With a flyer boasting quotes from both J.G. Ballard and Colonel Kilgore of Apocalypse Now, by the time my chum Luis and I arrived at NYU a few weeks back for a special lecture we knew we’d be in for an interesting discussion.

Steve Goodman, aka Kode9, dubstep producer and owner/chief curator of the massively great Hyperdub record label, was talking about his new book Sonic Warfare: Sound, Affect, and the Ecology of Fear. (MIT Press)

Introduced as a “rogue academic” and member of the Cybernetic Culture Research Unit, it wasn’t immediately clear if the talk was going to be highly abstract or grounded, but it turned out the latter–lucid, well researched and informative. Here are some notes.

Goodman started by saying he was at first interested in “taking literally the way certain currents of electronic music culture were describing themselves using military metaphor,” for example, Underground Resistance. But he found most was an outpouring of male fantasy and conspiracy theory. Then, he turned to non-lethal weaponry, which is now essential in an overexposed world with real-time televised events.

“[It's an] arms race in which the opponent is the general population,” Goodman said, noting microwave pulses that can modulate behavior without supposedly lasting effects or visible traces. In his definition of a sonic weapon, it’s something that can cause modulation of feelings and behavior, be it violence, pain, seduction, trickery (advertising!), deception, unease or fear.

Most politics of music, he said, deal with content and language, text that can be deconstructed and lyrics that can be reinterpreted. More fundamental is how sound and music affects and modulate the body and mind, but not always consciously or representationally, part of the “vibrational relationships between things, sometimes humans,” as part of a continuum of vibrational forces that have been colonized by different groups.

Military research into acoustic weapons tends to focus on to repelling people, dispersing crowds and essentially making a group into individuals. Seduction indicates branding, to induce consumption behaviors and to get people to buy things. In music culture and sound art insidious frequencies to attract crowds, bring people together.

So we have forces of repulsion and forces of attraction.

Goodman then moved on to the origins of sound produced in the military, as a fanfare to call to arms, and drumming to discipline the troops in time: a soundtrack to war.

He went into the Urban Funk Campaign and Operation Wandering Ghost¹, two Vietnam era projects to experiment with sound in battle, and talked about the ghost army the allies set up in World War II.

Goodman then went into his three definitions of “unsound”–that is, having suspect methods, “politically unsound”, below the threshold of hearing, or most interestingly, things you can’t hear because they haven’t been created. “The potential between the vibrational field, what futurism in music culture has always been intereted in, the shock of the new.

This leads to an interesting premise: “what a body can hear is not something that is fixed in time.”

Hearing aids let us hone in on certain frequencies, hi-tech prosthetics. “We don’t yet know what the sonic body is capable of.”

Much of the talk around sonic warfare (that isn’t waging it) consists of debunking military press releases, according to Goodman, and names Dr. Jurgen Altman as a leader.

Most effort in that field is involved in directional ultrasound, things like sonic lasers. Rather than use sub-frequencies (like Goodman and many musicians) the military tech focuses on directional devices that create hole-y space, and pockets of audition.

He talked about how military technology trickles down, as of the case of the vocoder, initially a speech encoder so Roosevelt could talk to Churchill. Then came two great quotes, that I may have mis-attributed, or under attributed in my notes; I have “Kintler”. Anyway, the quotes are (on seperate lines because they’re great):

All entertainment media is an abuse of military media.

The discoteque was a boot camp for World War 3.

The latter meaning it was subtly improving our nervous systems to function in a situation of sensory overload.

He touched a bit on the Mosquito, post-9/11 urban culture and its pelethora of sirens, the LRAD, playing Balinese gamelan on the greatest soundsystem known to man and studying the brain’s response, sonic booms and sonic warfare as war crimes, the monopolization of the means to experiment with frequencies, schizophrenia as “split voice”, Project Jericho and more.

Goodman’s keeping a blog on various topics related to the book here. You can preview it on Google Books.

