Let's not be chaste! Critics should strive for immanent dialectical critique, which has itself become desecrated. I can only imagine how many status quo readers will comment here that it’s not ‘relevant’ anymore; as in relevant to the status quo and conformed taste. And that is exactly the point.

The ethos of artistic representation undergoes revision as it intermingles with a new enlightenment spirit in what is broadly perceived as the age of AI.

There are periodic flares of interest in sound art, from top ten lists to comprehensive sound art exhibitions, and yet no one is really certain what this term means, and what the whole thing is about.

If there's a reintroduction of politics (and not pseudo-political culture) in 2016 — something many of us have not seen in our lifetime — there will be a dramatic change in the way art is made in the coming years.

Modern criticism developed when art became serious and demanded thought. Yet the vast majority of our culture today isn't meant to be seriously thought about.

The new phenomenon of artists and critics eagerly hatching their careers, quickly cobbling together movements for their resumes, and planning for their retrospectives before they have anything to say, may sound vulgarly affirmative to those reared in the ‘60s communes or the ‘70s DIY subcultures.

It is affectless electronic music at its best, and it is an exegesis of self-cancellation. 

Oneohtrix Point Never is the highest expression of the art of middlebrow pastiche.

Interiority is not anything other than a reflection on the social state of music itself.

Silence has been metaphysicalized in contemporary art and music, and so a necessity has been made a virtue; a critical opportunity has been neutralized. 

The significance of art is equivalent to the story told about it.

I propose that the truthful joy of The Forty Part Motet is rather more sober, clinical and above all alienated than the sublime or transcendent categories projected onto it.

Like much new experimental electronic music, Fousek is the result of a generation of ‘sound artists’ who find it necessary to return to the origins of electronic music.

Minor artworks fulfill a current need and inevitably conform to what might be termed a ‘minor consciousness’ of our contemporary era.

Strain Studies indeed sounds strained and tense, definitely not easy listening. But, at the same time, it seems to be verging on a complete and lively spontaneity.