Sunday, February 28, 2010


"We fight neither for revenge nor conquest; neither from pride nor passion; we are not insulting the world with our fleets and armies, nor ravaging the globe for plunder. Beneath the shade of our own vines are we attacked; in our own houses, and on our own lands, is the violence committed against us. We view our enemies in the characters of Highwaymen and Housebreakers, and having no defense for ourselves in the civil law; are obliged to punish them by the military one, and apply the sword, in the very case, where you have before now, applied the halter. Perhaps we feel for the ruined and insulted sufferers in all and every part of the continent, and with a degree of tenderness which hath not yet made its way into some of your bosoms. But be ye sure that ye mistake not the cause and ground of your Testimony. Call not coldness of soul, religion; nor put the Bigot in the place of the Christian."


By the porg


By Mark Brabant

Found out more about him on his website right here

Saturday, February 27, 2010


cerebral 1€ 


By Ale

Click on pics for bigger size!


 Work done with just paint, no effects added.
Fascinating how it distorts the space & seems to be standing just in front of you.

Friday, February 26, 2010



Thoughts on the presentation of rebellion in the artwork of (Post-)Rave records.

The picture has to be seen in front of the historical background of the introduction of the Criminal Justice Act which criminalised free techno festivals in Great Britain in 1994.
It is subdivided into two parts alongside an abyss. The left side is drawn in dark colors: a cold blue in various shades and mostly black. In contrast to this the horizon is drawn in red whose intensity declines to the middle of the picture. In the background there is the silhouette of a city. You can see over-dimensional, smoking chimneys of industrial factories. In front of them are fundamentally smaller residential buildings. Firstoff at the abyss there is already a huge line of riot police. And more of them are jumping out of transport vehicles and run to the abyss. One police officer is talking through a megaphone, another one is raising his truncheon in a threatening way.

The right part of the abyss is drawn in a different coloring: bright, shining, forceful colors dominate. The sky is blue, yellow and white, the sun seems to rise at this moment. This part is bright with daylight while it is night-time at the other side. In the background there is a green meadow with a party happening on it. There are two giant speakers with a crowd of people in front of them. Some people are loosely standing in front of the crowd, most of the people seem to dance. Their faces are abandoned from the left part of the picture and the danger; nobody seems to take notice that the police which is marching up. Between the people there are also vans, one of them is an old VW-model.

Prominently in the foreground of the picture there is a huge figure which attracts the attention of the viewer. It´s a man, aged somewhere in his middle or late 20s, who holds a machete in his left hand. The sun is rising slowly behind his head. The shine is silhouetting him against the horizon and gives him the luminescent aura of a nimbus. He is threatening the police with an attempt to cut the rope of the bridge that connects both sides of the abyss, the only connection. His gesture communicates: He´s a rebel and embodies the male outlaw. He has long, curly, brown hair and is wearing a simple, blue T-Shirt, cut trousers and clumsy boots. His middle finger is pointing in the direction of the other side of the abyss: “Fuck the police.” His body language is deprecating but his gesture is threatening. He is looking for a verbal confrontation and is protecting the dancing crowd behind his back.
The rebel impersonates elements of the classical hero who defends the innocent (and defenceless) people against the dark machinations of the ultimate evil. In this case the peaceful party community has to be protected from the police. The crowd isn´t defending itself, but needs the rebel as some sort of watchdog and bouncer.

The intention of the party community is pretty clear: one wants to party – but the police are disrupting this. Here one seems to find an exit-strategy to escape society and its constraints: hedonistic consumption. The negative attributes of capitalist collectivisation are seen as factories (individual deprivation caused by work; pollution of the environment) and police (repression) are seen exclusively externally, while the individual is seen as autonomous from it on the green meadow outside the city.
Where do the sound systems come from, who is constructing cars and how are motors operated? Posing all those questions would disturb the idyll. Because some answers would be that speakers are manufactured in China, that cars have to be refueled with petrol from the Middle East and that ecstacy is synthesised in complex chemical procedures. This would show that the idea of autarky (as independent production) is a chimera. The rebel particularly wants to forget, especially through his clothes, that he has something to do with capitalist society. Autonomy is suggested as an outside position. The tattered clothes are supposed to represent resistance which produces with all these contradictions an all the more pathetic impression. The paradox that one doesn´t realise anything different than bourgeois values is getting ignored.

