Our very existence can be said to be predicated on a radically ambivalent relationship to time, a conceptualization of the human relationship to reality which informs our activity and our thought as much through its sheer absence as its ubiquitous presence. Modern social modes of organization all respond to a notion of “empty time” which must, at once , be pregnant with the potential of action while remaining ensnared in the grinding minutiae of routine and repetition. It is this tension between the habitual practices of the everyday and the emancipatory gestures of self-liberating activity which are the thematic basis for the musical pieces in Time is the Machine. Moving beyond rage, or disgust or even despair, the collection embraces the emancipatory possibilities of speed.
The future is something which everyone reaches at the rate of sixty minutes an hour, whatever he does, whoever he is. C.S. Lewis
Songs
1 – Time is the Machine (5:28)
2 – Put Your Finger in Your Ear (4:47)
3 – Slowness (4:14)
4 – Transit (4:54)
5 – Wired World (4:24)
6 – A -Tension (4:23)
7 – Stuck in the Box (3:54)
8 – Scattered (3:50)
9 – Like What You Like to Like (4:13)
10 – Don’t Look Back (4:03)
11 – Left to … Own Devices (3:28)
“These programs were never about terrorism: they’re about economic spying, social control, and diplomatic manipulation. They’re about power.” Edward Snowden
Machines will follow a path that mirrors the evolution of humans. Ultimately, however, self-aware, self-improving machines will evolve beyond humans’ ability to control or even understand them.
RAY KURZWEIL, Scientific American, June 2010
Production Credits
All Semiotek compositions by Pierre Ouellet & Jim MacDonald
Published by Venture Publishing (2014)
Recorded, mixed and mastered at Venture Studio Toronto (2019)
Album Art and Design by Catherine Piro
The machine does not isolate man from the great problems of nature but plunges him more deeply into them.
SAINT-EXUPERY, Wind, Sand, and Stars