UPDATE: Luis adds this. Very appropriate.

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1. From WFMU: “The Urban Funk Campaign is something much more evil. It was employed by the CIA Audio Harassment Division in Vietnam and Laos. The idea: bombard the local citizenry with sound instead of bombs. The desired effect: rouse the populace from their hideouts and destabilize their resolve.

   In 1972, 13 choppers were equipped with Sound Curdler Systems (costing $50,000 each). The Curdler is a small oscillator unit that is capable of hundreds of hours of uninterrupted operation from a simple 9v. battery. It emits a shrill pulsating shriek at 120 decibels at 10 meters. (Standing on a runway during takeoff of a 747 measures 112db, in other words, potential aural harm.)

   The system is also called a “People Repeller” when used with a hand portable US HPS1 Public Address System with a 350 watt amp and anti-feedback microphone. This system delivered intelligible speech over 2.5 miles. The system also came with an optional siren system with built-in wail/yelp audio frequency oscillator with adjustments to frequencies from 500-5000hz.

   Code-named “Wandering Soul” because the audio engineers spent weeks recording eerie sounds based on their exposure to local music, foklore, ghost stories. The eerie sounds are similar to the soundeffects employed during a radio mystery play, but transposed to live theatre of Vietnam. These sounds were intended to represent souls of the enemy dead who had failed to find the peace of a proper burial. The wailing soul cannot be put to rest until this proper burial takes place.

   The purpose of these intrusive sounds was to enhance panic instincts and facilitate crowd dispersal and the disruption of troop strategies, village chanting, rites, routines, and celebrations. The target audience (victims) are forced to drop everything to cover their ears. At night the system was at its most effective as it harassed the sleeping and preyed on the sensibilities and superstitions of the target population. It was further intended to destabilize beliefs, disorient the human targets, and enhance intra-community irritability.

   The 10,000-watt airborne systems were mounted on the choppers so as to best project sound downward in a pyramid apexing at 3,500 meters altitude. This was the technological heart of psychological warfare.

   In 1973 the Urban Funk Campaign tested super/sub-sonic and ultra/infra sound with a weapon system called a Squark Box which creates 2 simultaneously inaudible ultrasound tones at pitches of 16 and 16.002khz. These 2 ultrasonic waves of highly directional beams are aimed to coincide at the target point. This interference pattern creates a sub-beat of 2hz outside normal auditory perception and when played at immense volumes causes ars, shoulders, chest wall and buttocks to resonate. It converts the target body into a human tuning fork. Symptoms include headache, visual distortion, epidermal tinglings. the skin actually gets heated by localized ultrasound and gently cooked.” Other effects are the formation of cavities or bubbles in the body, choking, excessive salivation, testicular pain, nausea and giddiness – a technological extension of witchcraft. And when combined with rapid flickering hi-intensity lights it caused systematic disorientation, sensory destabilization. Prototype for the modern dance floor where for an admission price, revelers willingly submit the ennui of their everyday bodies to the photo/auditory-epileptic effects of intense stroboscopic light. Synchronized at between 10-30cps – photoepilepsy will occur during intense prolonged conflict exposure.”

There are probably a few spoilers in here, or not. Read at your peril.

Plot-wise, the movie mostly stars a Frenchman named Thierry Guetta. Thierry becomes obsessed with chronicling things via video, and fixates on street artists, adoring of the danger and spontaneity.

Thierry is clearly obsessed and mentally unbalanced, but in that endearing Man On Wire, French way. His marriage miraculously stays intact while he follows Shepherd Fairey across the globe, plowing through thousands of tapes–ostensibly, to the artists, for a documentary–which fill dozens and dozens of boxes in his house.

