Showing posts with label NETWORK 23. Show all posts
Showing posts with label NETWORK 23. Show all posts

Tuesday, April 2, 2013

DMCWORLD INTERVIEWS SP23 CREW

DMCWORLD magazine published an interview with Stray Wayward (aka Spiral Mark) and Sirius, both members of the SP23 crew (sp23.org). SP23 is creative collected formed by some of the core members of the Spiral Tribe soundsystem. 

Mark is currently working on a book I am really, really.. really looking forward to. What makes me so anxious is that I am almost certain that this book will be THE book I would be able to call my bible. In "A Darker Electricity: Life On The Road With Spiral Tribe" Mark will chose to tell the story of Spiral Tribe in a creative way by weaving narrative threads together and not just create a chronological list of events. Thus creating an interesting storyline I am dieing to dig in to. Finally I will be able to read the whole story of which I now know only a few scraps I picked op from interviews, articles, flyers and other media we once searched and shared on this blog. One of the main reasons we started this blog is to collect all the information that was available online and make sure it doesn't get lost. Many websites from soundsystems in the early 90's were disappearing so we wanted to make sure that these pieces of history wouldn't get lost. Creating one place to find out more about the history of the current free tekno movement. Especially the legend of Spiral Tribe which became a great source of inspiration that became a part of the free person I am now. A part of the manifesto I put together a few years ago, which sums up what we stand and fight for as a soundsystem, is based on the reason why Spiral Tribe was formed. A group of friends got together to resist the system that limits our own creativity and freedom of expression. Their weapon in this battle was Spiral Tribe. Re-read our manifesto and you'll know which part I am referring to. 23 years later these constrains are still being enforced by governments but also still resisted by many collectives in the form of a soundsystem all over the world. Their cause became a message I now follow and actively spread. I could go on about how much influence Spiral Tribe actually had on my life but I just realized I was just mentioning the upcoming book "A Darker Electricity" and got off track. So my train of thought ends here and the influence of Spiral Tribe in my life will become a post on its own in the near future.



So.. emm.. yeah. "A Darker Electricity" a book by Mark of SP23, obviously highly anticipated by me. You can find excerpts of this book on his blog called WAYWARDTALES.


What was it about the whole free party movement that attracted you?

Mark: "I grew up going to free festivals. Stonehenge and Avebury. Something magical occurs when you escape the confines and routines of the locked-down mainstream. It's a combination of things: the community bonds that you feel while dancing together across the night – under the stars; the connection with nature; and a sense that you've stepped outside of a bubble and into the wider world... It's an escape – not away from reality but into reality."


Saturday, November 17, 2012

SPIRAL TRIBE ON ARTE.TV TONIGHT



Tonight's La Minute Tracks on ARTE will be featuring the mental sound of Spiral Tribe on it's show. Don't worry if you miss.. I will too. They will be rebroadcasting it.. even on the 23rd. That is when I will be watching :D

Saturday 17 November 2012 @ 23:10
Tuesday 20 November 2012 @ 05:00
Friday 23 November 2012 @ 01:35

"Paint it Black" avec les Mad Max des free-parties, la comète Spiral Tribe - Un reportage de Gabrielle Culand
(with preview video)

Sans eux, le mouvement des free-parties serait resté confiné aux campagnes anglaises. Au début des années 90, dans le sillage de la comète Spiral Tribe, toute l'Europe a plongé dans la musique électronique avec pour mot d'ordre "free party, free music, for free people". - continue here

You should be able to watch it here (when it broadcasts)

EDIT: the video was uploaded by ARTE.TV to YouTube, so I can embed it :D

Monday, June 4, 2012

MAX HEADROOM - 20 MINUTES INTO THE FUTURE


Max Headroom: 20 Minutes into the Future is a 1985 cyberpunk television movie created by Chrysalis Visual Programming Ltd. for Channel 4 in the UK to provide a back story for Max Headroom, a computer generated TV host. A British produced, yet American broadcast, television series, Max Headroom, was later developed from the original film.



The film introduces Edison Carter (Matt Frewer), a television reporter trying to expose corruption and greed. In the movie, reporter Carter discovers that his employer, Network 23, has created a new form of subliminal advertising (termed "blip-verts") that can be fatal to certain viewers.

While attempting to flee the network headquarters with proof, Edison suffers a serious head injury, caused by striking a low-clearance sign labelled "Max. Headroom". Believing him killed, the network's chief executive orders Bryce Lynch, an adolescent genius working as a scientist for Network 23, to digitally record Carter's mind. The recording will then be used to create a computer-based replacement for Carter in order to hide his death.

