sue Cramer, Musique Povera Dylan Martorell, exh. cat., Heide Museum of Modern Art, Melbourne 2010, unpaginated. 




Diasportal: Perjalanan Ruang dan Bunyi



Bagaimana memetakan perjalanan bunyi dalam ruang dan waktu? Dan bagaimana bentuk-bentuk musikal mengartikulasikan aspek-aspek migrasi, etnisitas dan kepemilikan—baik antar-kelompok budaya, maupun antar-strata geografis? Bagi para etnomusikolog, pertanyaan-pertanyaan seperti ini seringkali dikaitkan dengan diaspora musikal: migrasi bunyi, ritme, tradisi dan instrumen-instrumen bunyi yang hadir seiring pasang-surut pergerakan manusia melintasi bumi.

Selama beberapa tahun belakangan Dylan Martorell telah berkutat dengan gagasan diaspora musikal. Bahkan pamerannya Panter Cluster Rimbone pada tahun 2007 merupakan, dalam kata-katanya, “sebuah upaya untuk mengawinkan tradisi pentatonis musik India dan Skotlandia melalui penelurusan jejak bagpipe (alat musik tiup Skotlandia) dalam jalur perdagangan dan militer”. Pendekatan konseptual ini diwujudkan dengan baik pada tahun 2008, selama residensinya di Roommate, Yogyakarta. Setelah mengubah studio bambu dan terpalnya menjadi ruang bagi sebuah performance publik, karya Martorell Kraton Tea Ceremony mengambil bentuk serangkaian epik improvisasi musik selama empat jam yang memadukan rekaman asli bunyi lonceng kerbau, instrumen-bikinan-tangan yang digerakkan mesin, jangkrik, batu, ubin, tanaman obat, piranti aquarium, gong, dan gula batu dirubung semut: “Paduan suara jangkrik yang bercampur dengan suara adzan, makin membuai dan membuatku mabuk kepayang”. Performance itu kemudian dilanjutkan dengan suatu parade musik sepeda di sepanjang jalan kota Yogyakarta: Roda-Roda Sound System. Ini adalah sebuah peristiwa bunyi dalam gelindingan roda, karnaval spektakuler mesin-mesin musik bikinan sendiri, seperti kegemaran anak-anak pada barang-barang rongsokan dan hal-hal yang berbau elektronis.

Pasca-Jogja, riak-riak pengalaman Martorell di Indonesia berlanjut dan berubah menjadi gelombang. Untuk proyek-proyek seperti Duppy Housing (2010) dan Agua de Marco (2011), Martorell kembali menciptakan ruang-ruang penemuan dan improvisasi pertunjukan sembari tetap menjaga fokusnya pada pengumpulan material, ritual, dan terutama pada, bunyi kinetik. Untuk Jakarta Biennale 2011, Martorell membuat serangkaian patung musikal nomadis yang juga bisa difungsikan sebagai ruang portabel untuk pertunjukan. Kendaraan berpenggerak dorongan dan kayuhan pedal ciptaannya menggabungkan elemen-elemen kendaraan di Indonesia, dari becak hingga pedagang kaki lima, dipadukan dengan piranti akustik-elektronik eksperimental buatan tangan. Penggabungan material rongsokan yang dipungutnya dari jalanan, kendaraan yang bergerak melintasi kota, kemampuan mencipta bunyi yang pelan-pelan mulai tumbuh, dan pengumpulan elemen-elemen baru dari lingkungan-lingkungan yang dilaluinya. “Aku menaruh perhatian khusus,” Martorell mengaku, “pada cara-cara musik berkelana melalui ruang, bagaimana ia terpengaruh perubahan-perubahan geografis, materi, kebudayaan dan iklim, dan bagaimana ia bisa menjadi agen pertukaran budaya.”

Mengapa dia tertarik pada musik dan gerak, klimatologi dan akulturasi? Mungkin ini berpangkal pada pengalaman personal Martorell. Salah satu ingatannya yang paling awal (dalam psikoanalisa kita bisa menyebutnya sebagi adegan-asal, primal scene) adalah sebuah pertunjukan ritual di sebuah geladak kapal penumpang dari Skotlandia ke Australia pada tahun 1974. Ritual ini—yang bersumber pada upacara pengorbanan kepada Neptunus yang telah lama hidup dalam tradisi pelayaran lintas ekuator—sangatlah berisik, kacau, dan penggabungan pantomim, musik, tari dan kostum yang berlebihan. Pada puncak upacara, muncullah sekelompok penumpang berambut palsu dan berkostum mewah yang bersimbah darah palsu dan air garam, sementara para penyanyi dan pemusik Afrika menabuh gendang dan menyanyi dengan suara lantang mengelilingi geladak. “Peristiwa itu adalah,” kenang Martorell, “sebuah benturan budaya yang sesungguhnya. Dan seperti Anda bisa bayangkan, sejak saat itu setiap pertunjukan lain jadi seperti tak penting lagi”.

