plunderphonic theory

From Great Expectations through Don Quixote what I was interested in doing was examine how things worked. I couldn’t have cared less about putting things back together. I just wanted to say, “How does this work? How does sexism work?” So I would take texts and examine them and put them next to each other and see where I ended up. It was a journey into nihilism. “Okay, we end up there, and that’s not true either. What’s the truth value of this? What’s the truth value of that?” In Empire of the Senseless, I wasn’t interested in that anymore. I was interested in constructing something. But it was constructing from rubble. I was interested in seeing if I could make a narrative. What would I make a narrative out of? What would the narrative look like? I could summarize the plot of Empire of the Senseless. I couldn’t do that with any of my other novels.

2020:
[Albumtext] DeRayling ‘DeRayling’
[Book] Bill B. Wintermute ‘(Cybernetic-)‘Post-Pop‘: affect art(s) & (emotional) self-governing’ in “Achim Szepanski – Ultrablack of Music”

2019:
[Review] Bill B. Wintermute ‘error & imperfection in techno-psychology (review of “Gianluca Iadema – Aphàiresis”)’

2018:
[Text] Bill B. Wintermute ‘„Base Materialism“ – „Die Aufhebung der Ökonomie“’ in “Narthex – 4″

[Text] Acéphale – Acéphale III ‘Church of Rave’ in context of “Das Eselsfest”, published in “Nathex – 3”

2015:
[Vortragstranskript] Bill B. Wintermute ‘Randnotizen zur Hantologie’
[Text] Bill B. Wintermute ‘Point Of No Return’