However, Bryce's programme is flawed and apparently broken — burbling "Max Headroom" over and over again (from the last object Carter saw before being knocked out, and the first thing the albeit-primitive Max says while twitching into what would become his smooth latex form). Bryce instructs his hired goons to dispose of both Carter and his virtual clone, but they simply sell them on — Carter to a body bank, and the machine copy to pirate television station ("Big Time") owner Blank Reg.

After a bit of nurturing from Reg, the resulting program achieves a somewhat eccentric life of its own, crackling out rapid fire gags, hosting his own show, and sending Reg's ratings through the roof.

Meanwhile, a merely unconscious Carter escapes from becoming a premature organ donor. With the help of colleague Theora Jones (Amanda Pays), and the distraction provided by Max, Carter eventually defeats Network 23. - wikipedia



Max Headroom - Episode 1

Max Headroom is a British-produced American science fiction television series by Chrysalis/Lakeside Productions that aired in the United States on ABC from March 1987 to May 1988. The series was based on the Channel 4 British TV pilot Max Headroom: 20 Minutes into the Future. The series is often mistaken as an American-produced show due to the setting and its use of an almost entirely US cast along with being broadcast in the USA on the ABC network. Cinemax aired the UK pilot followed by a six-week run of highlights from The Max Headroom Show, a music video show where Headroom appears between music videos. ABC took an interest in the pilot and asked Chrysalis/Lakeside to produce the series for US audiences.

The show went into production in late 1986 and ran for six episodes in the first season with eight being produced in season two. - wikipedia

Tuesday, March 1, 2011

WORLD TRAVELLER ADVENTURES

EXTRAORDINARY STORY OF THE TECHNO-NOMAD ADVENTURE


Film Documents The European and Middle Eastern Techno-Traveler Movement

New York, NY September 13 — This October, Uncivilized World documents the amazing story of the most underground social revolution with the DVD release, World Traveller Adventures. From the 1990’s to present, several devoted artists of raving and free partying take to the roads through Bosnia, India and even Africa, as they cross geographical borders to export their music through political protest and/or cultural exchange.

Consisting of four exclusive films, World Traveller Adventures marks the first time this movement has been illustrated in images. The historic documents were compiled and filmed by the tribe members of this new genre. The films are: 23 Minute Warning — Spiral Tribe; Storming Sarajevo – Desert Storm; Mission To India – Sound Conspiracy; and African Expedisound – Tomahawk, IOT.


History
The world traveler adventure was born as a result of the U.K.’s illegalization of any gathering of more than 100 people accompanied by amplified music, which “includes sounds wholly or predominantly characterized by the emission of a succession of repetitive beats.” New Age travelers (an alternative movement of nomads), squatters encouraged by Thatcher’s repression to leave the cities, along with clubbers frustrated by the closure of clubs and early raves were driven to leave England. They traveled to the South American continent, Africa, Eastern Europe, the United States, Australia, Asia, among other countries, to spread their spirit of freedom and music, inspiring others to follow.

World Traveller Adventures Synopsis

23 Minute Warning
The interviews in this documentary illustrate each person’s opposition within a militant movement using parties and music as a way to communicate a philosophical message. In the same way as the mythical label Underground Resistance, who saw music as a weapon to fight against the barriers between races, Spiral Tribe concentrates its creative energies around the rhythms of nature, music and dance, in reaction to society’s prevailing attitude. Also included are two unique Spiral Tribe video clips: “Forward the Revolution” and “Breach the Peace” in addition to archive images of the Teknival at Tarnos (’95) and Carcassonne (July ’93).

Running time: 23 minutes

Storming Sarajevo – Desert Storm
Desert Storm could be defined as a peace-protest sound-system concerned initially with the Gulf War, and later the war in Bosnia. In 1994 (as a result of the Criminal Justice Act and Desert Storm’s difficulty to throw parties in the UK), they head in the direction of Sarajevo. Relentless snow and bitter cold delays them by three weeks and gets the better of their engines and gearboxes. Storming Sarajevo documents Desert Storm’s adventure as they carry foodstuffs, pens, books, medicine and condoms while they organize a New Year’s Eve party in Tusla and a party in a disco in Sarajevo. Desert Storm organizes a Street Parade, despite 70 cm of snow and temperatures hitting –10 degrees C. A policeman asks the organizers to turn the music up, but to dim the lights please –as the frontline is only 10 kilometers away!
Running time: 30 minutes