Seperti ritual tersebut, karya Martorell juga merupakan latar depan dari kisah fantastik utak-atik tradisi dan ritual. Bergolak di tengah-tengah kreasi audio-visualnya yang kompleks adalah hadirnya sebuah diaspora imajiner, sebuah arus besar yang menyatakan bagaimana tradisi-tradisi tercipta-ulang melalui proses gerak (kinesis). Baik dalam tradisi-tradisi cerita lisan, penerjemahan bahasa, ritual-ritual bunyi atau penulisan musik, intinya di sini adalah bagaimana bentuk-bentuk tunggal dijamakkan atau dialihkan perhatiannya ke arah keberagaman dari waktu ke waktu. Dalam konteks ini, peristiwa dan konstruksi karya Martorell menjadi modular dan fleksibel, ia mampu dan mudah beradaptasi dengan lingkungan sekitarnya yang berubah.

Metode ini lebih dekat ke nomadisme daripada kamuflase, tetapi saya curiga ada aksi penghilangan yang tengah berlangsung di sini. Dalam membuka saluran improvisasi dan kolaborasi bagi elemen-elemen yang tak bisa dikendalikan, Martorell telah semakin menjauhkan dirinya dari kinerja karya-karyanya. “Skenario idealnya adalah,” katanya, “mampu cuma mengatur situasi dan kemudian melihat bagaimana ia berjalan, tergantung pada apa dan siapa yang ada di sekitarnya pada waktu itu”.  Hasrat semacam ini juga muncul dalam proyek Martorell lainnya—dalam karya kolaborasi, soundscape yang ajeg berubah, Hi God People, atau hubungan spasial-algoritmis dalam Snawklor, di mana suara-suara mengambil jalan hidupnya sendiri, jauh melampaui niat atau harapan penciptanya. Motif-motif topeng Martorel, kostum dan sifat kekarnavalannya menandakan keruntuhan subjek, menyisakan sejenis permadani psikotropika visual yang dipengaruhi oleh, dalam pengakuan Martorell, “generasi para penipu, pencuri, pengelana adan jenis-jenis penjahat lainnya, yang biasa menggunakan fiksi sebagai alat untuk mengendalikan kekuasaan, atau untuk mencegah terbunuhnya diri mereka sendiri”.

Jika begitu, apakah ini sebuah kisah penyintasan (survival)? Penyintasan elemen-elemen lama dalam penciptaan sesuatu yang baru merupakan bagian dari sebuah pola evolusioner—suatu cara menghubungkan dan juga memperkaya satu wilayah geografis dan situs-situs temporer. Dengan struktur nomadis dan komponen-komponen daur ulangnya, karya-karya Martorell bermain di atas lingkaran terjemahan diasporis dengan cara mengakui sekaligus memperluas pertumbuhan kebudayaan. Arus kekuasaan yang membentuk peristiwa perpindahan manusia dan kolonisasi bisa ditelusuri melalui jalur perdagangan dan pola-pola migrasi, tetapi ia juga ditemukan-ulang oleh bergenerasi-generasi kaum pengelena. Dalam proses penciptaan, ini adalah cara “mencipta-bersama” (making with), bukan hanya “mencipta” (making do), cara menyerap ketidakpastian suatu situs melalui materi-materi yang ada. “Semua instrumen musik,” tulis Martorell, “bermula dari hal-hal yang sudah ada dalam lingkungannya. Tulang, lubang di tanah, kulit hewan, bebatuan, masakan, alat-alat beternak dan berburu, otot, bebijian, gigi, ranting”. Martorell menyebutnya sebagai ‘musique povera, musik apa adanya’, sebuah penamaan yang merujuk pada minimnya materi dan basis filosofis bagi eksperimen di masa depan.


