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1NC TRaNCE CP

Text: We affirm that instead of attempting to bring those who refuse spontaneous consent to the american truth into the light – we embrace their unkowability the same way we affirm the resolution: we affirm the topical ―nothing‖ which is not opposed to, but part of the resolution. Contention one – functionally competitive – every minor detail of the 1aC subconsciously impacts our minds – we PIC out of the silence behind their words Thrift, 2K

Nigel, It‘s the Little Things, a Century of Geopolitical Thought. London, Routledge, 380-387 Let us finally come to one more arena: the arena of words. after all, here we might be thought to have the clearest example of representation at work, the word. Yet, what we do not get from critical geopolitics is a clear enough

sense of how words function to bring about geopolitical change and it is not possible to do so as long as geopolitical forces continue to be framed as ‗big‘ and ‗commanding‘ (with all the masculine overtones). Some of the most potent geopolitical forces are, I suspect, lurking in the ‗little‘ ‗details‘ of people‘s lives, what is

‗―carried‖ in the specific variabilities of their activities‘ (Shotter and Billig 1998:23), in the context of utterances. and these variabilities have immediate consequences. Thus, as Bakhtin notes, and as is confirmed by the

work in conversational analysis, ‗we sensitively catch the smallest shift in intonation, the slightest interruption of voices in anything of importance to us in another person‘s practical everyday discourse. all those verbal sideward glances, reservations, loopholes, hints, thrusts do not slip past our ear, are not foreign to our own lips‘ (Bakhtin 1984:201). and we in turn show our stance to what they do or say also in fleeting bodily reactions, facial expressions, sounds of approval or disapproval, etc. Indeed, even in the continuously responsive unfolding of non-linguistic activities between ourselves and others—in a dance, in a handshake, or even a mere chance collision on the street—we are actively aware of whether the other‘s motives are, so to speak, ‗in tune‘ or ‗at odds‘
with ours. and in our sense of their attunement or lack of it, we can sense their attitude to us as intimate or distant, friendly or hostile, deferential or arrogant, and so on. (Shotter and Billig 1998:23)

Contention two is the net benefit Silence is political – absence of trance music behind their speech disciplines the mind and trains the body into obedience for authoritarian murder Saldanha, 01
arun Saldanha - Geography & Social Sciences @ Open University - July 2001 Center for Critical Studies in Communication and Culture ―Disorganisation and the postcolonial politics of silence in Goa‖ http://homepages.vub.ac.be/~jteurlin/Koccc.html accessed 9-15-05 Silence is a compelling trope for analysis. In sociolinguistics as in conversation analysis, it is realised that silence is realised that saying

can say as much as speech; in semiotics as in literary theory and anthropology, it or writing nothing is as important as what is said or written. Silence, like other communication, is essentially polysemic and ambiguous, that is, what it does for human interaction depends on the context in which it occurs, and it can mean different things to different people. While I will be talking about silence as the absence of music and not of speech, the ‗pragmatic‘ definition of silence proposed by the

sociolinguist adam Jaworski (1993) is useful. He writes that silence is a substance, an object, and a container (81-84). We could say more generally that silence has a materiality, and I don‘t want to treat this so much as metaphor but as presence. Silence, just as sound, envelops spaces and bodies. It can be heavy, promising, annoying, dull, spooky, respectful, romantic. So

silence is never just absence of sound. apart from being material, silence is also intentional. John Cage has famously shown that silence is relative. ‗There is no such thing as silence‘, he writes (1961: 191). ‗Something is always happening that makes a sound‘. His piece 4‘33‖, by not containing any audible performance of a musician, actually makes silence