Theirry’s camera eventually, after much pursuit, intercepts Banksy, and several close scrapes bring the two together, as friends. Theirry gets comfortable in Banksy’s inner sanctum. Only in this short section do we get to see the artist working; otherwise he narrates in hood, face obscured, with robo voice. Scenes from his studio are really interesting; at one point he takes Theirry to his attic and shows him boxes of £10 bills, with Lady Di’s face printed on them, and explains how they printed £1,000,000 worth and have been passing them to vendors at festivals.¹

At various points in the film, the question of whether Thierry is real or not came to mind. It seemed, thematically, that his obsession with videotaping everything melds perfectly with the themes of surveillance and voyeurism prevailing in Banksy’s work. But the dating of the footage appears to have been too elaborate to fake. Fairey looks younger, wearing baggy, of-the-era late ’90s clothes in footage purported to be from that era. Speaking with a few people more familiar than I, it’s true, he’s a real guy. Guetta’s character, though, is so surreal and outlandishly appropriate to the subject matter, that what happens next is completely conceptually seamless to the point where the rational mind rebels.

Banksy asks Theirry to show him his film, Life Remote Control, and, surprise, the final product of his insanity and obsession is intolerable. You can watch a few bits of it here.

So Banksy decides to make the movie about Thierry, and, in the meanwhiles, tells Thierry, who has been experimenting with stickers and wheatpasting, to do an art show–and Thierry dubs himself Mr. Brainwash.

Given this mandate by his hero, Thierry can’t help but make it massive: he puts his life in hock (supposedly) and hires a team to create art (a style-less mish-mash of Fairey, Banksy and Andy Warhol) and leverages endorsements from Fairey and Banksy to get the punters (Fairey calls them suckers, which is maybe more appropriate) out and buying.

And they do. His Life is Beautiful show sells a million dollars in product and runs for months (I wasn’t able to independently verify
this). Theirry is an art star, and has had a subsequent show here in New York in February.

And there we have it. But what do we have? Well, the great street art swindle. Like John Lydon said, ‘Ever get the feeling you’ve been cheated?’

The Sex Pistols did it first. The KLF wrote The Manual on how to do it. Now Banksy is doing it: creating a story to spur demand, lending authority to it in a rapidly popularizing subculture, satisfying the hunger and laughing while everyone eats it up.

It is almost a performance edition of the piece pictured above.

Thierry’s the ultimate idolator, a King Toy of the graf world, but in an endearing, ‘let me hold the ladder and learn to do it’ savant-ish sense rather than cynical or ill-meaning way.

In him, Banksy has a tool to make us aware of our desire to belong and understand, nudging him forward, enabling his rise, only to gloat over the result. The art fans, clad in Ed Hardy, lined the sidewalk to see Life is Beautiful and take home a piece. But once everyone catches on to the gag, what happens to the work? And Thierry’s (clearly unbalanced) ego? If Banksy was affiliated, does that mean it has value (in an artistic or financial sense)?

Banksy is certainly a fascinating character, and this film will raise more interesting discussion on the nature of art in our times. But as opposed to his pieces on the wall in Gaza, indicting a system of oppression and bringing power and hope and positive messages to the world, and the Disneyland incident (which is explained in harrowing detail in the film) it feels like there’s been a turn in Banksy’s work toward the cynical.

Here, in helping make Mr. Brainwash into something of a star, he’s turned to lampooning the general public, ordinary people whose minds have been opened to the sort of surprise and wonder great street art fosters.

The film is out April 16 in the States, and if you’re interested in the culture of street art and image-making in cultural affairs I’d recommend you seek it out.

Animal New York has a post revealing some Fairey admissions, and that throws up a few good rumors and explanations about Theirry owning property and having family connections that let him do legal graffiti. It’s worth a look.

1. I think this is a crime, counterfeiting, and admitting to it on film, with the evidence, would be trouble, at least in law-abiding Britain. Which makes me think its not entirely true.

I’ve got big news I wanted to share: I’ve taken on the responsibilities of opening an office here in New York as Contagious Communications’ North American Editor.

The official press release is up, and I’ve done a quickie intro on contagiousmagazine.com.

