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.’
“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.
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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
reader: Imogen Smith
Reader: Imogen Smith
Sancho: Mark Springer | Lilianne: Jennifer Oliver | Harp: Ozlem Simsek | Words: A. A. Walker
Sancho: Mark Springer | Harp: Ozlem Simsek | Words: A. A. Walker
[>>> Statement]
The spectral sign of imagination is superfluous and profane. It is an anti-consumerist luxury, an antidote against the poison of quantification.
It is an anti-artefact, not a psychological reflection of whatever data assigns it an author or creator. It is not a metaphor.
The material out of which this play emerges is by magic ritual and sheer chance. As the reader or viewer you are complicit in the transmission of this play.
And it is play.
The intention is not to make ‘art’ so that it becomes ‘work’ for a political or personal ideology. It is not to fulfill the purpose of an identity. In offering the ultimate, nothing needs to be qualified.
Against self-surveillance and identification, the astonishment of presence is always inconclusive.
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