just like sound. Think of the silence in schools and libraries. which can be empowering: the suspect refusing to answer questions temporarily gives her power over the situation. it is possible to treat silence (as missing sounds) in materialist terms. as saying something about power relations in society. This first sort of silence could be called muting. as tends to be thought in communication studies. or silence about the killing fields in Cambodia or the death squads of Pinochet. says Jacques attali (1977: 8).present and performed. is a fairly established interpretation in the social sciences. In the examples I gave above. ambient circumstances. or the ‗silencing‘ of women or indigenous peoples. and the institutionalization of the silence of others assures the durability of power‘. of sounds that threaten the social order. Loosely following attali. or the control of bodily sounds like snorting or belching. Silence is then.. of clutter. i. silence effectively is power. an effect of the ordering of spacetime. human bodies and objects in intentional ways. to power.e. as the listerners hear their own coughing and shuffling and sighing. if often metaphorical in varying degrees. or the muffle. Silence doesn‘t represent power. . the control of noise. or one minute silence for the dead. ‗Everywhere we look. the monopolization of the broadcast of messages. This means that the order of silence is connected to the order of the social. Note that there is also selfmuting. by connecting auditory signals. Thinking of silence as the elimination of noise.

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The essence of the experience involves the secret "language" of sound. as one.as one. We are creating a Temporary Autonomous Zone for our minds to are a powerful are suddenly communicating investigate the mysteries of the universe. rather than battling the forces alone. ideas and emotions. and the modern wandering minstrels are fine tuning their harmonious and transcendental harps.hofmann. invisible slaughter of indigenous peoples. Psychedelics and sound combination. He barely reads any of the silence card – just means that we should take breaks in speech to allow total silence – they don‘t meet this standard – prefer our warranted Saldanha evidence and here‘s specific evidence trance solves best . The sounds are the new epic poetry of this century. and it seems that there is less and less reason to rely on. dance music influences our personal interactions. We are whirling the energy together. We are returning to a relationship with ourselves and others which is removed from written language. reviving lost traditions. entities. In this changeling world of chance. Trance may seem to be such a personal and selfish activity on the surface but in actuality there are many layers of communicating happening on various levels among diverse entities. expanding ever outward. alienated and generally self-destructive style of the industrial being.org/voices/aussie. counteracting violent identity constructions. and which are all invested with new technological innovation. psychedelics and the dance ritual are the stirrings of communicating via the ebb and flow of the earth's rhythms and letting it seep into our collective emotions. human and beyond. and that these experiences are not the property or production of a single person or corporation. It‘s a politics of hope you should endorse with the ballot. cajole the spirits of the trees and the sky. The knowledge is beyond consumerism and materialism. but rather the combined manifestation of the community of sweaty heads. shape shifters from distant corners find themselves sharing these profound wonders. Our experiences with sound. It is a simple exercise in the tremendous "power" of a group mind. particularly unwritten traditions. and learning the empowerment of the mystical dance space. ―Trance Magick‖ 1999 http://www. We're each a ripple. as we once again. as well as with an infinite myriad of other energies. and learning how to recreate wondrous tales together. Even if it doesn‘t spill over. let alone investigate our instinctual being. Saldanha says this back-grounding is the foundation of authoritarian control – the hush of Pinochet‘s killing fields.individual sovereignty and alienation – it‘s a unique liberating method of personal self-expression – better than silence Kath. to the final lull after an atomic blast – the concept of silence disciplines us all into obedient bodies in rapt attention to the political spectacle.2nc overview Counterplan solves 100% of the case . and when dance. The emerging magicians of imagination understand the realm of r-evolutionary connectedness. albert Hofmann Foundation. and which undermines our absolute reliance on finding meaning within the world of words. like our distant ancestors. the pumping lifeblood and soulfire. and the tacit realization that the dance ritual is the interstellar conduit for such happenings. vibration and movement are introduced. Trance can reclaim ontology. psychedelics and movement. Ancient earth drums dance in symbiotic merriment with the metallic inter-galactic beats as the circles of sound expand and astound our imagination with vibratory awareness. Trance music reclaims that space creatively it must be included in government policy. and the associated disaffected. please respect anonymity.The 1ac encodes the space behind words such that silence is the norm – this forecloses occupying it with ambient music.html accessed 2-26-09 [nfb] The music is the origin. 99 Kath. Our convenient industrial cultures have practically negated our direct relationship with the earth and its seasons and cycles. we with ourselves in very challenging ways. The resulting aspects of this form of communication can be life changing. the earth and the cosmos to come out to play . The heartfelt rhythm of trance dance ritual is often one of the most . There is a pulsating awareness of sharing archaic understandings.