If you don’t know Contagious, I’ll give you the quick primer. It’s a London-based marketing intelligence company founded in late 2004 and led by the flagship product, a quarterly magazine. It also produces FEED, a bespoke subscription service for specialized pulses of information, an events division offering custom conference programming and Contagious Insider, a consultancy that has helped think on a bevy of interesting challenges from a wide variety of top-notch clients.

Contagious started around the idea of chronicling and considering how non-traditional efforts were impacting marketing; it has grown to a robust clearinghouse of innovative approaches, unique insights and all manner of interesting ideas from around the world of marketing and beyond. (Download 2009’s Most Contagious report for a taste.)

It’s extremely exciting to be able to bolster such a robust and focused team. Contagious has a diverse and deep pool of talented writers, researchers and collaborators as well as a can-do startup mentality.

A while ago I was reading a blog post BSS&P’s Ed Cotton had written about the need for a creative-thinking version of McKinsey, about how stimulating ideas and creative revitalization can be more beneficial to growth than cost-cutting. I think Contagious has the potential to serve as that energy- and idea-giving entity for any of today’s companies interested in what’s next.

So in the next few months I’ll be building our presence on this side of the pond at conferences and events, paying visits to lots of companies and, most importantly, watching closely and taking observations and insights to the print magazine and website.

If you’re not already, get in touch. Sign up for our e-mail newsletter, follow us on Twitter (@contagiousmag) and submit your best work.

Contagious is well known in Europe, and has been very successful around the globe so far, but we’ve still got a challenge in helping it find a bigger audience in the Americas. I hope you’ll be able to play a part and contribute to what’s fast become a vibrant community of forward-thinkers.

Pssssst…., originally uploaded by nparish.

Pssssst….

My buddy Dan posted this on Facebook the other day and it reminded me of one of the key points in Scott Berkun’s excellent “Confessions of a Public Speaker“. I read “Confessions…” late last year and have been talking about it to anyone who frequently presents or is involved in speaking in front of an audience; its a great resource.

Anyway, a point Scott makes is amply illustrated here: The audience wants you to succeed.

In Dan’s heartwarming case, he got a heads up on his fly being open, and probably went into that talk knowing he at least had one guy in the audience rooting for him.

Dan writes “Today I had to speak in front of about 70 people at this pharmaceutical company near Jersey when this fine older gentleman nonchalantly got my attention and passed me this note:”

You must hold the reigns tighter than you have ever held them before but let the chariot head over the cliff top. The abyss is calling.

Clutch at straws. Build castles on clay. Let the quick sand tell you lies. Take the scenic route. Be there on time. Use two drummers if need be. Fill out forms. Seconds. Minutes. Hours. Days. Midweeks and predictions. Fall, spin, turn and dive. Sign cheques. Solicitor doing deals with “Hits” and “Now”. Sleep at night. Black to white. Highest new entry. Good to bad. Fast forward. Top of the Pops. Re-read this book, whatever it takes. No, don’t. You already know all there is to know. Faster. Faster. Faster. Give everything. Just give everything. This is the beautiful end.

I just finished The Manual and everything is clear.

Louis C.K. at the Comedy Cellar, originally uploaded by nparish.

I galloped down to the West Village with my buddy Sam last night to see Louis C.K. tape a few bits for his upcoming FX show (March). It was brutally hilarious. I suspect some of the material might be too horrifying for the FX audience but if he puts out a DVD of the show it might have some of the crazier stuff from last night. Oh yeah, we got to sit right in the front, too.

Louis (@cklouis) gathered the audience via a tweet the day before. This was by far the most exciting thing to happen via Twitter.

This is Sam’s favorite C.K. video bit; his YouTube channel is pretty golden.

I most recently saw Reilly on the front page of USA Today commenting about the Chevy Volt’s mileage claims after a week fishing in Montana secluded from all feeds and transmissions. I think I whooped.

