CTM 2020 After k-punk—Labour, Death & Cultural Artefacts

Provenance

Self-transcribed from the recording's audio/video with Whisper ASR, then drawn from the frozen curation of the CCRU oral archive. The identifiers below fingerprint the exact source transcript files.

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Adjudicated APPROVED 2026-07-11 (basis: owner ruling 2026-07-11: institutional recordings released except fee-charging course content; lane recent-institutional -> recent-institutional-released). Series: standalone. Source: audio original (.mp3).

Timestamped map

These jump targets come from timestamps preserved in the source transcript, so they work as navigational anchors rather than editorially invented section labels. Timings are approximate — they mark where a passage begins, not exact word timing.

• 00:00:00

  Thanks again to CTM and Transmedial for helping make this happen. Again, like the first panel, rather than read out lengthy bios, I might just ask the panellists, Dane and Danvir, to introduce themselves briefly and talk a little bit about what they do. Yeah, sure. So my name is Danvir, and I teach at Goldsmiths…

• 00:07:55

  It's like something that kind of maybe props up or something that kind of diverts from a kind of ideology or cultural logic. And Mark's work seemed to kind of definitely be quite coruscating and critical over things that were kind of blindly upholding logics that were kind of detrimental to kind of actual more…

• 00:15:19

  I think one of the kind of issues with acid communism is that it kind of refers... It's just the kind of psychedelic kind of tropes it brings up with acid when he's not... I don't think he was necessarily playing entirely with that, but then instead referring to a confluence of resources that kind of occurred under…

• 00:24:21

  It's not a valid line of argument. What I think Fisher was getting at was it was more of a 21st century techno-capital enabled thing that is a product of platforms like Twitter. Yeah, but again, beyond that where was there kind of evidence at stake? Where was it? In that essay in particular, he's talking about…

• 00:32:09

  And in a way, the Zero party is a crystallization of his argument in Conceptronica. The party normally has DJs in one room and an installation in another. So I was kind of wondering if it was maybe a good idea to take him there. Whether he'd like it or someone might criticize him or yell at him or something. But what…

• 00:40:11

  I think an interesting way to like, I guess, determine that, add some kind of form of determinacy, is again to be aware of like what spaces you're producing and like what resources as an artist or an organiser you are including in that kind of open space of indeterminacy. So like, yeah, it's interesting…

• 00:50:43

  for people to write and think about the music I think that's definitely a problem an issue but I think those it's difficult to read liner notes it's difficult to find production credits but a lot of that stuff is permeated in the records like artists are rarely working alone and they'll always give production credits…

• 01:14:46

  I don't consider that a failing because nobody can be everything to everybody exactly that's the point I think that's important to recognise that well if nobody has any more questions I think that's maybe a line to draw there but I'd like to say thank you very much to Dane and to Danver for joining me and also…