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THE FISHER-FUNCTION

[INGRESS / INFO]


WEEK THREE: 11 MAY 2017 
MY CHEST WAS FULL OF EELS, PUSHING THROUGH MY USUAL SKIN (DESCENT INTO THE XEN0CEAN)





Mark Fisher, Soundcloud. 6 July 2015 
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MY CHEST WAS FULL OF EELS, PUSHING THROUGH MY USUAL SKIN (Descent into the Xen0cean) (58 mins 22 sec)



“How can this ground ever be easy when there is no atonement for crimes like these? The soil is bitter with my children’s blood. I can’t say it anymore. Justice crying against injustice from the dark centuries.”

‘Cascade’
Siouxsie and the Banshees
A Kiss in the Dreamhouse
(Polydor, 1982)

‘Drilling an Ocean’
Greie Gut Fraktion
Baustelle
(Monika Enterprise, 2010)

‘Belly of the Beast’
Gazelle Twin
Unflesh
(Anti-Ghost Moon Ray, 2014)

‘Aquababe’
Azealia Banks
Fantasea
(self-released, 2012)

‘Contrasts Essconic’
Daphne Oram
Oramics
(Paradigm Discs, 2007)

“Now I will walk down Oxford Street envisaging a world rent by lightning; I will look at oaks cracked asunder and red where the flowering branch has fallen. I will go to Oxford Street and buy stockings for a party. I will do the usual things under the lightning flash […] Reckless and random the cars race and roar and hunt us to death like bloodhounds. I am alone in a hostile world. The human face is hideous.

Swaying and opening programmes, with a few words of greeting to friends, we settle down, like walruses stranded on rocks, like heavy bodies incapable of waddling to the sea, […] but we are too heavy, and too much dry shingle lies between us and the sea. We lie gorged with food, torpid in the heat.”
Virginia Woolf, The Waves

‘Libra, The Mirror’s Minor Self’
Broadcast & The Focus Group
Investigate Witch Cults of the Radio Age
(Warp, 2009)

‘Thrax’
Laurel Halo
Chance of Rain
(Hyperdub, 2013)

“It’s as if whatever it was was alive but in the wrong sort of way, in a different sort of...
Sapphire & Steel

‘Parallax’
Daphne Oram
Oramics
(Paradigm Discs, 2007)

‘Oceanic Beloved’
Alice Coltrane
A Monastic Trio
(Impulse!, 1968)

‘Sea of Tranquility’
Colleen
Les Ondes Silencieuses
(Leaf, 2007)

“I lifted down the stack of drawings and began to look. The paper was thin and soft, like rice paper. First the hands and antlered figures, always with numbers scrawled in the corner, then a larger sheet, a half-moon with four sticks coming out of it, bulbed at the ends. I righted the page, judging by the numbers, and it became a boat with people, the knobs were their heads. It was reassuring to find I could interpret it, it made sense.

But the next one was nothing I could recognize. The body was long, a snake or a fish; it had four limbs or arms and a tail and on the head were two branched horns. Lengthwise it was like an animal, an alligator; upright it was more human, but only in the positions of the arms and the front-facing eyes.

Total derangement. I wondered when it had started; it must have been the snow and the loneliness, he’d pushed himself too far, it gets in through your eyes, the thin black cold of mid-winter night, the white days dense with sunlight, outer space melting and freezing again into different shapes, your mind starts doing the same thing. The drawing was something he saw, a hallucination; or it might have been himself, what he thought he was turning into.”
Margaret Atwood, Surfacing

‘Lawns of Dawn’
Nico
Begin Here
(Elektra, 1969)

‘Swim’
Madonna
Ray of Light
(Maverick, 1998)

‘Sara’
Fleetwood Mac
Tusk
(Warner Bros., 1979)

‘Under the Sand’
Daphne Oram, Andrea Parker & Daz Quayle Private Dreams And Public Nightmares
(Aperture, 2011)

‘Land’
Patti Smith
Horses
(Arista, 1975)

‘I Opened My Eyes’
AGF (Antye Greie) & Craig Armstrong
Orlando
(AGF Producktion, 2011)

“How can this ground ever be easy when there is no atonement for crimes like these? The soil is bitter with my children's blood. I can’t say it anymore. Justice crying against injustice from the dark centuries.”