The first time we met, however, was a little different. It was on a high school Spanish Club Spring Break trip to Mexico in maybe 1997. That was a fun trip. For some reason our historical survey swung through Cancun for four days. Our initial evening in that fine town a fellow (neither of us, for the record) experienced what could be termed ‘rampaging intoxication’ for the first time and proceeded to chop apart his hotel room dresser with a ceremonial hatchet he’d purchased earlier that day from a roadside tourist trap. Goooood times.

Spime. Spimey spimey spime.

Spime is a portmanteau of ’space’ and ‘time’ coined by Bruce Sterling, who envisions a world full of spimes. It’s fun to say, and important to think about. A scenario just crossed my mind that might help.

A spime, as he defines it, is a “location-aware, environment-aware, self-logging, self-documenting, uniquely identified object that flings off data about itself and its environment in great quantities.”

We’re seeing stuff that’s spimier every day. Your smart phone is a pretty good example. While I was looking at Sophie Blackall’s fun illustrations of Craigslist Missed Connections it seemed like a pretty interesting way to think about spimes.

Thousands of people have potential Missed Connections every day in big cities. (Essentially, if you’re not clear on how the Craigslist section works, say the cute dude walking his dog makes eyes at you, and you reciprocate; if one of you gets up the guts and wants to make contact you post about the encounter on the board.)

But, the problem with Missed Connections is they require a great deal of persistence. One would imagine an earnest (yet shy) person would check the board regularly, thinking about the girl in the laundromat showing off her underwear in a flirty way or the neighbor whose groceries you helped pick up after her bag tore might have really felt there was something more, and posted. God! We really had something for that second.

Or you yourself would post after every small interaction that’s a piece of love in a often desultory metropolis (’Hey, coffee guy, I really appreciate your daily affirmations and good humor’). So, you follow every trail and leave bread crumbs of your own and you’re bound to find a soul mate eventually. But, you’re likely to end up with an earnest, shy, person who’s kind of like yourself. And opposites attract.

Spimes can make it better.

Say you’re out carousing, or riding the subway to work, and your phone is logging place and time information, and you’ve signed up to be part of the Craigslist Missed Connections database and are volunteering (fairly anonymously, if you want) your location and when you’re passing by various nodes. Say the commuter pal who you always see and occasionally share eyes with is too. And she/he looks at that day’s timeline, and remembers the encounter, and puts a little pushpin into it. Guess what? Since your route and when you passed through it is logged too, you get a notification. Someone who trod the same path shared an experience with a stranger. Was it with you? It’s a hell of a lot likelier than the currently haphazard method, and I bet you could find a psychologist who would argue it’d make a healthier match than two neurotic romantics refreshing the Missed Connections section every hour.

There are already things that use the iPhone’s GPS to do things like this; most notably Grindr, an app that helps gay men find cruising buddies based on location, allows chats and suggests places to tryst.

Aside from being a little more, well, romantic, adding the time element allows you utilize the core of the Missed Connection, that it’s already happened, and was a shared experience, and treat that first encounter like a notable moment where two lives cross.

So how do we do it? Who will try?

This week saw the auspicious launch of a new agency called Victors and Spoils, founded by former Crispin Porter + Bogusky folks, Evan Fry and John Winsor as well as Claudia Batten, a former VP at Microsoft-owned in-game advertising facilitator Massive.

Fry, in the Times piece, makes an impressive statement:

“Crowdsourcing is looked at as a trend du jour,” Mr. Fry said. “We want to be the first agency that gets it right.”

I want them to as well. But perhaps in a different way than they do.

Advertising execs have been in love with Clay Shirky’s ur-crowdsourcing text “Here Comes Everybody” since it made its debut last year, but they haven’t been able to get it right.

