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in the vast universe of radio frequencies, where sound becomes a messenger of power and resistance, Arsider emerges as an irreverent information transmitter. Like a smart parasite, it infiltrates the capitalist communication networks, interrupting their homogenizing flows. Through a sublimating tactic of memetic war, Arsider transforms contemporary horror into laughter, shaking the very foundations of the semantic system. Employing sampling as a tool of dissection, it unveils the hidden meanings of contemporary communication, opening spaces for reflection and subversion, where sound becomes a political act and tecniques are tactics of guerrilla within the depths of global liberism of art.

4 PILLARS OF THEORY ACTS OF PRACTICES

The methodological / systematic cleaning of "commercial" radio, technically managed by specialized and trained personnel, the hyper compression of high quality audio signals and the extreme targeting produced by the hegemony of the market, have greatly reduced the possibility of divergent acoustics encountering phenomena. In the present conjuncture, smooth capitalism works through a device of concealment of living’s deadly dialectic. It is in this margin that fate embraces the artistic practice in an unconscious gesture, the free mediation of which, with random physical factors (reception / transmission / interference), runs along parallel tracks to those paved by the musical avant-garde of the ‘900.

No operator knows how is working the algorithms to which it is subject, but these process our psyche and manipulate our choices, with computations based on the accounting of the entities, so that "everything that is not accounting ceases to be". The new input / output operability of cybernetic-based systems is leading us to a higher level of Control: the deeper meaning of the Evil’s Algebra is that need, dependence, addiction, desire, as computational, are also programmable: This means that System Control is a successful equation within a power that is becoming computational.

The growing prevalence of machinic slavery over the mechanisms of social subjection must be largely attributed to information and computing technologies. From now on, every historical event will be haunted by its own double memetic. Arsider is sublimating horror with humo, drowinng death into the loudest laughter.

The languages of extreme sound beyond meter’s chances, create a basic mythology, which by amplifying the real to an audio impulse, encodes the truth as a binary struggle between human, posthuman, between inhuman and subhuman. The average volume of music productions increased over time, the volume war intensified, and the dynamic range continued to shrink. Things have evolved further with the advent of digital limiters and compressors, which have allowed for even more extreme manipulation of dynamics. Since the 1950s, through concrete music, industrial music and techno, the most varied noises have been heard, shouts, screeches, whistles - noises undoubtedly associated with madness. But this shaking of the self, operated through sound amplification and sabotage techniques, is capable of producing a sensory disorientation which is at the basis of the deconstruction of subjectivity. Noise is a subversive pleasure, a form of jouissance that pushes us to be attracted to disgusting objects. Making noise is a subversive political activity, a guerrilla tactic, a continuous war of position.

🔛 our vision is to give ppl the opportunity to convert activities into sound. Anyone using a portable arsider device through the information written in the individual biofeedback can use MIDI to investigate the secret life of natural acoustic environment seeking a new era of real virtuality