completely tranced out and sharing some unknown luv. We may become little "animals" investigating the primal. the sounds can be "blasting off" as well as "grounding" points. for "the originary violence of language . Derrida goes on to suggest a fourth dimension of violence. and we should be passionate in letting it flourish! It's the taboos and secrets that give energy to the "sicknesses" and imbalance. Professor of English at University of alaska. It is about learning the joys of numinous contemplation. Western communities are very happy to challenge and stretch themselves physically . Second. .Violence begins in language and identity constructions. identity constructions – especially in context of debating state policy. In effect. instinctual aspects of our nature. 112). rape" (p. those are the primary cause of war and mass slaughter Kaldor ’05 violence of naming leads to logocentrism and the "reparatory" violence of the supplement. Derrida speculates on the originary relation of language to violence and posits an elliptical three-stage metamorphosis of violence from the textual domain to the physical. In the thrall of dark possession. the violence of difference. Swings between 'light' and 'dark' in the music show that the sonic wizards are in tune with a universal life journey .1995 Essays in Medieval Studies 12 ―Textuality. approaching Smith's critique of the "cerned" or ideologically and theoretically limited subject. Third. we shimmy and shake through a kaleidoscope of bizarre and boundless scenes.liberating methods of communication and self-exploration that many Westerners have discovered. if not heretical. and Violence: Theorizing the Figure of the Child in Middle English Literature‖ www. "what is called evil. This is such a powerful way to investigate the heart of darkness. and we're creating and sharing this together. citizen/foreigner. but rather the proces of the "exhumation" of the ultimate reality can leave one feeling exposed to the understandings and underbelly of all the crones who have come before. In forest settings this magickal transcendence is very potent. Kline. Finally.illinoismedieval. though Paul Smith criticizes Derrida's unwillingness to account for subjectivity. It's the re-discovered "language" of transcendence which transports us to many "places" within and outside oneself.the cycle of birth and death. feelings and deeply resonating primal understandings. one could consider this rhythmic transcendentalism as the "bungey" jump of the mind. but always enlightening. violence continues from its first moment in . for the metaphysics of presence continue to mask the underlying violence of naming. From Gothic subterranean Vampyric cathedrals through to tacky eerie 1970s lollypop spiral lands. and beyond the divide of time to the r-evolutionary chants of the Dreamtime of our ancestors. war. and sharing the lust of awareness with others. anchorage. the initial "the violence of the arche-writing. in the act of naming and categorizing. Here is the rich manifestation of the cycle of life and death and rebirth. The sounds and jewel-drenched rhythms produced by trance tekno artistis seem to be more and more profound in their ability to communicate the most extraordinary thoughts. or may exist elsewhere.org/ems/VOL12/kline. In creating spaces of mystery and providing points of departure and return for exploration. Derrida describes a circuit of violence that begins in language and ends in the theoretical "cerning" or "abstract moment" of the subject. this is considered a very healthy and acceptable activity . a "violence of reflection" that locates "identity as the abstract moment of the concept" (p. I think deconstruction affords the tools to begin the analysis of the discursive violence proffered in Middle English representations of children. as the energies are charging and morphing and zinging around people and the ether. 112).html [nfb] Finally. and of the system of appellations" (p. some pleasant. in Derrida's words. some frightening. culture/nature. However. and are sustained by the hierarchical binaries (male/female. 110) ultimately toward the possibility of actual physical violence or. . indiscretion. We may find ourselves in swirling vortexes and see people moving as one with each other . of classification. he asserts that violence begins in language. One may feel incredibly "aged" after such experiences. Here is the "coming of age" ritual which Western culture has long forgotten.30 First. consists of inscribing within difference" (p. Mindblowing interactions happen through movement and into that intense white light of psychedelic shamanism which may tip us over into mysterious realms of animal spirits and alien possession. the sounds may take on "physical" forms as the possibilities of personal spectacle are revealed as boundless. in the very act of naming. but not necessarily in terms of lost physical vitality and exhuberance. This transcendentalism is key .in fact. orgiastic. 112).but investigating the depths of the mind in a similarly extreme way can be considered illegal. In a provocative passage from Of Grammatology. Breaking down these binaries is essential to prevent atrocities Kline ‘95 Daniel T. Subjectivity. self/other) that characterize the logocentrism of western culture. The conditions for violence are thereby established in language.