Amelia Barikin adalah penulis dan kurator yang berbasis di Melbourne.

translation Antariksa Id (KUNCI / ICAN)



















Field Research









Bottle Microphones 



Dipavalli Synthesizer




Lithophonic tile pieces




Prototypes and Field Research - Indonesia / Australia / Singapore


Critical Mobility mobile recording /performance truck - Footscray 2011




Duppy Housing Installation Shot,Utopian Slumps,Melbourne,2010.
Prototype for nomadic performance space, rehoused speakers,rehoused gamelan,d.i.y synthisizers,
car parts,plastic sheeting etc


Rehoused speakers ( water bottle,cardboard fruitbox,soccer balls,woven basket)
Duppy Housing Exhibition, Utopian Slumps 2011

Ayam Sepida as part of Roda Roda Soundsystem Jogjakarta Project 2010.















Singa sects PT 1  / soundtrack to collaborative installation with Chaco Kato Esplanade Singapore





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First translation of text english / indonesian

Chewing gum was touched by a thousand and one forms a marzipan rose clay angel peeking gasoline torch churches cats chocolate demons crusty alopecia badge turn dirt road buffalo chili chips scattering model of oil paint prawn crackers broken warp slavery Beastial splatter the Gospel and Knockers Viz magazine angel cake Tweety soil cuttings landslide collapsed singlet pork pie box full of water had broken glass voice acne rusty bicycle internet cyber destruction mani-pedi too punx to re-tweeted function geraniums decal gymnasium rescue rangers chip and valleys plutonium wooden spoon Deleuze was born in this way the problem pizzacato butterfly poem Jakarta carving ice queen butterfly discors red cab door kiss zebra flowers made of carrots and cabbage Scotty dog ​​tom cat ultra-violent knife in the opening title sequence looked at jewelry on the face of macro privilege slum lord hay bale 88 Christian cousin's cousin based on god Yggtyrhyrkkh Hin Dystre pan headlobe like a tube floating fish school highest and lowest  you lil b plagiarism erotica writer lonely planet's limited natural secondary Karl Larsson Cockatoo computer dying struggles of less importance than the existence of Huggies bloggers CDRs ice cream wu tang solo g8tr provocative Evergreen on fashion trends expensive high rise advanced Internet culture of long stockings bondage tape deck animatronic band wireless clock concurrent interest Semiotext (e) the islands of the sea noise cans bottles convenience center-left anarchist fjord Pincachu tumblr fake fur Sasquatch dolphins past means burning cigarette girl the art world of sexual politics gravel Iceland York new nick shaving cream street flake content knowledge BeachLife morae and Matt Korean chip riffin houseplant Tassie Devil copper ions cobra Fluxus three seconds of music angel fish fry forget Jon breath harpsichord luxury shoe lacing bloody love heart to lose the emotional core of a shark jumping ard chris bitter cross animeremake of rest Degrasi impregnant junior cup Pepsi newsfeed Grrrls crap sucking black power pizzacato problems melt Decision Context History of informers poetry angora earth brainwaves cartoon villain Mon tile graves rose crème caramel thermostat 12 apostles of slavery male cone contributions simultaneously hit a reef oil companies korupkram coalitioncontraband possessed a faint counter-current police hat warldorf 100000000 stucco salad full of remorse and shame guilt storm entourage rope tied to the atmosphere of violence emu equivalent of marriage for the future in dreams the pride of Constance's death trench gondan awareness monitor metallic nails shiny gold plastic containers of standing water grumpy Council cactus roundhouse truck stop parking lot sex bum diamond gravel mixed in and fondle evaporate, creating a moral playground LightForce boring fight and win the day sentence kept locked in a friendly but not alone internet internets taking turtles right luxury house upside down urinal high interest Peranciskeluar chewy soup came out strong painting Infanta diligent Ludacris-slide corpus christie In Side Up Total devistation panda Gucci Gucci prada each city you want and desire a new beginning a new flat infinite wisdom, endless jokes flower petals on the weather south wind above and below ground the Bell Tolls House hunting Now fudge packing crack smoking crook Oh worship the devil guilt Hope to get property of Nirvana rugs will be LOL Penguins pugs trucker cap bubbles and liquid fluids amused if the ball into a cup full of milk shake hands with the angel who holds the trap tweet misleading Algae and Pepto Bismol addition to meander If the tweet if in a timber does not make a sound sluggish sunset ebbs and flows A new early summer ice cream migraine wind goggles Tree shadow play with the wind hits the sea rock-garden Fleur de las rock sound of the sixties sun anxiety the road is open wide to contemplate the dark clouds A place where rainfall is little hope monastery fellow pulp fiction tacky red dwarf forgotten memories forged doctrine register forevers sol carnival of millions of cats thunder Christopher Hill, 2011 cc LG