Mission To India – Sound Conspiracy
Mission to India is the most epic, the furthest-reaching and the longest mission of a European tribe. Filmed in 2001, this documentary tells the story of Sound Conspiracy, the reunion of three sound-systems: OQP, Total Resistance and Facom Unit who decide to set off the mythical Goa. Filmed by Paula of Sound Conspiracy, the documentary follows a travel log where the collective survived a fast, while crossing Iran, imposed armed escort through Pakistan where brutal robbers lurk, and heavy-handed checks by the omnipresent Turkish army in Kurdistan. They arrive exhausted in Goa at the end of November to organize several parties despite the undreamt-of local mafia implanted in this paradise of electronic music.
Running time: 45 Minutes

African Expedisound – Teknokrates, Tomahawk, IOT
African Expedisound follows three French sound-systems (Tomahawk, Teknokrates, and In/Out/True) as they set off for Africa in 5 converted French army lorries. A dozen people between the ages of 25 and 30 hit the road, with no institutional support, 15,000 km across Morocco, the Sahara desert, Senegal and Mali. Their mission is to find the initial rhythm, to understand the African myth, to live what they consider to be the ultimate quest for the ‘free’ generation brought up on BPM (?) The documentary begins in Senegal and the African Expedisound head toward Mali. Their experience take them through ramshackle routes, towering baobabs, and traditional villages under the baking sun. Local children announce the arrival of the “Whites” who have come to put on these “extraordinary, free parties.
Running time: 52 minutes

Bonus Features – Reclaim The Streets
Bonus features include a 4 minute musical documentary featuring images taken from the ’97 parties organized by Desert Storm in Sheffield, Bristol and Oxford. Musical and ecological activists, Reclaim The Streets (RTS) take the philosophy of the reappropriation of public space through cultural resistance to another level. They swept across the UK with street parties in Manchester, York and Oxford, and also appeared in cities like Tel-Aviv, Sydney, and Helsinki, among others.

About Uncivilized World
After being at the heart of the European cultural scene for 6 years, Uncivilized World became a record label with its finger well and truly on the pulse of quality cultural creativity. Its eclectic catalogue of artists includes the Nigerian Femi Kuti (afrobeat), the pioneering American DJ Jeff Mills (techno), the inimitable ‘French touch’ of The Hacker and Vitalic (electro), the DJing world champions of Birdy Nam Nam (hip hop), and the German big band Mardi Gras (jazz). The label has also joined forces with mk2, the biggest name in the French independent film industry, to create the Electronic Cinema collection of film soundtracks. Uncivilized World has also produced a series of music documentaries that have met with much acclaim at International film festivals: ‘Live At The Shrine’, shown at the Sundance festival and filmed at Fela Kuti’s celebrated Shrine venue, ‘World Traveller Adventures’, revealing the nomadic aspect of the techno adventure, ‘Biomechanik’, about the encounter between two different artistic universes when the sculptor HR Giger (the creator of Ridley Scott’s Alien) meets a hardcore DJ, and ‘Blue Potential’, a philharmonic concert filmed at the UNESCO world heritage listed Pont du Gard site.
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“A fascinating DVD”–Mojo
“You couldn’t ask for a more entertaining and informative look”– Undercover
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DOWNLOAD PAGE
(updated 08/07/2013)

Thursday, November 4, 2010

THE SPIRAL BITES BACK




Excerpt from DEMAG (HC UNDERGROUND ZINE) concerning the commercial exploitation of  "Spiral Sound". This issue was also featured in an article by Mark Spiral in Datacide. Find it here: "Teknival - Summer Thunder". 

Sunday, November 15, 2009

TEKNIVAL ON DATACIDE


TEKNIVAL - SUMMER THUNDER 

A Paris based record shop & distribution company called Techno Import have ‘officially’ registered the name Teknival as their own using the cover name of Cyborg Productions. This shameless act of plagiarism follows a mysterious CD deal with Network 23 (another french based company formerly dealing with their own label and other small independents). The highly controversial CD has been heavily advertised on TV as Spiral Tribe - The Sound of Teknival. They initially also the registered the name Spiral Tribe but relinquished it after a short and intense battle.

