AMASS documents and augments 'Amass Radiant Heretics', a 17-hour live internet stream that took place on midwinters night 2020. The artist's book is a collision of the contemporary experience of digital togetherness with residual ideas of ritual and event. AMASS, is fire and light, death and rebirth, a celebration, a gathering, a reading, a performance, and a happening; an evocation of the new underworld. The initial all-night online event included original practice research by Caleb Madden within a digital curation by The Antivoid Alliance (Jim Smithyes, Caleb Madden and Grant Cieciura) incorporating the work of 30+ other artists

Cieciura, Grant

Madden, Caleb

Pendrell, L

Smithyes, Jim

English

University of Brighton Research Portal

Amass Radiant Heretics Antivoid Allianceantivoid.solutionsISBN 978-1-7395874-1-3Amass, You Radiant HereticsAwake all you smokey, undefined spirits, acid ghost dance cutties, checkout revenants, come all ghosts, bloody bones, spirits and demons, carpet land hags, night-bats and scrags, we invoke you to riotous assembly, to come seething across this septic, un-spectred isle, radiant heretic potlatch; cadaverous pandemonium, psychic mutiny, occult insurrection, bunker magic, pylon goblins, slip road rituals, exhaust incense, a prayer of lay-bys, time slips sideways and the future curves until what was once proven can only be imagined.Beneath The Flailing Sprawl!Adapted from a text by Luke Pendrellwe invite you to this riotous assembly[10:43, 20/09/2020] C: Be v interesting to try...[10:44, 20/09/2020] C: 'in your cave’ thing[10:44, 20/09/2020] C:  Bunkering down[10:44, 20/09/2020] G: Through the long night[10:35, 20/09/2020] G: Anyway I was thinking about that event in London where the Zero poster was at the club entrance, Londonunderlondon[10:35, 20/09/2020] G: And this feeling that you were walking into a sub-reality[10:40, 20/09/2020] G: Could we create something with that atmos on Twitch[10:43, 20/09/2020] C: With all the compromises of not being at a rave[10:46, 20/09/2020] C: Long form, all night format interests me greatly[10:35, 20/09/2020] G: subterranean realityThis is not an arbitrary delirium; this delirium will  be rational.This is a proposal for a broadcast which takes issue with any assumed preference for the categorisation, identification or classification of the knowledge it might convey, convert  or convolute. This is a proposal for a fugitivity of meaning. A fugitivity from any framework for the adjudication of content which may pass through the policed borders of meaning.This is a proposal for a broadcast which seeks not to fill a gap in knowledge but to preserve and elevate that gap (and any gap) as a positive position essential to the germination of new thought, new feels, and new horizons.This is a proposal for a knowledge which doesn’t yet exist, but which will be formed, and re-formed with, and through, the environments in which it is received and those which escape, post-date, or pre-empt it.This is a proposal for an uncoupling of the believed and the fixed. This is a proposal for a planned un-plannability. A focused defocusing. This is a proposal to abduct the alien, within and without. This is a proposal to interpolate the xeno. An interpellation conducted from and for the outside. An Omnistition.This is a proposal for a poetics of noise. A poetics of noise. A poetics of noise. This is a proposal for an interstition. An interruption. An intervention. An integration. An invitation. An invocation. An incantation. An induction.A politics of noise. A poetics of affect. A poetics of political agency. A political agency of noise.This is a proposal.This is a broadcast.This is noise.e r f o r m i n g N o i s eThis is a proposal for an emergent broadcast.A broadcast which emerges from the space between the rational and the felt. A broadcast which intersects the ancient and the far future. A broadcast which enfolds the real, the unreal, and the hyper-real.This is a proposal for a broadcast borne out of noise, as it turns out all broadcasts must be and will surely return.This broadcast will not be an arbitrary noise. The noise which will be performed here will consist of specific dissonances. Precise interventions. A negotiation between cultural locations carefully identified as resonant nodes, points of potential rupture, locations of inherent fragility or  apparent hostility.This is not another broadcast which trades upon some unquestioned transgressive quality inherent in noise; some punk power or teenage rebellion, although we do not underestimate either of these potentials.This is a proposal for a libidinous noise. An emotional noise. An affective noise. A ludic noise and a noise which is deadly serious.This is a proposal for a broadcast that understands that we hear noise through our eyes and our chests. We see it with our ears and our mind. We feel it through theory and enact it through care.This broadcast will not be a noise performance, but rather, a performance of noise. We do not seek to produce noise, but to inhabit it, to model it, to be it. To let noise