Mengunyah permen karet tersentuh oleh seribu satu bentuk marzipan mawar malaikat mengintip liat gereja setan obor bensin kucing coklat berkerak alopesia lencana gilirannya kotoran kerbau cabai jalan hamburan chip model kerupuk udang rusak cat minyak memerciki perbudakan lungsin Beastial Injil dan Knockers Viz majalah malaikat tanah longsor kue stek Tweety runtuh singlet babi kotak kue penuh air telah pecah kaca jerawat suara sepeda berkarat kehancuran dunia maya internet mani-pedi terlalu punx untuk kembali tweeted fungsi geranium decal gimnasium penyelamatan Chip jagawana dan lembah sendok kayu plutonium Deleuze dilahirkan dengan cara ini masalah pizzacato kupu-kupu puisi Jakarta ukiran es ratu kupu-kupu discors pintu taksi merah mencium bunga yang terbuat dari wortel zebra dan kubis Scotty anjing kucing tom ultra-kekerasan pisau di urutan judul pembukaan melihat perhiasan pada wajah kumuh istimewa bale jerami tuan makro sepupu 88 orang Kristen sepupu didasarkan pada dewa Hin lobus Yggtyrhyrkkh Dystre kepala panci seperti sebuah sekolah ikan tabung mengambang tertinggi dan terendah Anda terbatas alami lil b plagiarisme erotika penulis Lonely Planet sekunder Karl Larsson Kakatua komputer sekarat perjuangan kurang penting dari keberadaan CDRs krim Huggies es blogger wu-tang solo yang g8tr provokatif Evergreen pada trend mode meningkat mahal tinggi maju internet budaya stoking panjang tape deck perbudakan animatronik band wireless jam konkuren bunga Semiotext (e) pulau-pulau dari kebisingan laut kaleng botol kenyamanan kiri-tengah anarkis fjord Sasquatch Pincachu bulu tumblr palsu Lumba-lumba masa lalu berarti membakar gadis rokok dunia seni politik seksual kerikil Islandia York baru nick krim cukur jalanan serpihan konten pengetahuan BeachLife morae dan Matt Korea Chip riffin houseplant Tassie ion tembaga Iblis kobra Fluxus tiga detik goreng musik angelfish lupa napas Jon sepatu mewah harpsichordmengikat tali cinta berdarah jantung kehilangan inti emosional hiu melompat ard chris animeremake lintas pahit istirahat Degrasi impregnant SMP cangkir Pepsi newsfeed omong kosong Grrrls mengisap masalah daya pizzacato hitam meleleh Keputusan Konteks Sejarah informan puisi angora bumi gelombang otak penjahat kartun Sen genteng kuburan naik creme rasul karamel termostat 12 dari kontribusi kerucut perbudakan laki-laki Bersamaan hit minyak karang perusahaan korupkram coalitioncontraband dimiliki polisi kontra-saat samar telah warldorf 100 juta salad plesteran penuh penyesalan dan rasa malu bersalah tali badai rombongan terikat pada suasana setara kekerasan emu perkawinan untuk masa depan dalam mimpi kebanggaan kematian parit Konstans kesadaran gondan memantau kuku logam wadah plastik emas mengkilap genangan air pemarah bangsal lokomotif Dewan kaktus truk berhenti parkir seks kerikil gelandangan berlian dicampur dalam dan menggerayangi menguap, menciptakan LightForce melawan bermain moral yang membosankan dan menang hari kalimat disimpan terkunci di internet Internets ramah tapi tidak sendirian mengambil rumah mewah tepat penyu terbalik urinoir Peranciskeluar bunga tinggi kenyal sup keluar lukisan rajin Infanta kuat Ludacris-slide corpus christie Side Up Dalam devistation Gucci Gucci Total panda prada setiap kota yang Anda inginkan dan keinginan sebuah awal yang baru kebijaksanaan yang tak terbatas datar baru, habisnya lelucon kelopak bunga pada cuaca angin selatan di atas dan di bawah tanah Bell Tolls berburu Gedung Sekarang fudge kemasan penjahat retak merokok Oh menyembah setan rasa bersalah Harapan untuk mendapatkan properti dari karpet Nirvana akan LOL Penguins pugs gelembung topi sopir truk dan cairan cairan geli jika bola ke dalam secangkir penuh susu dengan berjabat tangan malaikat yang memegang Alga perangkap menciak menyesatkan dan Pepto Bismol Selain untuk berliku-liku Jika tweet jika kayu tidak membuat matahari terbenam suara lamban surut dan Sebuah aliran baru awal musim panas es krim angin migrain kacamata bermain Pohon bayangan dengan angin hits batu-taman laut fleur de las rock suara dari kecemasan matahari enam puluhan jalan terbuka lebar untuk merenungkan awan gelap Sebuah tempat di mana curah hujan adalah harapan biara kecil pulp sesama kurcaci merah norak fiksi lupa kenangan ditempa doktrin mendaftar forevers karnaval seperti jutaan kucing guntur Christopher Hill, LG 2011 cc





