Excerpts from “The post-digital manifesto” are finally published in English

My first book was Det postdigitala manifestet, an essay consisting of 47 sections (first very short, then gradually longer with the 23rd section in the middle being the longest, then again gradually shorter). In a sense, it is a book about music, but I think every single section deviates from that topic in various ways, and it might well be called a book about politics as well.

It was published in 2009 and subsequently translated to Finnish and Esperanto, but no other language. There is still no English translation of the book in its entirety, but maybe something better: a translated excerpt, comprising five of the longest sections (§§ 15, 21, 22, 23, 29).

Thanks to the art journal E-flux, the aptest of translators could be put on the task: Mikael Kopimi Altemark, who himself was very much part of the process (or rather the bus) from which large parts of the text emerged. Now when I see the result, it almost feels like a new text. I think this feeling depends equally on the selection, the translation and the presentation.

Read it here: How Music Takes Place: Excerpts From “The Post-digital Manifesto”.

Looking forward to follow the response. I note the annotation of the Tumblr: “One of the founders of The Pirate Bay has some pretty sophisticated ideas about music, politics, and protest. Not what you might expect, either. Worth reading.” (Not that I was really personally involved in the founding of The Pirate Bay, but still a very timely connection, considering the release of the documentary film TPB AFK, in which I briefly appear.)
I also note that different people on the Twitter has been quoting different parts of the text. That indicates that some people has actually read it. Do you know how cool that is? So cool that I will now produce a condensed version of the text using only these quotations:

Why assume that preferences come firmly lodged in the individual? Music unfolds in the charged field separating the opposing poles of responsibility and irresponsibility.
Presence serves selection. A post-digital sensibility of music comes with a questioning of the ownership of the spaces where music takes place.

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