They are violent struggles to gain access to or to control the state. It is also the case that the appeal to tradition and the nostalgia for some mythical or semi-mythical history gains strength in the social upheavals associated with the opening up to global pressures. From The Wilderness Publications 2005 ―Exterminism and the World in the Wake of Katrina‖http://fromthewilderness. Labels are mobilised for political purposes. widespread atrocities are not just side effects of war. But nevertheless. these As the state becomes privatised. even. . through expulsion or elimination of those who challenge political control. or religious – and the wars themselves give meaning to the labels.com/free/ww3/110105_exterminism_katrina2. so access to state power becomes a matter of inclusion or exclusion. they offer a new sense of security in a context where the political and economic certainties of previous decades have evaporated. it is the deliberate manipulation of these sentiments. these ideologies make use of pre-existing cleavages and the legacies of past wars. that uses the language and forms of an earlier period. in the latter case. These are wars in which political identity is defined in terms of exclusive labels –ethnic. they are a deliberate strategy for political control [note Israel]. Undoubtedly. In the majority of cases. especially those with a different label. violence is itself a form of political mobilisation.Stan Goff. Violence is mainly directed against civilians and not another army. a way to maintain or capture power. They provide a new populist form of communitarian ideology. professor at London School of Economics. Population displacement. often assisted by Diaspora funding and techniques and speeded up through the electronic media. In these wars.shtml [nfb] I call the conflicts ‗wars‘ because of their political character although they could also be described as massive violations of human rights (repression against civilians) and organised crime (violence for private gain). that is the immediate cause of conflict. And political control is maintained through terror. of survival. linguistic. that is to say. towards an instrument for the extraction of resources by the ruler and his (and it is almost always ‗his‘) privileged networks. They are about access to state power. massacres. The tactic is to sow the ‗fear and hate‘ on which exclusive identity claims rest. it shifts from being the main organisation for societal regulation wars are fought in the name of identity – a claim to power on the basis of labels. quoting Mary Kaldor. The aim is to capture territory through political control rather than military success.

says Johnson. Music as an expression of of a soul struggling to define itself in a world which in one century progressed from electricity to atomic bombs to genetic manipulation." So said French techno artist Terre Thaemlitz. don‘t let them get out of their silence. Everybody is a creator in some way. and then change them.a. believes identity in Western culture is shaped by the postmodern idea of reality as a completely human construct. However. "It is about trying to find a sense of placement within all these audio scenes which are actually signifiers for identity constructs." Consequently.identity takes form in what she calls "an effort to recombine oneself out of different pieces. the search for self." That moment is coming. The perm doesn‘t solve anything – they didn‘t play trance music it is a question of the speech act Their timeframe perm doesn‘t solve – our evidence indicates their movement fails unless there is trance in the background Their combination arguments don‘t make sense – silence and trance are mutually exclusive And. graduate of the Columbia Journalism School's M.com/pub/stig/articles/remixing-your-world [nfb] as the true live performers of the underground scene. but moods and vibes and ambiances. the combination of trance music and speech creates a unique space that can‘t be replicated – perm doesn‘t solve the net benefit Keim. By using technology as a means to seamlessly mix music from any number of cultures and sounds. science and health writing program. the finest DJs span all genres. illuminating the deeper importance of techno: self-identity. previously communications director of the Council for Responsible Genetics. Within this fluidity. They mix not only beats. The performance in a way resembles a piece of jazz or classical music." However. we are given a practical model for the construction of identity in a fluid.a2: perm Perm is severance – Saldanha says silence is a political act – absence of trance music is palpable – they made the active choice to read the 1ac without trance music – perm severs out of that choice – voter for fairness. nicknamed "Tha Subliminal Kid" after a William S. the identities we construct for ourselves are regarded as mere poses empty of any valid personal truth. where he edited the journal GeneWatch. Techno music rejects the nihilism of postmodernism. freelance science and culture writer. The entire idea of authenticity is rejected by postmodernism. weaving everything from varieties of techno to children's records and spoken word in a sonic tapestry according to their own vision of the music and the moment. "It's reality hacking. Ronna Johnson. . thanks to the DJ. Professor Johnson foresees "the need for a post. confusing world. ―REMIXING YOUR WORLD‖ 1998 http://hackvan. but we are also conduits for an extraordinary amount of stimulus from the world which flows through us and emerges in some way which is distinctly our own. Burroughs character who remanipulates reality through cut-up and playback. it gives us music meant to express souls which have drawn from throughout the vast cultural heritage of the world. also.postmodern moment in which it is not a contradiction to possess a true self. The 1ac didn‘t have much we could interact with to begin with. "I put my own imprints on all these songs." said DJ Spooky. an American Studies professor at Tufts University. "postmodernism rejects the idea of an authentic self. DJs use the medium of turntables as a whole new instrument. expanding on themes and journeying outwards but always maintaining an essence. 98 Brandon Keim." The concept of the DJ is far more relevant to our lives than that of a musician. and the music we will hear is techno.

