ABOVE: the Black GRISTLEISM Soundbox packaging with ">>A Riot of Laughter and Excitement<<" inscription
GRISTLEISM features 13 Loops of audio created by Throbbing Gristle. the Soundboxes themselves come in 3 colors, Black, Chrome + Red. the Soundboxes feature a Volume Control (which is also the on/off switch), a button for switching between loops + a dial for Pitch Control.
ABOVE: the Red GRISTLEISM Soundbox packaging with ">>The Meme is the Message<<" inscription
01 distinguishing feature, which differentiates GRISTLEISM from the FM3's Buddha Machine, is that GRISTLEISM has no audio output other than the built in speaker. without a headphone jack Throbbing Gristle takes a hardcore position with GRISTLEISM that is a parallel commitment to low-fi industrial noise, i.e. that you must listen to GRISTLEISM only through the built-in speakers or by mic'ing the soundboxes.
ABOVE: the Chrome GRISTLEISM Soundbox packaging with recursive feedbaxxx possibilities
the inscriptions are also defining features of GRISTLEISM adding to each object a poetic fragment in the form of the texts that are imprinted on the packaging boxes as well as on cards that are inserted in the packaging
Guest editor-in-chief: Sophie Le-Phat Ho Deadline for abstracts + bios: January 3, 2010 Selected texts must be submitted by: February 7, 2010 Publication date: February 2010
Brought closer to the notion of resistance, that of adherence seems to function as an antonym: to resist something is to not adhere to it. On the other hand, to resist, despite what might claim some inventors of "nonistes", is also to adhere to something else. Between the two, the level of adherence can serve to measure the degree of resistance against institutionalization or cooptation. Adherence can be resistance's weapon just as it can be its weakness point.
As such, resistance and adherence go hand in hand.
However their opposition is not a given. Indeed, the notion of resistance_adherence can be seen rather as a process (of everyday life), a way of doing, of work to be done at every level (at all times). The choice of the concept of adherence, rather than that of adhesion (membership), brings forth the possibility of approaching that concept in terms of degree, of coefficient -- that is, as measure -- and not as identity. Adherence hence suggests the ideas of a slippery ground, of a force of attraction, of friction, lubrication, rhythm, viscosity, entanglement, as well as dexterity, navigation, sharpness -- or in other words -- art. How can resistance_adherence be addressed in those terms, that is, not in oppositions but in levels of intensity? How can an analysis of resistance_adherence lead to a better understanding of creativity, of autonomy? Indeed, how could tackling the notion of resistance from the point of view of adherence expose new tracks, new grips?
Studio XX's feminist journal .dpi welcomes essays, critiques, interviews, and other web-based forms of expression related to the thematic cross-roads of technology, women, art and society.
As an electronic periodical, .dpi also seeks proposals that make an interesting use of the Internet. Usually, essays are no longer than 1500-2000 words and columns, 800-1000 words. Other suggestions can also be acceptable. Selected authors will receive an honorarium for their contribution ($150 per selected article and $75 per selected column).
Please send your abstract (300 words) and a short bio (100 words) by January 3, 2009, to: programmation_AT_dpi.studioxx.org
(Film, Video and New Media department at The School of The Art Institute of Chicago; New Media Art Histories; Art Games + Independent Gaming Cultures; Open Source, Artware + early Video Art; Computer Witchcraft + Majikal Media Art)