There’s a reason why; marketers have focused on using executions from the crowd (eg Doritos’ tone-deaf Super Bowl spots) to replace things they’d usually pay specialists lots of money for, like logos and commercial scripts, instead of the easy tasks everyone can complete, like drawing a sheep (as in Aaron Koblin’s Sheep Market) or retyping a blurry word (as in Luis von Ahn’s CAPTCHA).

So, to succeed, Victors and Spoils has to find the middle ground.

And, by the power of the crowd vested in this tiny node in a remote corner of the internet, I have it for them. Here’s your assignment, guys.

Build a community around the DARPA network challenge and one of the “household-name brands” you allude to pitching for in the Times, win the challenge by finding the eight balloons first, and donate the $40,000 in prize money to charity in the name of the brand.

I’d hire a mathmetician to figure out the best way to allocate your immense brain wattage and flex it to comb the country for the eight balloons. Issue incentives to players, keep them honest, allow the whole thing to develop near-realtime with streaming content and all sorts of extra goodies.

It’ll be tough, because you’ll be competing against ultra-efficient networks, the likes of 4chan, which is unfortunately the closest thing we have now to an effective megalith of distributed energy that has the get-up-and-go to mobilize quickly. But what they boast in adolescent drive they don’t necessarily hold in technical expertise.

In as much as advertising has become a highly-efficient substrate for many of our emotional responses, so too will you have to be the surface underlying the network, giving it nutrients and making it robust.

97.9 FM in Detroit has long been home to WJLB, one of the finer R&B/’urban contemporary’ radio stations in the country. While kicking around on the excellent Detroit Radio Flashbacks I found the website featured weekly charts, “hip pocket surveys,” for much of 1984-85. These were the final years legendary DJ The Electrifying Mojo was at the station, so I thought it might be fun to take a look at what was getting played just about 25 years ago. I mostly missed the Mojo era, but JLB was a hugely influential radio station for me; it played loads of local records and was one of my first exposures to live turntablism, with a party/booty show every Friday night. So, I hope you enjoy these tunes. There are some hometown favorites here, stuff that stayed pretty local, and things from the last throes of Motown. Not surprisingly, Rochester Hills’ own Madonna is the only white performer on the list. Also not surprisingly, Prince, a Mojo favorite, appears a few times, both in his own work and through Apollonia 6 and Vanity. Pardon the dodgy embeds, Most of the record companies don’t like it enabled on their YouTube offerings…

24. You Get The Best From Me – Alicia Myers

23. We Don’t Work For Free – Grandmaster Melle Mel & The Furious Five

No video…but here’s a taste of the song.

22. The Jacksons – Torture

21. Tonight – Ready For The World

20. The Last Time I Made Love – Joyce Kennedy & Jeffrey Osborne

19. Solid – Ashford & Simpson

18. Sex Shooter – Apollonia 6

17. Set It Out – Midway

	Midway – Set It Out
	Found at Set It Out on KOhit.net

16. Pretty Mess – Vanity

15. Lucky Star – Madonna

14. Look The Other Way – Isley Jasper & Isley

Isley Jasper Isley – Look The Other Way (Official Music Video) – Funny videos are here

13. Let It All Blow – Dazz Band

12. Jungle Love – The Time

11. I’ve Been Watching You (Jamie’s Girl) – Randy Hall

10. I Promise (I Do Love You) – Dreamboy

I Promise (I Do Love You) – Dreamboy

9. I Owe It To Myself – Prime Time

8. I Feel For You – Chaka Khan

7. Friends b/w Five Minutes of Funk – Whodini

6. Fast Life – Dr. Jeckyll and Mr. Hyde

5. Erotic City b/w Let’s Go Crazy – Prince

Prince doesn’t like his songs living free on the web. I’m sure you know these by heart anyway, right?

4. Cool It Now – New Edition

3. Computer Age (Push the Button) – Newcleus

2. Centipede – Rebbie Jackson

1. AJ Scratch – Kurtis Blow

What do you think, there are six more charts to close out ‘84, should we count ‘em down? Let me know in the comments.