Often the object of the game seems to be to reinvent the intellectual wheel: to boldly go where in fact others have gone before. 1997 "The Occult of True Black Womanhood. But." in Female Subjects in Black and White. to flood the field with supposedly new "new scholarship" that evinces little or no sense of the discipline's genealogy. an appropriation of certain theoretical foundations (what is kritik? what is a speechact? what is political?). . perm still links – the 1ac was a speech act that set the tone for the rest of the debate – any residue is enough to win a net benefit And. let me be clear on this. its specificity. any reading of such specificity must be an extremely close mode of engagement. yet.And. Much of the newfound interest in african-american women that seems to honor the field of black feminist studies actually demeaans it by treating it not like a discipline with a history and body of rigorous scholarship and distinguish scholars underpinning it. This is. the faux bond . perm is a false encounter – it reduces trance music to generalities – solves nothing duCille. or false encounter. its partiality. there is still a proximity. an imitation. the richness of the argument can be measured on the way its nuanced. im not saying we're not smart enough to understand it or anything along those lines. of acknowledging very subtle moments in the textual instance (be it an empirical text [a book or article or dance] or a philosophical concept or framework. untrammeled field. False. 97 ann duCille Professor of English at Wesleyan. So I arrived at for me is at the heart of whats the matter.for what is precisely missed in the "pick-up" game of critical theory is more than just not doing your homework. what Derrida calls. the dialogue of the discipline is simply missed. but like an anybody can play pick up game performed on a wide open. pg 32. What i am saying is that any decent philosophical position is more than just its generalities. still an encounter. its that the exchange.that is.