With this picture The Prodigy are taking a stand in the conflict of ravers versus the police during those days. At the same time this statement is used to market a rebellious attitude. The picture is part of the artwork of a record – which is of course a commodity . The teenage (and male) consumer ought to identify himself with the presented rebellion. With the help of the artwork a certain image of The Prodigy is established: They should be seen as anti-stars, who define themselves through refusal and opposition.
Courtesy datacide: read it all on their website here
Interesting stuff!

Thursday, February 25, 2010




How to make Prodigy's legendary track "Smack My Bitch Up" in Ableton. Video describes, which samples were used by Liam Howlet in this wonderful track. Reworked by Jim Pavloff.  


By Mark Brabant

Found out more about him on his website right here


Wednesday, February 24, 2010



Immerse yourself in the energetic, innovative and potentially illegal world of mash-up media with RiP: A remix manifesto. Let web activist Brett Gaylor and musician Greg Gillis, better known as Girl Talk, serve as your digital tour guides on a probing investigation into how culture builds upon culture in the information age.

Biomedical engineer turned live-performance sensation Girl Talk, has received immense commercial and critical success for his mind-blowing sample-based music. Utilizing technical expertise and a ferocious creative streak, Girl Talk repositions popular music to create a wild and edgy dialogue between artists from all genres and eras. But are his practices legal? Do his methods of frenetic appropriation embrace collaboration in its purest sense? Or are they infractions of creative integrity and violations of copyright?

You be the judge by watching RiP: A remix manifesto. I donated but you can either donate or fill in $ 0.00 to download it for free. Spreading the word is also donating, so don't feel bad if you are unable to. Just spread the word!

Tuesday, February 23, 2010


Monday, February 22, 2010


Things. People. Beings blend into the shadows.
Lose their features. Their solidity. Their identity.
From that moment things can change.

Merging with the dark. As we imagine or expect.
Laughter and gentle talk are silenced.
Sweetness is absorbed. All that was good becomes evil.

That is. Altough we can never know what might emerge from the shadows.
We can expect the worst.


Look at the image from afar or from a side-angle and imagine..


Sunday, February 21, 2010




Saturday, February 20, 2010



Un drole de teufeur bizard s'est perdu dans une forêt
après un énième teknival ! Son errance retranscrit les méandres de sa
conscience perturbée par le confort d'une société occidentalisée à
 Crazy fuckedup teufeur lost in the woods after a free party. Funny stuff if you understand french!


 spitfireballs ufo party bercy_99
squalPash on the mix _ 2000
 teknival 2007 may
 teknival 2007 may
  teknival 2007 may
  teknival 2007 may

By Arno-g

More info on his website here


Friday, February 19, 2010



By Static


Brilliant soundsystem design/decoration!
 A video of it can be found on dailymotion

More on Nawak here 
Explanation on their name can be read here

! Download here !
(rightclick, save as)


Hoe pak ik het aan?
Download de Nederlandse inleiding hier
Te lui om te lezen?

Door reageerbuis


De huidige situatie in Nederland met het dreigende kraakverbod staat hier uitgelegd.

Thursday, February 18, 2010



Living Art: Stunning Aqua Forest Aquariums

  Click on pics for bigger size!

 I want one of this beautiful litlle worlds in my living room..
More on aquascaping here

Wednesday, February 17, 2010


Since not everyone is able to read and comprehend everything they read in English. That is why figured it would be interesting for some of our readers to read The Temporary Autonomous Zone by Hakim Bey in their native language.

"Zijn wij gedoemd om nooit autonomie mee te maken, nooit zelfs maar een moment lang op een uitsluitend door vrijheid geregeerde bodem te staan? Moeten we wachten tot de hele wereld bevrijd is van politieke overheersing voordat één van ons weet wat vrijheid is?


