SNAFU [Situation Normal All F***ed Up] is an anti-narrative fiction dealing with themes of morality, the news, art, and the political corruption of the Social Bureaucrat Party. Its protagonist is Nasrul, a ‘facilitator for the non-hierarchy of projected imaginative phenomena’.
Originally broadcast as part of the Radiophrenia art radio festival, 2025 edition. Produced in collaboration with Listen Gallery, Glasgow.
Sans the Construct by A. A. Walker published in AGON Journal Issue One
‘AGON does not stand or remain for anything but is birthed from struggles of such violence that do not mirror but are the embodiment of the intimate cruelty of Eros — this form of agony so pleasurable it tortures; a torture which, in its turn, produces the rupture from which bursts new life. AGON must be, must contain within itself, must become pregnant with and ceaselessly deliver nothing but itself; itself inasmuch as this self steals into, latches onto, and becomes everything else, and thus affects a profusion of selves from the explosion of the one; the movement from one to zero to produce the many, the innumerable.’
Fossilised Frequencies radio broadcast on Radio Buena Vida, spoken word / sound art collaboration with Love is serving the ears now [Listen Gallery]
[text]
“I try to inspire experiences for my audience but I don’t take credit for it. It’s not like I’m prescribing a medicine. I’m just the facilitator. If you are moved and encounter a new idea or feeling or experience then it is because something has spontaneously occurred for you that is personal to you. And that’s outside my sphere of influence.” — Jessie Fingers, Looping the Loop
The sense of continuity provided by the narrative device made the records complete. The literary gimmick gave the impression that the author was clever enough to be able to articulate a concept. Narrative made fiction sound like fact. Spontaneity, contradiction, the music of poetry were ignored and replaced with the concept of the concept, which was a cop-out.
The Y-shaped structure was covered in faded writing. The character named Nasrul found nearby a similar plastic structure creaking in the breeze as it stood up out of the ground like an arrow sign: ^. It was also marked with inscriptions as recorded—out here.
In contemplating the establishment’s anachronisms, its classical allusions and inherent immorality, the general public realised it had been defrauded.
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“Art is no longer an individual social statement, even less the total act of expression of a qualified representative of a culture, but an indiscriminate development towards that which was previously taboo: the irrational propagation of synergistic alignments consolidated between the non-exclusive spirit of imagination, cosmic mystery and the unknown.” — Hortense Varner, Violent Beauty, Art at the End of Time
Traditions were under threat. Patriots wanted a day of reckoning, a crackdown, and the intervention of their Antichrist. Embracing the topics as set by the paradigm shifters, the monetisable personality was relentless. It had no moral backbone, but at underground assemblies everywhere speech was perverse and inexplicable, against everything that was sacrosanct.
After fixing up the hit-pieces for the Professor to be trashed as an abomination, Anikulapo-Kuti inspected the emblems at close range. Having breached security at the bio-surveillance office at Idolator he traced the path of their instrument in the correct order, and while it seemed the emblems might pander to or patronise both the dominant and competing narratives, this served to signify they might have the power to smash the meta-narrative.
(more…)[>>> Text]
published by ALIENOCENE – Journal of the First Outernational [Stratum 11]
Alienocene is an electronic journal that gathers texts, sounds, and images seeking to reshape the relation between the human and the inhuman.
Unfolding interceptions herein necessarily occur serving an aesthetic fashioned to radiate. Made of multipliable, eternally repeated strategies of rendition—objectives exhibited to, and simultaneously by, the unwilling poet—the format of AUTOMATON leaves at reception verses floundering on the edge of a litmus paper, and unbeknownst to the deliberations of any common sense, posing themselves as characteristic of the forked tongue.
download >>> AUTOMATON
Autonomic Précis | Disembarkation | Unorthodox | Cupid’s Opera Has Broken | Radiographs | Along the Centre of the Leaf | A Journey Faithful to the Destiny | The Werewolf | Fault | Dominique | Fraction
Stranger in the Un-Verse published by Fugitives and Futurists
reader: Imogen Smith
reader: Imogen Smith
“If there is to be any basis for solidarity, much more intensity is required. Firstly, to salvage and revitalise, and then to acquire full comprehension of the cohesive energy that binds the different elements our mistaken beliefs have disconnected from the primal origin. And then to synchronise that energy with the alienated environment in which it was lost.” — Nadezhda Kharitonov, Alien Republic
[audio]
I was sent from the future. Any verbal object was a tool of the imagination. I was writing from within the essence of things, but the centre would not hold, so I related the following…
Nasrul was consenting and often anecdotal. He was aware that his collaboration with the author was in both their interests. Nevertheless, in making the golden choice, he was denying the cost of life or death and leaving behind the need to survive as a character. He had no belief in evaluation or development and had abandoned the mental effort to grasp the fact of time some time ago. None of this entailed withdrawal or disinterest. On the contrary, it enabled a fuller penetration and excavation of the great unknown.
(more…)Reader: Imogen Smith
Reader: Imogen Smith
‘Prophecy’ composed by Alex Thomas (Guitar / Violin / Bass / Drums / Backing Vocal) & A. A. Walker (Lead Vocal / Lyrics) | recorded and mixed by Lottie Lou Poulet.
aawalker.net 