perform us.This is a proposal for an emanation of delirium, a delirium of theory, a delirium of fiction, and a delirium of meaning. PUP A DEEP PRIMITIVE PART OF THE BRAIN. WE THINK BECAUSE WE CAN SMELL. I THINK. SEAGULLS SQUAWKING. BEEP, BEEP BEEP BBBBEEP. IT’S ACTUALLY, REALLY BEAUTIFUL.297.4 MILE ROUND TRIP FROM BRIGHTON TO HOXNE SUFFOLK TO RETRIEVE FLINT FROM THE SITE OF JOHN FRERE’S RUPTUROUS FIND: THE FIRST TECHNOLOGICAL OBJECT. THE OBJECT OF DESIRE. THE FLINT HAND AXE. THE ORIGINS. THE ROCKS OF THE FUTURE. THE PROTO SIGNIFIER OF THE PRESENT ANTHROPO-CAPITALOCENE. THE DOUBLE DEATH. SYNTHETIC PERFUME. CHANEL N°5. SHAMPOO. CHERRY BAKEWELL. WHAT DO YOU THINK ABOUT THE PINK? UMM. I THINK WE SHOULD LEAVE THE CHAIRS HERE. SIRENS. I LOOOVE THAT PINK. THE PINK KIND OF GLOOOOOP. IT’S MUCH BETTER THAN PAINT. THAT SMELL. OPENS UP A DEEP PRIMITIVE PART OF THE BRAIN. WE THINK BECAUSE WE CAN SMELL. I THINK. SEAGULLS SQUAWKING. BEEP, BEEP BEEP BBBBEEP. IT’S ACTUALLY, REALLY BEAUTIFUL.No pink goo in Sainsbury’s. No worries, I’ll get some at ASDA. I’ll be there in 25. There was something about that work. Something very real. Absolutely agree. I have many thoughts on it. But working outside any established institution or art context instantly made it feel, as you say, real. If true criticality depends on true autonomy then we got some great toward that with this work I think. *somewhere toward that.THE UNDERCOMMONS: FUGITIVE PLANNING & BLACK STUDYMoten and Harney want to gesture to another place, a wild place that is not simply the left over space that limns real and regulated zones of polite society; rather, it is a wild place that continuously produces its own unregulated wildness. The zone we enter through Moten and Harney is ongoing and exists in the present and, as Harney puts it, “some kind of demand was already being enacted, fulfilled in the call itself.” While describing the London Riots of 2011, Harney suggests that the riots and insurrections do not separate out “the request, the demand and the call” – rather, they enact the one in the other: “I think the call, in the way I would understand it, the call, as in the call and response, the response is already there before the call goes out. You’re already in something.” You are already in it. For Moten too, you are always already in the thing that you call for and that calls you. What’s more, the call is always a call to disorder and this disorder or wildness shows up in many places: in jazz, in improvisation, in noise. The disordered sounds that we refer to as cacophony will always be cast as “extra-musical,” as Moten puts it, precisely because we hear something in them that reminds us that our desire for harmony is arbitrary and in another world, harmony would sound incomprehensible. Listening to cacophony and noise tells us that there is a wild beyond to the structures we inhabit and that inhabit us.CALL OUT MONSTERDirect action and intervention interrupt or disrupt ritual. Artist-artefact and the public are in direct confrontation.The artist-artefact are anomalies to the expected pattern of  business as usual.As such they create an opportunity or opening.A new pattern of thought.Art as resistance to capitalism and fixed systems.There is an alternative.Harney, S. and Moten, F., 2013. The Undercommons: Fugitive Planning & Black Study. 1st ed. [ebook] New York: Minor Compositions, p.7. Available at: <https://www.minorcompositions.info/wp-content/uploads/2013/04/undercommons-web.pdf>.welcome toThe AntivoidInfinite planeofpotential purecontingentpossibilityoutside-outsideofthisdeadvacuumINFINIT E PLANEOFPOTENTIAL PURECONTIN GENTPOSSIBIL ITYKaraoke 🎤 is a resonant node set on a line of magick force: a portal ✨ at the nexus of cultural ley lines which intersect ancient ritual 🗿and inhuman becoming. In everyday use karaoke is locked in a necrotic embrace with global capital 🕳. But this portal 🕳 c️an be re-purposed.Re-aligning flows of desire 🔥 toward the occluded, the mystic space 🔮of Karaoke becomes an enchanted inductor for that which eludes control. Inducting timeless residual intensities, karaoke is capable of producing an intonation of that which is otherwise suppressed.Lucky Voice is a descriptor for what 🥚 emerges 🐣 from this arcane chamber. Luck 🍀: a magickal force that acts on us from outside. Voice: a container of internal expression outward. The Lucky Voice is a channelling of the contingent outside into discrete articulations.The English translation of the Japanese word karaoke is Empty Orchestra. Orchestration implies control but the Empty Orchestra has no fixed players 🃏and no conductor and the emptiness belies a collective but ungrounded formation, it is an unorchestra. This negation becomes a driver for the emergent compositions multiplied with and through it. An amplificatory force fundamental to the technology of the karaoke room, The Empty Unorchestra is a contingent assembly, standing ready to assist any performance of the Lucky Voice.This live stream from Lucky Voice karaoke room is a dissonant energy ⚡ injected into the death ride 🎢 network of global capital. We