"De TAZ is een perfecte tactiek voor een tijdperk waarin de staat alomtegenwoordig is en tegelijkertijd vergeven van de barsten en lege ruimten. De TAZ is de opstand binnen ieders bereik, het feest dat elk moment kan losbarsten. Ze verlangt er bovenal naar bemiddeling door media te vermijden, haar bestaan als immediaat te beleven. Omdat de TAZ een microkosmos is van de 'anarchistische droom' van een vrije cultuur, kan ik me geen betere tactiek voorstellen om naar dat doel te werken en tegelijk al hier en nu wat van de voordelen ervan te beleven."
"Babylon ziet haar abstracties voor realiteiten aan: precies binnen deze vergissingsmarge kan de TAZ ontstaan. De TAZ op gang brengen kan inhouden dat er gewelds- en verdedigingstactieken worden gebruikt, maar haar grootste kracht ligt in haar onzichtbaarheid -- de staat kan haar niet herkennen omdat de geschiedenis haar niet kan definiëren. Zodra de TAZ wordt benoemd (vertegenwoordigd, bemiddeld), moet ze verdwijnen, zal ze verdwijnen en slechts een leeg omhulsel achterlaten, enkel om ergens anders weer op te duiken, eens te meer onzichtbaar want ondefiniëerbaar in termen van het spektakel. Zo is de TAZ een perfecte tactiek voor een tijdperk waarin de staat alomtegenwoordig en oppermachtig is en tegelijkertijd vergeven van de barsten en lege ruimten. Omdat de TAZ een microkosmos is van de 'anarchistische droom' van een vrije cultuur, kan ik me geen betere tactiek voorstellen om naar dat doel te werken en tegelijk al hier en nu wat van de voordelen ervan te beleven."


Zone Autonome Temporaire (cliquez sur l'image pour telecharger le PDF)

"La TAZ (Temporary Autonomous Zone), ou Zone Autonome Temporaire, ne se définit pas. Des "Utopies pirates" du XVIIIe au réseau planétaire du XXIe siècle, elle se manifeste à qui sait la voir, "apparaissant-disparaissant" pour mieux échapper aux Arpenteurs de l'Etat. Elle occupe provisoirement un territoire, dans l'espace, le temps ou l'imaginaire, et se dissout dès lors qu'il est répertorié. La TAZ fuit les TAZs affichées, les espaces "concédés" à la liberté : elle prend d'assaut, et retourne à l'invisible. Elle est une "insurrection" hors le Temps et l'Histoire, une tactique de la disparition. Le terme s'est répandu dans les milieux internationaux de la "cyber-culture", au point de passer dans le langage courant, avec son lot obligé de méprises et de contresens.
La TAZ ne peut exister qu'en préservant un certain anonymat ; comme son auteur, Hakim Bey, dont les articles "apparaissent" ici et là, libres de droits, sous forme de livre ou sur le Net, mouvants, contradictoires, mais pointant toujours quelques routes pour les caravanes de la pensée.

"... nous ne cherchons pas à vendre la TAZ comme une fin exclusive en soi, qui remplacerait toutes les autres formes d'organisation, de tactiques et d'objectifs. Nous la recommandons parce qu'elle peut apporter une amélioration propre au soulèvement, sans nécessairement mener à la violence et au martyre. La TAZ est comme une insurrection sans engagement direct contre l'État, une opération de guérilla qui libère une zone (de terrain, de temps, d'imagination) puis se dissout, avant que l'État ne l'écrase, pour se reformer ailleurs dans le temps ou l'espace. Puisque l'État est davantage concerné par la Simulation que par la substance, la TAZ peut "occuper" ces zones clandestinement et poursuivre en paix relative ses objectifs festifs pendant un certain temps. Certaines petites TAZs ont peut-être duré des vies entières, parce qu'elles passaient inaperçues, comme des enclaves rurales Hillbillies - parce qu'elles n'ont jamais croisé le champ du Spectacle, qu'elles ne se sont jamais risquées hors de cette vie réelle qui reste invisible aux agents de la Simulation."

Ou "zones autonomes temporaires", un essai de Hakim Bey.