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our Saldanha evidence says its always coopted and manipulated – that’s the internal to our net benefit Form trumps content . not why. (352) 43 The structure of our time. techno. the right surpassed this quickly. One might recall the end of another onslaught of affect.19 Bush is a televisual touch-feely kind of guy. 40 But things don‘t ―make‖ sense in Bush‘s language or his history of statements. even when you don‘t know it. is how. Another irony: in many cases.0]‖ To continue: whereas right-wing groups in the 80s were concerned with the content of rap music. not what. often mediated today by overarching beliefs in a transcendental religion of the book. This new version is the past and no different past can ever have existed. of a time cannibalizing its past. He produces sense. In principle the war effort is always planned to keep society on the brink of starvation. Bush. They are all a machine of sense production. when at the end of Fahrenheit 9-1-1 Michael Moore quotes George Orwell: It‘s not a matter of whether the war is not real. simply. Hierarchical society is only possible on the basis of poverty and ignorance. that voiced the frustrations and experiences of ghettoized. post-modernity.how arguments are presented is more important than the words themselves. the left is still very much focused on the content of argument. today they are concerned with something else entirely: the maintenance of a system of governance of form. a sound & net-artist. that is. for example. that is.‖ to the point in which I argue that we are very much encoded in modernism. when. Which is also to say post-modernism. Amsterdam. 41 An easy example that we all know in the litany of BushSpeak: the ―debacle‖ over the once-missing. As Brian Massumi argues in Parables for the Virtual. even jeering. 37 Again: a shift from the ethics of the content. Proust writes: Again. The state has you tuned in. be it in the form of light. Software instructions. coaches and handlers. modernism and modernity.2nc form > content Extend that silence is uniquely bad. failing. becomes an insidious mechanism of affect control. cannot be thought without considering this moment‘s implication in the broader . Electronic music‘s crate-digging. specific moment of the ‗80s. that lights our houses. post-slavery but nonetheless discriminated African Americans and people of colour. in some respects. reproduces it via his speechwriters.18 it doesn‘t matter what he says. ―The Reverb Engine – [2. Things apparently make more sense when they are said slowly. but electronic music interrupts this van Veen ’04 tobias c. How and when: aspects of time. Bush speaks slowly. the rewritten past of our time. Not the person himself. and he tricks you into feeling sorry for the guy. that lights our computer screens.turntablist. and realised that all that mattered was the form. 39 No better example can be found of this tactic than George W. The response of sympathy. of capital. 38 Now this is ironic as I will argue that the form/content distinction is collapsing. reverb and echo. All that mattered was and is is the form that resulted in the act of war. and writer. 2004. the fact that we prefer not to be proved wrong when we have uttered a false prophecy cuts short the duration of our memory of such prophecies and permits us very soon to affirm that we never uttered them. is the structure of time. His trick is affect. The war is waged by the ruling group against its own subjects and its object is not the victory over either Eurasia or East Asia but to keep the very structure of society intact. They may have caught onto something: all that matters. never-found Weapons of Mass Destruction. electricity. then. In Time Regained. media such as television affects sense. Not only are the physical objects absent from the scene. but rather Bush‘s language. its resurrection of a particular. Perhaps we can define this as an engagement with. In many ways. but what came later was a diversion from the fact of their claim to have ever existed. 42 To repeat that sentence: ―This new version is the past and no different past can ever have existed. van Veen. or better. 24th September. or if it is. Their over-literalism is coopted for authoritarianism. Not only is the content irrelevant—the weapons themselves—but so is the content of the speech. it is meant to be continuous. to tie the electronic aspects of the essay. both political spectrums left and right are fighting to maintain its specificity. a specific interpretation or sampling. insofar as we can understand its momentum in the here-and-now. He touches you. Rather he makes sense. Sonic Acts X. traipsing the halls between McGill‘s Departments of Communications and Philosophy in MontrÈal and working with La SociÈtÈ des arts technologiques [SAT] as a freelance Concept Engineer.‖ Perhaps we can also tie in here Proust‘s observation with Orwell‘s. to the ethics of form. ―The Reverb Engine. 36 It is here that we need to change direction a bit in our argument. at least in the case of structures of organisation that seek to control and delimit wealth based upon notions of property. working with Deleuze‘s concept of affect. but how he says it. Like the slow down in electronic music. or light. Victory is not possible. this time from the left side of the spectrum. As analysed in humourous detail by Brian Massumi. shot through with holes. The war is not meant to be won. In secret.

over and over again. This transformation. We haven‘t left modernism because we are still very concerned with replaying it. The translation of this movement to the digital. a deliberate misfiling of the archive. when later found to be contrary to the dictate of a ruling power. another war. our resampling. its sampling. is part of our recuperation. Yet this replaying exhibits a difference. Like the ‗80s. The way the archive. is collapsing. How the content of a statement. but simply by the propagation of yet another statement. however. This tactic is one of the diversion of time. 44 That is. in its archival properties. Counter-argument simply reaffirms that a counter- statement exists. in the now. The easiest and best tactic is to relentlessly move on— another statement. the hegemony of knowledge today isn‘t necessarily necessary. in this shift from the provisional and inadequate. another continuation.fabric of our time and the way it deals with time. an incessant re-run. even collapsing terms of form and content . The difference betwee the twentieth century and the 21C is the encoding of this movement. that rewrites the past through a diversion. can easily be discarded not through argument or even counter-statement. of modernism.

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