engage the services of The Empty Unorchestra to amplify our discordant compositions, to aid us in producing vexed transmissions which arise out of phase with the global web of mediation. Each work is a new composition performed via manifold connections beneath and through the magical cultures which subsist in the spaces between, below, and around the tentacles of the sprawling grid.a  rupture in our present . a rupture in our present. an intervention in the development of the an-thropo-capitalocene.demanding us to be more reflexive about our desires. a reflexivity disarming and unraveling the (ir)rationailty that underpins capitalism: the biggest threat to our on-goingness.rupture. breakdown.capitalism and the struc-tures of our society are a rbitrary and contingent. if we can take a position from the outside where  we see the plasticity of our  system. there is hope. there is an alternative.How to reach beyond, or be reached from beyond these horizons? Our answers have been fugitive rationality and the practice of omnistition. Under the banner of xenofuturism. It's a pretty solid and intriguing theoretical framework we have constructed for our practice. Ongoing questions revolve around the emancipative  instrumentalisation of a libidinal economy.The notion of extrinsic agency. And joyousness as an act of political refusal. I think we can weave this into a compelling statement of intent. Plasticity—”Outsight” (outside thought-position) enables us to see capitalism and the structures of our society as arbitrary and contingent. I think Foucault and Fisher’s reference to outsight is key. Conditions of capture (absolute horizons).OUTSIDEOUTSIDEOFTHISDEADVACUUMByrne thy IconsOft The Pommez,Hi Low End Theof,Reconstituted residual corporate floatex,MRI Tapestry dimension,pulsing spectres haunt the hay lofts of our consciousness,Bunkers awash, a hyper conduit of stylised essence pours forth, where thee earth once holed.Literall Basket CasesShe’ll ShockBlast FurnaceBlast RhetoricDungeon MatadorSome Mummerfied Being,The Archivist, Vaulted halles of remembrance,Crater pocked Shed ActivismBunker CruncherA Transmission ReportSubjugated Energy FieldsNewe Types of BeingNewt ExedGradual, Residual, Emancipated Alpha-Phonics.Swamp ThoughtsPost Elliptical Systemics.As the Chasm eruptsMolten Rock and Crystalline waters subside—Insert old text here,Decade Old ManuscriptsCoursing through literary veinsWe claim therefore we be,This banner held on loftStructural omniscienceIntellectual strataWhat edifice would we so populate?Rivulets Ore Vaulted Chambers,It led to an overall review of all written matter from dates 03, —pertaining to the 20’s,An amalgam, cross pollination, Delineation, searching within for patterns,CoherenceA higher trigonometry,Publishing is a mere act of confirming one’s own realityThe act is to Defie them.Bring all channels to gather hereUpon these rocks,Burning on Sulphuric Pyres,Emblems of Futile ObsessionCast them not for thee shall be castByrne thy IconsFalse Icons or Carporealate BannersBanished, RelinquishedPerhaps time to put a lid on it,Call it a night?All but one last Clarion callOne last great leapTo hurl ones dreams at the granite rock face of realityCast adrift, monger flotts,Yonder Trodds.H Y P E R S I G z z zCould finish with the idea of burning the bin. Putting the HYPERSIGs to bed ZZZ. And an escape tactic called burning the H-sigs. (Burning the hypersigils). As a way of leaving Late Capitalism. Not an aggressive combat, rather a nah, I’m done with that. A moving beyond. Burning could be accelerating the symbol. The hyperglyph thang. But creating the glyph and charging it up is a dangerous act. So the only way is to kind of burn the symbol in an act of refusal to engage with that modality anymore. We surely need to evolve beyond those dark mutations. Brands/politicians/basement boys are all playing with magic in the dark, with real life consequences.If we are talking about reorienting desire etc, the dark magic is the corporate sigil. Unbranded imaginative space. Slip road = acceleration lane, sigil = desire. Grant Morrison coined the term hypersigil to refer to an extended work of art with magical meaning and willpower, created using adapted processes of sigilization https://en.wikipedia.org/wiki/Sigil#Chaos_magic. Maybe what we are creating is a Hypersigil. The whole night I mean. In fact the Antivoid logo is a sigil. The entire project is a hypersigil. A stand in for  The Long Night of Late Capitalism.Omnistition is sigil reversed. Desire released. Destroy the symbol, then redirect the desirous flows into something more generative. The commons, the people, collective body, the we, the social alliance. BUT we should probably be more specific to aesthetic/art/visual culture, to reclaim the agency and redirect the flows.Grant Cieciura Caleb Madden   Tiago De Sousa Luke Pendrell    Chris Sav Ellis Warren      Katie Mess       Yumino Seki   Graham Dews Tina O’Clarey

AMASS

https://cris.brighton.ac.uk/ws/files/44728901/Amass_A5_Bookprinting.pdf

AMASS

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