third retranslation of text english to indonesia

E3

Chewing gum was touched by a thousand and one form of marzipan roses peeping angel demon church clay cat gasoline torch alopecia badge turn brown crusty dirt road buffalo chili prawn crackers scattering model of the chip is damaged oil paint splatter slavery warp Beastial Gospel and Knockers Viz magazine angel cake cuttings landslides Tweety singlets collapsed pig cake box full of water had broken glass voice acne ruin rusty bicycle internet cyberspace mani-pedi too punx to re-tweeted geranium function decal gymnasium rescue rangers chip and valleys of a wooden spoon plutonium Deleuze was born in this way the problem pizzacato butterfly poem Jakarta carving ice queen butterfly discors smell the flowers red cab doors made of carrots and cabbage Scotty dog ​​zebra tom cat ultra-violent knife in the opening title sequence to see the jewelry on the face of special slum lord hay bale 88 macro cousin's cousin Christian god is based on Hin lobe Yggtyrhyrkkh Dystre pot head like a school of fish floating tube highest and lowest you have limited experience erotica lil b plagiarism Lonely Planet author Karl Larsson secondary computer Cockatoo dying struggle less important than the existence of CDRs Huggies ice cream wu-tang solo blogger who g8tr provocative Evergreen on trend expensive high-rise mode advanced Internet culture long stockings bondage tape deck animatronic band wireless-hour concurrent interest Semiotext (e) the islands of the sea noise cans bottles convenience center-left anarchist fjord tumblr fake fur Sasquatch Pincachu Dolphins past means burning cigarette girl the art world of sexual politics gravel Iceland New York street nick shaving cream flake content knowledge BeachLife morae and Matt Korean Chip riffin houseplant Tassie Devil copper ions Fluxus three seconds fried cobra angelfish music Jon forgot to breath harpsichordmengikat luxury shoe strap bloody love heart loses the emotional core of shark jumping ard chris cross animeremake bitter break Degrasi impregnant junior cup Pepsi newsfeed nonsense Grrrls sucking black pizzacato power problems melt Decision Historical Context informant poetry angora earth brainwaves cartoon villain Mon tile graves rose crème caramel apostles thermostat 12 of the cone contributions slavery men Alongside oil hits reef-owned company korupkram coalitioncontraband police had vague counter-current 100 million salads stucco warldorf full of remorse and shame guilt entourage hurricane straps attached to the atmosphere equivalent to marital violence emus for the future in dreams the pride of the death of Constance trench gondan awareness monitor metallic nails shiny gold plastic container grumpy puddles roundhouse Council cactus truck stop parking lot sex bum diamond gravel mixed in and fondle evaporate, creating a moral LightForce playing a boring fight and win the day sentence kept locked in the internet internets friendly but not alone take the proper mansion turtle upside down urinal Peranciskeluar high interest chewy soup came out strong Infanta paintings diligent Ludacris slides corpus christie-Side Up In total devistation Gucci Gucci prada pandas every city that you want and desire a new beginning infinite wisdom the new flat, endless jokes flower petals on the weather and southerly winds aboveBell Tolls underground House hunting Now fudge packing crack smoking criminal guilt Oh worship the devil Hope to get property of Nirvana rugs will be LOL Penguins pugs trucker cap bubbles and liquid fluids amused when the ball into a cup full of milk with a shaking hand of the angel who holds the Algae traps tweet misleading and Pepto Bismol addition to meander If the tweet if the timber does not make a sound sunset slowly receding and a new flow early summer ice cream glasses migraine wind playing with the wind shadow of the Tree-stone hits the sea garden fleur de las rock sound of anxiety sun sixties wide open road to contemplate the dark clouds A place where the rainfall is small monastery hope fellow red dwarf tawdry pulp fiction forgotten memories forged doctrine register forevers carnival like millions of cats thunder Christopher Hill, LG 2011 cc