Nature is not natural and can never be naturalized — Graham Harman

Wednesday, October 20, 2021

Wild! with Sarah Wilson

 This was amazing. Fifty minutes of Tim going crazy with Australian actor and activist Sarah Wilson. Audience, 150 000! 


Radio Anthropocene interview

 This was so nice! Live and direct from Lyon.

Tuesday, October 19, 2021

Radio Anthropocene in 22 Hours

 You can stream it here. There's an interview with me, which I really enjoyed. Brilliant architect host. The collective of scholars and others they have assembled is inspiring and precious. 

This Is Still the Greatest

God wants sedition
God wants sex
God wants freedom
God wants semtex


Saturday, October 16, 2021

I Talk about My Favorite Books

 On the nicely named Shelf Awareness. Each paragraph is a mini class on the book in question, really. I put a lot of my feelings into this. 

This Is Gonna Be HUGE

Friday, October 8, 2021

Two Hours of Me + the Greatest DJ on the Planet

 Yes that's right, Rinse France recorded me and Edouard Isar (seriously, I mean it and I've been clubbing where Frankie Knuckles was the DJ). Half an hour ago this uploaded. I talked about everything, on the occasion of two books being published in French: Etre ecologique and La Pensée ecologique. You'll see. Please enjoy. 



Wednesday, September 29, 2021

Call and Contact Manchin and Sinema NOW

 We require massive outpouring of passion and rage in the direction of the two senators who are blocking the future. 

This Is Beautiful, Touching, Funny, Deeply Ecological--it's right

 If you haven't seen Over the Hedge yet...what on earth. 



Saturday, September 25, 2021

I Love This Ad

 


Sunday, September 19, 2021

Every Trick in the Book

Dance is the default art. Everything is made of it. And I got almost all my eco ideas from being in the techno scene from 1988 to now, so listen up hahaha: 

If you haven't tried MDMA, this tune pretty much embodies the initial sensation--especially if you've taken slightly too much or you're taking some more slightly too soon  :)))))

I was at all the places in London in the late 80s and early 90s where everyone like Goldie and Bukem showed up and invented drum and bass. Makoto is doing this here, but also, he's pulling every trick I've ever heard of to make A Good Dance Tune in any techno format whatsoever. And he's gone and bloody used them in exactly the right amounts, in exactly the right places. To wit, in no particular order:

Double time (or even triple). You can dance to this very slow. Nothing like dancing slow motion in a welter. 

In particular, that delicious moment at which the bassline appears to be suspended above the tune, like bells, before we dive back in. That's just too confident, isn't it haha

The introduction of a second riff that is slower than the first one, and inverts. 

The sicky, detuned modulation down a tone for four bars, then back up. Serious MDMA imitation thing there. House music hugely favors bitonality, often by accident, for this reason. 

The sicky in general main tune on whatever non-percussive keyboard sound that is. Modulated. Too much bliss, you're about to throw up unless you figure out a way to channel it out of your body. 

The use of that "I'm turning a key in a clockwork toy, I'm winding this up and soon..."

The initial sinister "alert, alert, something is coming..." sound. Warning: Emergency Exit. You Will Activate Pleasure Alarm. 

The gentle versus brutal. The chords versus the rhythm. 

That, coupled with the "this record is malfunctioning, a riff is stuck" on the high Rhodes piano-like minor third oscillation. 

Alarms are always always good. I remember outside Trip in central London, the police turned on the sirens and we just danced to them. 

The way the voice is a siren, or either, or neither. And the way in the end it's gated to the cymbals. 

The This is just a bouncy piano riff or is it the Mothership descending above Devil's Tower

The major/minor oscillation, the feeling of This is demonic intense...or is this beatific intense, that ambiguity. 

The suspension, the fact that in general the rocking back and forth doesn't resolve ever, and the endless pedal points, not just one but maybe three at times, in the treble, and the reinforced bass. 

The one and only sudden stop of the brutal drums. 

The reverb: on the one hand, we're in a very small room; on the other hand, we have just pushed out of orbit and look, there's the hyperspace tunnel opening. 

Makoto's colleague Mr. Wheeler, who is said to be collaborating, but you can't hear him sing or speak, you only hear his voice going "huh" in the way you do when you're slightly impressed by something slightly unexpected, "curioser and curioser" as Alice would say, this "huh" being placed almost inaudibly during gigantic tsunamis of tune. Thus imparting a feeling of "This gentleman is so deeply interwoven in the music that he doesn't need to stick his ego out, he's got a nerdy trip master intellectual vibe that is frankly very sexy because he is in fact In Charge, but of what? Just the 'record and observe' kind that you are reduced to when you're sliding down a wormhole at superluminal speeds." "Fancy that, this is a fucking belter masterpiece." The dandy approach. It's the end of the world but I'm going to be so polite and wear the best suit. James Bond. 

Did I miss anything out LOLOL


Wednesday, September 15, 2021

Watch Laurie Anderson doing her incredible thing

I helped her out with the second one of these.  

Primitive Accumulation at the Supermarket

 Primitive Accumulation. It's Marx's term for colonialism, whereby capitalism accumulates gigantic piles of wealth via slavery and other forms of colonialist violence. 

Cut to this Monday, in the supermarket, with a tropical storm rolling in. 

White men, young men, whom I never ever see in the supermarket (I got lots of times a day), piling their shopping carts full of almost random stuff. Depriving others. 

It's primitive accumulation, still in effect. 

When white men panic they seem to go straight to pure plunder.