The implications of this cladestine business deal are far reaching & deeply damaging to European Teknival groups and Network 23, who, it is rumoured, in France brought the trouble upon themselves, & have since ceased trading.
Teknival was started by the Spirals in the summer of ‘93, the first being held on the 23rd of July at Beauvais in northern France. The idea behind it , as the name suggests, is an independent free festival of techno music & art. The out-door - no door-policy means an open invitation for all to participate. As you would expect such a party principle proves very popular & the concept has spread Europe-wide, escalating on all fronts. Now across the summer you can find (if you know where to look) large numbers of sound systems hidden in the wilds, from Holland to Portugal, Wales to Czech.
Now as in the future, with the EEC’s new monolithic burocracy poised to take control & the power drunk capitalist system holding the world to ransom, Teknival has become something of a haven and testing ground for new ideas. It is a source of originality & potential as well as much needed point of multi-racial contact. Hounded by right-wing governmental policies it has, so far, survived, conceiving & nurturing many creative directions, Teknival is one of the very few free spaces left.

I was recently in Paris & had the opportunity to confront one of the owners of Techno Import known only as ‘Mazen’. He denied all knowledge of the matter and refused to make any other comment before hurriedly disappearing. I did however manage to get brief comments from Network 23 who incidentally since then have packed up and moved out of Paris.
“Remember that people do get fucked in the system, that’s why it’s important to create your own scene. Don’t give away or sell your rights.” (Wise after the event.)
“Don’t buy the CD - Boycott the shop.” (A case perhaps of bolting the door after the horse has bolted, since 20-30’000 CD’s were manufactured & possibly already sold.)
Is it a sign of the times that money can buy you what is not yours to buy? What little free space is left on this planet. I for one intend to defend - & a pen will do for starters! And so for that reason I’d like to shed a little light on the situation, as I was once involved with the Network & believe that there’s a big difference between what Network 23 began as & what Network 23 became. From Ashes, to ashes.
I became disillusioned very early on with the whole set-up. The original concept was a very solid one, built on a strong ideology & 4 years frontline experience. The idea was to form an independent collective network that put the artist/musician directly in touch with the “end user” via a one-step distribution web that cut out the exploitative middle-men. This was especially useful to artists such as ourselves who were producing small quantities of vinyl with equally small budgets.
As I travelled Europe I realised that we were in a unique position to distribute direct, not just for ourselves but for other small labels. I felt that this was an important antidote to the main-stream stranglehold & a much needed outlet that would give artists opportunities & benefits that they otherwise may not have. It also at the other end delivered to the listening public new & stimulating ideas.

So we pooled our know-how & resources & began to put our grand plan into action. I remember we had been living in Berlin & although we had recently left, felt it would be a good place to return to set up HQ, because of its central position & explosive energy. The German authorities had just taken the decision to relocate the capital from Bonn to Berlin, so from one moment to the next the city sprang from a frozen, motionless position on the blocks, to a sudden sprint with massive overnight backing & rebuilding programs. The wall was long gone, but ideologies still clashed, crime was rife, & squatters rioted with police to defend the unclaimed streets.

We met up with other interested groups there & negotiated office and storage space. It seemed all set to happen, but that is really as far as the original idea got. Suddenly people wanted to go into very different directions. Two of the others involved decided to settle down in Paris, and so the Berlin strategy was abandonned. We decided to try and reorganise - they would run the european side and I would take care of Britain, others travelling further afield, taking in the easterly extremes.

But it wasn’t meant to be, from the outset it was plagued with problems, and sadly most of them were internal - unresolved differences of opinion meant of course that the ideology and art were the first to go. There was an attempted coup by some of the others to register themselves as company directors, funds that we had all worked for were no longer available for collective projects (although the “collective” guise was outwardly maintained). Manufacturing was moved to the Czech Republic to increase profits and the quality dropped to near silence. But of course the records still sold because it was “the Sound of the Underground” (muffled as it was) and people were duped into thinking that this was what Spiral Tribe was all about. People really believed in the tribe and its alternative culture, and Network 23 just exploited that reputation.
It wasn’t just the buying public that were fooled either, a lot of the artists with serious talent and creative drive were taken in by it - wanting to believe in the ideals that were no longer there - I was one of them. Even if anyone had wanted to change anything for the better, they couldn’t because there was no mechanism for change. The few had complete control and were going to keep it.

The final blow to the Network’s credibility came when they started to offload the bulk of their vinyl to commercial distributors (Techno Import for example) while still maintaining the “independent distributor” facade.
From that point on I had little or nothing to do with it as I could no longer champion a cause I no longer believed in, and I could not waste any more of my time working with a collective that did not exist. For me the great tragedy of it all was the terrible waste. Because even if it had nothing else going for it (and it had its moments!) Network 23 had a great opportunity to do what it set out to do. To build, develop and maintain a genuinely independent front-line network. Instead those who took control seemed more interested in being big fish in a small pool and ended up feeding themselves to the sharks at Techno Import. 

