Thursday, 6 June 2013

Hear Ye, Future Deep Throats: This Is How to Leak to the Press

Assange no concern of ours, says Carr

Unfugnbelievable!!!
Via

Telephone metadata and what it can tell the authorities about you

Obama administration defends NSA collection of Verizon phone records

♪♫ Sigur Rós - Kveikur (Live show visuals)

From the forthcoming Sigur Rós album Kveikur, released worldwide June 17/18 on XL Recordings. Preorder: http://sigur-ros.co.uk/kveikur / http://shopusa.xlrecordings.com/kveikur
Sigur Rós are now touring the world: http://sigur-ros.co.uk/tour
Featuring original Sigur Rós material and re-purposed footage from the BFI archive. Director Sarah Hopper, editor Damian Hale, camera Tim Sidell

♪♫ Buzz Aldrin and Thomas Dolby - She Blinded Me With Science

The Future Is Now

♪♫ Ike Yard Mix for Electronic Explorations 266

“This mix skitters across three and half decades, pulls in some of our touchstones from the late 70’s – early 80’s, and moves over the next two decades touching down on some outstanding tracks that pushed that original aesthetic forward – expanding it, redefining it for both the uninitiated and those of us that have followed it through time. We included artists from the US, UK, Germany, and Switzerland. The mix concludes with an unreleased Ike Yard track submitted for a documentary on the architect Rem Koolhaas” - Michael Diekmann (Ike Yard)
Tracklist:
01 - A Certain Ratio: “All Night Party” – [Factory Records, UK 1979]
02 - Les Vampyrettes: “Biomutanten” – [EMI, Germany 1980]
03 - Plastikman: “Ekko” – [NovaMute, UK 1998]
04 - Basic Channel: “Phylyps Trak” – [Basic Channel, Germany 1993]
05 - Sandwell District: “Immolare (Function version)” – [Sandwell District, UK 2011]
06 - Autechre: “Further” – [Warp, UK 1994]
07 - VioletShaped: “cX310” – [Violet Poison, Germany 2013]
08 - Andy Stott: “Expecting” – [Modern Love, UK 2012]
09 - Young Gods: “Percussionne” – [Trance Records (Germany), Switzerland 1987]
10 - Suicide: “Harlem” – [ZE Records (UK), US 1980]
11 - Mars: “3E” – [Rebel Records (France), US 1978]
12 - Pop Group: “3:38” – [Radar Records, UK 1979]
13 - Ike Yard: “Kino” – [Factory America, US 1982]
14 - Aphex Twin: “Schottkey 7th Path” – [R&S Records (Belgium), UK 1992]
15 - British Electric Foundation: “The Decline of the West” – [Virgin Records, UK 1981]
16 - Ike Yard: “Carbon Night” – [Unreleased, US 2013]
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CIA didn't always know who it was killing in drone strikes, classified documents show

♪♫ The Who - Live @Britannia Pier Great Yarmouth (June 1966)

Heatwave/So Sad About Us/I'm A Boy /Substitute /My Generation

'The Serpent of Sex-Perversion' (11 March 1932)

Sydney police with the aid of the Consorting Act have driven most of the infamous womenkind from the streets. As the means of banishing this eyesore, the Consorting Act has more than justified itself. But by skimming this scum off Sydney's well of foulness, the Consorting Act has laid bare a much greater menace to the health and morals of this city. The serpent of sex-perversion...

Bizarre Tribe: Access Denied (An Open Letter to Sony)

In the digital economy, we'll soon all be working for free - and I refuse

Wark’s two books work sequentially, although they also loop around the same figures and concepts. They could be treated as histories of the Situationist milieu and its aftermaths, but to do so would miss entirely what makes them such compelling and, at times, hilarious reading. Wark does not set out to write a conventional scholarly account of the Situationists. As he reminds us at numerous moments, his work has no claim to originality. He does emphasise some of the more neglected figures associated with the movement, but what really drives The Beach Beneath the Street and The Spectacle of Disintegration is their impatience with contemporary cultural and intellectual institutions that, for all of their posturing, are largely complicit with the prevailing political order. Wark is himself a Professor of Culture and Media at the New School in New York City, and while I am guessing that the New School isn’t as obviously neo-liberal as many other universities in the U.S., the sense of him writing angrily about institutional conditions he knows all too well is partly what gives his work its verve and energy.