I interviewed Autre Ne Veut (a.k.a. Arther Ashin) for Refinery29. He talked about his recent European tour, his new record, and David Lynch.
“Fandom is so disjointed from any human process. It’s as if they’re opening their journal and letting me read from it. It’s cool; it’s neat to have anything one does [recieved like that]. It’s my private space. The music was conceived in this very closed environment. It was an intimate group [who recorded the record]. To send that out into the ether and have people consume it privately, and then for us to have this conversation, it’s almost like having a conversation about masturbatory practice or something [laughs].”
Another one for The Creators Project, this one about technologist James Bridle’s new drone installations for the Brighton Festival. Bridle runs the excellent Tumblr The New Aesthetic, that documents the eerie, often hard-to-define relationship humans and machines have in the 21st century. He’s also a writer, lecturer, and all around super smart guy.
He had this to say about drones, which seems really true, scary, and important to me:
“You hear about some of the places these strikes are occurring, but you don’t necessarily see them. And that’s kind of odd in this day and age. Ever since the advent of mass media, we tend to be filled with images of battlefields themselves. We have maps, and reports, and journalists on the ground. The wars that drones enable don’t take place like that. We don’t see them. It was an attempt to render the battlefields visible, to point out that these are real locations where people lie. To try to give some sort of imagery to that discussion.”
Read the whole thing here.
And here’s a picture of his exhibition:
I talked to the folks a Obscura Digital about their amazing new analog display at San Francisco’s Pier 15 Exploratorium for The Creators Project.
Here are some recent interviews I’ve done:
The Men On The (New) Moon (Interview)
Lapalux’s Track Record (Interview)
Danny Brown Talks Twitter Friends & Festival Madness (Refinery29)
It was this weird place where they made muzak songs of popular hits. It was really atrocious. I think it was the last day that I could actually take working there — they had wanted to do this classical version of a Nickelback song called ‘Nickebach.’ That was literally the name of the project. I was like, ‘I can’t do this; it’s just ridiculous.’