  

There are of course many lessons to be learned from this incident, and I leave each reader to draw their own conclusions. But beyond these lessons there is still the urgent problem caused by a minority’s self interest and that is, that an important pirate signal has been corrupted - and unless those (who realise the implications) respond, we may well realise, only too late, that great movements and opportunities such as Teknival have been eroded - not just by governmental bogeymen, but also by the squanderings of a few and the apathy of the many.

It’s clear to me now in the light of these events, and my own experience that what is now firmly on the agenda is a finely tuned cellular strategy, based on personal responsibility, individual creative control, and a highly developed personal interface which enables maximum effectiveness when dealing with other individual systems. Once, even a relatively small number of projects (whatever they may be) are up and running in this way, a strongly diverse and autonomous structure will inevitably develop. Dead wood rots and new roots grow deep.

by Mark Spiral in Datacide One (issue I chapter I)

TEKNIVAL AND THE EMANCIPATORY POTENCIAL OF TECHNOLOGY

The purpose of this text is to historify the Teknival/Free-Party scene as belonging to a history which views technology as having emancipatory potential. This history extends back to the 1930s when Walter Benjamin along with Bertolt Brecht produced a penetrating analysis of the potential offered by, the then emerging, technics to provide the tools to change the conditions of cultural production and eventually offer a renewed social configuration. Their legacy has been developed beyond the Teknival scene in various directions and is currently being discussed in Open Source Culture with some parallels to Teknival. There are different layers to this history and it is clear that the Teknival scene did not by any means offer the most advanced analysis of the emancipatory potential offered by technology. Looking at the theories of technology that have emerged, both positive and negative, and placing Teknival among such histories we are able to see some of its shortcomings and begin to discuss future strategies. As in the 90s Capital is consistently recuperating any ruptures that appear to open enough space to begin to redefine the social and technical landscape. Unlike Heidegger’s pathetic suggestion that only a God can save us now, it seems much more likely that a critical theory of technology is going to be of more use if we are to agree that ‘what human beings are and will become is decided in the shape of our tools’ (Feenberg: 2002:3).  

Read more... by Alexis Wolton in Datacide Ten (issue X chapter XIV)


Thursday, November 12, 2009

THE NUMBER 23 FOR DUMMIES

The 23 Enigma refers to the belief that most incidents and events are directly connected to the number 23, some permutation of the number 23, or a number related to the number 23. According to Robert Anton Wilson the first person to believe in the 23 enigma is William S. Burroughs. This was stated in a Fortean Times article in 1977. In May 2007 this article was republished by Fortean Times in addition to the release of the movie 'The Number 23' earlier that year.

I first heard of the 23 enigma from William S Burroughs, author of Naked Lunch, Nova Express, etc. According to Burroughs, he had known a certain Captain Clark, around 1960 in Tangier, who once bragged that he had been sailing 23 years without an accident. That very day, Clark’s ship had an accident that killed him and everybody else aboard. Furthermore, while Burroughs was thinking about this crude example of the irony of the gods that evening, a bulletin on the radio announced the crash of an airliner in Florida, USA. The pilot was another captain Clark and the flight was Flight 23. 

The article: The 23 Phenomenon by Robert Anton Wilson.

The movie 'The Number 23' however wasn't the first movie released concerning the number 23 numerology. In 1998 the German movie '23' -"Nichts ist so wie es scheint" was released. The story is based on a true story of a group of hackers who were obsessed by the number 23. Their obsession was inspired by one of Robert Anton Wilson books called The Illuminatus! Trilogy.


The Illuminatus! Trilogy is a collaboration between Robert Anton Wilson and Robert Shea and is series of three sci-fi novels published in 1975. In these novels the text Principia Discordia is often quoted.
This text can be found in many version online. Here is the version as published by Pope Patterson of the Bowels of the Asylum: THE PRINCIPIA DISCORDIA. The first edition written by MALACLYPSE (The Younger), H.C. Omnibenevolent Polyfather of Virginity-in-gold and High Priest of The Heretic Fringe & Protestant Persuasion can be found here: THE PRINCIPIA DISCORDIA (or HOW THE WEST WAS LOST). MALACLYPSE (The Younger) was a pen name used by Greg Hill who wrote Principia Discordia with Kerry Thornley and is a Discordian religious text. The first edition was published in 5 copies in 1965.


