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Paul D. Miller aka DJ Spooky Biography | Lectures | Bibliography | Resources | Links
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Professor Paul D. Miller aka DJ Spooky with Dean Schirmacher, Summer 2005.
Paul D. Millera.k.a. DJ Spooky That Subliminal Kid in Greece. May 2004
Photo submitted by DJ Spooky.
Paul D. Miller with Bernard Tschumi, former Dean of the
Architecture department for Columbia University, Anthony Vidler, Dean of Cooper Union's Architecture and Moby at the reception for the "Resonating Frequencies" lecture conclusion. April 21st 2004
Photo submitted by DJ Spooky.
Paul D. Miller a.k.a. DJ Spooky That Subliminal Kid giving his public lecture at the European Graduate School, June 2003.
Paul D. Miller a.k.a. DJ Spooky That Subliminal Kid lecturing at EGS in Saas-Fee, Switzerland.
Paul D. Miller a.k.a. DJ Spooky That Subliminal Kid.
Paul D. Miller a.k.a. DJ Spooky That Subliminal Kid at EGS in Saas-Fee, Switzerland, June 2002.
Paul D. Miller a.k.a. DJ Spooky That Subliminal Kid walking with EGS students in Saas-Fee, Summer 2002.
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What goes through your mind as you move through the geometric fray of contemporary hypermediated life's frequency drenched landscape?
Consider the following mosaic: Possible performances. Impossible narratives. Ruptured flow. Binary Dissonance. Questions of omission. The voice divorced from the body that gave it life, the face ruptured and ripped from the skull. Electro-modernity: a spacio-dynamic, disembodied, simultaneous, play of death. Morphing. Identity in continuous upheaval, in the multiplying mirror of memory. Reproduction. Replication: Asymmetric. Telekinetic. Dialectic. Flow. The body as a site of textual malleability. The mind as a locale of total recall. Total displacement. Who's there? Erogenous, decoded amnesia. Biopsychic paradoxes. Eclipse of the self. Prosthetic. Synthetic. Memetic. Technophilia
Paul D. Miller — aka DJ Spooky, that Subliminal Kid — is an underground treasure. An African-American cultural theorist-cum-musician, his Rhythm Science (Mediaworks £7.99) is a sharp, sweetly designed little number, a manifesto for his way of looking at the world. Tracing connections between Duchamp, Debussy, the Wu Tang Clan and the everyday creativity he saw growing up in Washington DC, he shows how art and idealism can activate each other in this era of sampling and 'multiplex consciousness'. In its range of reference and its fruitful speculations, it reminds me of our own Kodwo Eshun's groundbreaking More Brilliant Than the Sun (Quartet £10) of a few years back.
Diran Adebayo Writer Guardian UK 28.11.2004
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