DJ Balli & Amphibian: GALVANIzed

1) INTRO # How does Twitter sound? 2) @Paul Virilio creating an audio stream of the ]complete[ Twitter dataflow. Let's start with a simple calculation of  volume: 3) # Audio (CD quality) 44.100 Khz X 16 bit X 2 channels = 1.411.200 bits(per second)! 4) @Paul Virilio having compared most reliable statistics on the number of tweetsper day 5) it is reasonable to assume that Twitter produces an average of 2600individual tweets per second. 6) The estimated average length is 70 characters at 8 bit rate that is 2600 X 70 X 8 = 1.456.000 bits per second! 7) @Paul Virilio IN SHORT: TWITTER CURRENTLY PRODUCES ABOUT THE sameAMOUNT OF DATA PER SECOND (1.456.000 bps) AS A CD PROVIDES PER SECOND 8> According to Isaac Hepworth, product partnership @ Twitter "In a sample of a million tweets sent from twitter.com on 3 January 2012, the mean length was 67.9 characters." 9) for a matter of simplification, let's fix 70 characters as tweet's average length [as in side A] 10) 70 micron is also about the size of grooves containing audio information on vinyl, not to mention 70 decibel which roughly indicates wax dynamics! 11) finally, about 70 rounds of a 45 rpm 12″ like this are necessary to complete each audio-tweet of 1 minute 40 seconds length 12) [it's true on "Tweet it!" there are also INTRO and OUTRO which only last 14 seconds and are not 140(0) bpm) 13) @ Paul Virilio this record is an audio transposition of Twitter informational stream, whose dromology appears to be numerically connected (140, 70, 14, etc.) to cd and vinyl format. 14) OUTRO #How does Twitter sound?

Rancid Opera - Azionismo Bolognese in Rap <iframe width="560" height="315" src="https://www.youtube.com/embed/FbU5-KRXGQM" frameborder="0" allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>

Riccardo Balli Apocalypso disco La rave-o-luzione della post techno È necessario indagare le connessioni tra ballo, rumore e politica. “Datacide” è teoria eterogena per l’insurrezione di milioni di menti, USALA e poi AGISCI. Il Network non è completo SENZA DI TE.“Datacide”, datacide.c8.com   Alla fine degli anni ottanta, l’elemento della musica techno si è imposto come un macrocodice virale sul quale migliaia e migliaia di giovani si sono riconosciuti. Nei due decenni a seguire è avvenuta una fissione nucleare che lo ha scisso in piccoli atomi: il breakcore, l’8 bit, la gabber, il mashup, la goa-trance, il mutant dancefloor… Una galassia internazionale quasi impossibile da raccontare. Riccardo Balli è nella scena dal suo inizio ed è senza dubbio il maggior esperto italiano in materia. In questo testo analizza le diverse ramificazioni musicali e attitudinali del post rave attraverso racconti orali, remix letterari, interventi visionari e interviste a produttori e protagonisti. L’obbiettivo è puntato sulle dinamiche di carattere politico che hanno generato gruppi d’assalto, situazioni estreme e nuovi stili di vita: speedcore, comunità psy, c8.com, Elevate Festival e il mondo delle chiptune. Una moltitudine di rumori, idee e movimenti il cui suono spurio e trasversale prende il nome diApocalypso disco. Riccardo Balli dj-produttore musicale, è il fondatore dell’etichetta Sonic Belligeranza. Ha pubblicato Anche tu astronauta e ha partecipato all’antologia Nubi all’orizzonte. Collabora alla rivista “Datacide”. pp. 192, illustrato ISBN 978-88-95029-69-6

Finally in English, released by Chili Con Carne in Portugal! 1818 First edition of Mary Shelley’s classic: Frankenstein 2018 Frankenstein gone mad: the many horrifying uses of technology, such as Web 2.0 that encourages you to give your time and personal information up to faceless IT companies or worse…This book is a mashup of Mary Shelley’s Frankenstein, videogames and Internet culture, of chiptune music, galvinism, taffelmuzik, real life accounts of ’90s gabber rave parties in Italy and a celebration of Bologna’s finest weirdo label SONIC BELLIGERANZA, whose 17 years of existence (2000-2017) this volume celebrates with 17 texts. All written by Riccardo Balli who, having whistled countless 8-bit versions of famous pop songs and delighted his ears with chip-tune covers of black metal songs and classical music, now extends micro-music aesthetics to literature with this remix of Mary Shelley’s classic. Through some sort of low-resolution séance, the author evokes the spirit of corpse reviver Giovanni Aldini (1762-1834), credited with having inspired The Modern Prometheus. Aldini tells a compressed version of the original Frankenstein story, exposing its language to retro-gaming jargon and simplifying the plot as if it were an arcade game. The aforementioned 18th-century electrifier was the nephew of eminent scientist Luigi Galvani, who lived in MIDIevil Bologna just like the author of this new classic. Send him an impulse from your Game-Boy!BLEEEEEEEEEEEP!