Composed, arranged and performed by Neo Muyanga, this audio cd supplement was part of the Chimurenga Chronicle (October 2011) , a speculative newspaper which is issue 16 of Chimurenga.
Tracklist:
a) 1+1= (a re-composition of a 5000-year-old offering to Lord Ganesha, the Hindu deity, an opener of sorts)
b) 4:7 (heaven’s on the ocean is a proportional refrain on reaching nirvana, the 7th grade, via the mundane material world)
c) 3sin= rθ (sino projection technology theme)
d) 3(x)n (illegal border crossing and migration theme. composed for dancers)
e) e=mcx \rightarrow \infty (a true story about an explosive riot day with SADF soldiers who attacked Soweto on June 16th, 1985. Composed for those who got hurt)
f) ƒ:X→Y (horizon heart aflame. Composed for a lover)
g) (a summing of random themes theme)
h) 4x+2 (the 2 or 4 step theme)
i) y~ 6/8 (a travelling theme in 6 parts over eight. Composed for puppets)
j) y\ge \!\, 6/8 (a running theme in 6 parts over 8 )
k) 1/4° (a kota bread theme. Composed for skolies and thieves)
l) (a perpetual circle. Composed for an apartheid-era multi-racial soccer club)
Instituting: space-making, refusal, and organizing in the arts and beyond eds. by Gigi Argyropoulou in cooperation with Olga Schubert and Kostas Tzimoulis (Archive Books and HKW, 2022)
This publication seeks to continue previous trans- formative moments, movements, and encounters, as a call for new densities through visible and invisible plottings. Editorials tend to focus on the work that is going to follow that comprises a complete volume on the subject. However, this edition cannot but start by acknowledging dependencies, connections, and thus its incompleteness as it is pointing towards potential constellations of practice. Engaging with ongoing questions of possible infrastructures in situations of brokenness—as Lauren Berlant notes in the opening quote—this volume brings together practices, ways of being together, of both fleeing and inhabiting spaces. Stefano Harney and Fred Moten propose “commitment to the impermanence of form because form is to be used, like an everyday thing” and that by using it you “deform it . . . acceding to and enacting its transformation, in and for the everyday.” In this publication, instituting is discussed as a continuous process that is integral to the everyday, making and tearing apart, using and deforming. In a sense, this book hopes to function as an infrastructure for use. An incomplete composition that has already started in many places.