Discordianism is a modern religion centered on the idea that chaos is all that there is, and that disorder and order, the former considered a concept distinct from chaos, are both illusions (referred to, respectively, as the "Eristic" and "Aneristic" illusions) that are imposed on chaos. The text states "All things happen in fives, or are divisible by or are multiples of five, or are somehow directly or indirectly appropritate to 5" which is the definition of the 'Law of Fives'.
"The Law of Fives is never wrong" 


The Numeral V Sign, used by Old Roman Discordians, Illuminatus Churchill and innocent Hippies everywhere. 

The Law of Fives can be seen as a symbol for the observation of reality changing that which is being observed in the observer's mind. Just as how when one looks for fives in reality, one finds them, so will one find conspiracies, ways to determine when the apocalypse will come, and so on and so forth when one decides to look for them. It cannot be wrong, because it proves itself reflexively when looked at through this lens.
Basically the Law of Fives is a practical demonstration that the percipient's intentions inform the perception. To whatever extent one considers that perception is identical with reality, then, it has the corollary that reality is intent-sensitive.

The 23 Enigma is and immediate consequence of that law which was called the "23/17 phenomenon" in The Illuminatus! Trilogy. The name "23 Enigma" was first used in the first book of the Cosmic Trigger trilogy called Cosmic Trigger I: The Final Secret of The Illuminati also by Robert Anton Wilson.


Cosmic Trigger I: The Final Secret of The Illuminati is a autobiographical and philosophical work and deals with Wilson's experiences during a time in which he put himself through a process of "self-induced brain change" as well as vignettes of his earlier life. The other two works are called Cosmic Trigger II: Down to Earth and Cosmic Trigger III: My Life After Death which were published more than 15 years later than the first Cosmic Trigger.

In both works The Illuminatus! Trilogy and Cosmic Trigger I: The Final Secret of The Illuminati the number 23 is considered lucky, unlucky, sinister, strange, or sacred to the goddess Eris or to the unholy gods of the Cthulhu Mythos. (The Cthulhu Mythos is a fictional universe created by H. P. Lovecraft in 1920s.)
The self-fulfilling nature of the 23 Enigma, implying that the real value of the Laws of Fives and Twenty-threes lies in their demonstration of the mind's power to perceive "truth" in nearly anything.  


One can find a numerological significance to anything, provided "sufficient cleverness."


Numerology is any of many systems, traditions or beliefs in a mystical or esoteric relationship between numbers and physical objects or living things. It is often associated with the occult, alongside astrology and similar divinatory arts. But it can also be used for those who, in the view of some observers, place excess faith in numerical patterns, even if those people don't practice traditional numerology.


Concerning the 23 numerology there are a lot of curiosities with the number 23 going from dates, to facts and so on. A good read is the article "About 23" by Jim Fournier: http://www.gaiamind.com/about23.html.


 Here are some examples..

- William Shakespeare was born and died on on April 23. Most of Shakespeare is known to us through the first folio published in 1623. 
- Kurt Cobain was born in 1967: 1+9+6+7=23 and died in 1994: 1+9+9+4=23. 
- It takes 23 seconds for blood to circulate through the human body.
- The number of joints in the human arm is 23. 
- The human body has 46 chromosomes, which are paired, in somatic cells. Generative cells have half this number, 23, which is the number of chromosomes each parents gives to human deoxyribonucleic acid. 
- The address of the Freemasons lodge in Stafford, England is 23 Jaol Rd. In New York it is on 23rd street.
- Hiroshima was bombed on August 6, 1945 (8+6+4+5=23). 
- Nissan is a brand of Japanese cars. In Japanese, "ni" is 2, and "san" is 3. So Nissan would be 23.
- On March 14, 1997, NASA representative states that MIR 23 space station is having problems resulting from the February 23, 1997 fire and has used 23 of their oxygen-generating canisters. It is the 23rd day aboard for the Russian crew. Progress 233 supply vehicle has problems of its own and cannot redock with MIR.
- ...

Many more examples of the 23 synchronity can be found on the web.


For me the number 23 is a part of my life and the way I live it.

23 Dragon by Mark Spiral

If you still wonder why the number 23 is often used within the free tekno scene (art, names, music, deco,...) the answer is simple. This is because most members of the founders of the tekno movement, Spiral Tribe, were also obsessed with the number 23. Records, posters, backdrops and flyers featured the number 23. Parties were often organised on the 23rd and ùembers sometimes recorded under the moniker of SP23.
Also the record label itself was called Network 23.