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Galaxy Brain

Grand Concert Anniversaire UdeM x SMCQ, Salle Claude-Champagne, 15 November 2025

Artist Véronique Girard and the composer Maxime Daigneault. Photographed for NicheMTL.

Is not Rome still Rome
Is not Los Angeles still Los Angeles
Are these really the last days of the Roman Empire
Is not beauty still beauty
And truth still truth
Are there not still poets
Are there not still lovers

—Lawrence Ferlinghetti, Time of Useful Consciousness

In advance of the publication of my first book, Mad Skills, my publisher Repeater Books and I devised a promotional campaign of publicity, ads, and memes to be deployed across social media. To that end, we designed a take on the popular “Galaxy Brain” meme, in which text captions accompany four image panels depicting increasingly illuminated human craniums.

The first caption read, “Discussing People;” the second one, “Discussing Events;” the third, “Discussing Ideas;” and the final galaxy-brain panel declared, “Discussing MIDI.”

2001: A Space Odyssey, Orchestre Symphonique de Montréal, Maison Symphonique, 19 November 2025

Ben Palmer conducts the Orchestre Symphonique de Montréal in performance of the score for 2001: A Space Odyssey, 19 November 2025. Antoine Saito for the OSM.

According to film historians Robert P. Kolker and Nathan Abrams, an earlier and much more explicitly absurd treatment for Stanley Kubrick’s black comedy masterpiece Dr. Strangelove set the movie’s beginning in outer space, recounting the story from the perspective of an alien species that discovers Planet Earth shortly after a nuclear holocaust has exterminated all human life. Had this version of the picture been made, the first title card to scroll onscreen would have read: “Nardac Blefescu Presents … A MACRO-GALAXY-METEOR PICTURE,” a nod to Jonathan Swift’s Gulliver’s Travels.

Kubrick had originally titled the film The Delicate Balance of Terror, pilfered, apparently, from a paper of the same name that the American political scientist Albert Wohlstetter wrote in 1958 for the RAND Corporation. Kolker and Abrams note that Kubrick, regarded widely as a genius, had doodled a number of alternate titles for the film before registering Dr. Strangelove with Paramount Pictures — foremost among them, The Secret Uses of Uranus. Kubrick would incorporate these Sci-Fi Easter eggs into not only 2001, but also the ending of the 2001 film A.I. Artificial Intelligence, a story which Kubrick gifted to his friend and protégé Steven Spielberg.

Pulse Mag Issue #2 Launch, Cardinal Tea Room, 20 November 2025

NicheMTL publisher Ryan Diduck and Pulse Mag co-editor-in-chief Eva Rizk reading each other’s magazines. Photographed for NicheMTL.

The zombie apocalypse is not to be taken literally, as if the world should end up like a scene from some George A. Romero film, with the resurrected roaming the earth eating brains and defying death. Rather, the zombie apocalypse is a metaphor for capitalism, in which a non-living entity — capital — feeds on the planet’s life force, growing ever more powerful with the lives that it devours. Gilles Deleuze and Félix Guattari in Anti-Oedipus refer to this as a “post-mortem despotism,” where an entity that has long-since died continues to exert authoritarian force over the living.

However, capital is not so much undead as it is never-having-lived and therefor can never be killed. Capital, like one of the all-time great cyber-zombie movie villains, on the order of the T-1000 in Terminator 2: Judgement Day, or the HAL-9000 in Kubrick’s 2001, has to be unplugged from its networks of command and control, neutralized. To execute capital, humanity will have to invent and implement radical economies of alternate value and exchange and slowly replace capital as our global operating system. Furthermore, we need to do this without capital reading our lips.

Impedance of the hyper-capitalist economy requires relentless activity in absence of a product, not destruction but non-production.

Hannah Claus, tsi iotnekahtentiónhatie (Tiohtià:ke), Leonard & Bina Ellen Gallery, 19 November 2025 – 7 February 2026

Hannah Claus, Watersong (2025). Photographed for NicheMTL.

Outsmarting A.I. is a fruitless strategy because we created Artificial Intelligence to mimic the human mind. The fact that there is an inherent competition between us and our progeny is indicative of the fundamental conflict present in the human dramatic narrative.

We are born to fathers and mothers whom we will replace, and neither side is entirely comfortable with the arrangement. We self-organize in the form of states and immediately rebel against authority. The authoritarian ruler is not free either, because he is condemned to subdue his subjects. Though capital is not alive in any biological sense, neither is it free. It is, in effect, a slave to its own slaves.

To prevail in the conflict against an artificially intelligent adversary requires becoming-beast, a return to an unsentimental, irrational, and savage, operative mode. The antidote to Artificial Intelligence is not human intelligence, but rather, animal instinct.

M For Mothland with Brainwasher, Boutique Feelings, Mulch, Yoo Doo Right, and Annie-Claude Deschênes, 21 November 2025, La Sala Rossa

Boutique Feelings performs as part of M for Mothland at La Sala Rossa, 21 November 2025. Photographed for NicheMTL.

There is a brief scene early on in Kubrick’s 2001, a seemingly throwaway shot in which a cougar attacks one of the apes. The simian is unsuspectingly drinking at a shallow pond when, out of the blue, the wildcat jumps from an elevated cliff and assaults the hominid, provoking it into mortal combat. Kubrick cuts the scene before the audience sees an outcome to this battle. But it must be assumed that the ape loses.

Ostensibly, this might be Kubrick’s way of reminding the film’s viewers that humans were not always, and may not be again, at the top of the food chain, without natural predators, safe in our domination over the animal kingdom. On a deeper level, it may signify the order of chaos and possibility that the monolithic object directly opposes in its geometric and determinate perfection. The monolith for Kubrick is undoubtedly no less violent than the wildcat, cast down from above onto its innocent victims.

The monolith of 2001 is not a screen. It is not an antenna. It is not a tablet. It is not a commandment. It is not a repository. It is not an archive. It is not a mirror. It is not a machine. It is not a product.

The monolith is pure machine, pure repository, pure product. It represents order over chaos, the ultimate, the infinite, the real structure of violence. That is why it fascinates and terrifies the apes.

It is not the work of an alien. It is a symbol of alienation, alienness.◼︎

Thank you for inviting NicheMTL to your thing. Please get in touch at the about page.

NicheMTL is Montreal’s independent not-for-profit source for this city’s most niche arts and culture. If you love what you’re reading, please consider buying a yearbook and subscribing.

Cover image: Antoine Saito for Orchestre Symphonique de Montréal.

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All The Rage

Joni Void & Quinton Barnes, La Lumière Collective, 21 April 2025

Quinton Barnes performs 20 April 2025 at La Lumière Collective. Photographed for NicheMTL.

“Your time has come your second skin
The cost so high the gain so low
Walk through the valley
The written word is a lie.”
—Public Image Ltd., “Rise.”

The customary media scrum following the Canadian pre-election English-language leaders’ debate was abruptly cancelled on Wednesday 16 April because the Debates Commission could not “guarantee a proper environment for this activity,” it announced in a brief and vague statement.

The Commission’s executive director Michael Cormier didn’t elaborate on the reasons behind the decision. But most media observers pointed to the right-wing Rebel News group’s domination of the scrum the previous evening following the French-language debate at Maison Radio-Canada in Montreal. Rebel News was able to secure five questions while traditional outlets like La Presse and the Canadian Broadcasting Corporation were each granted only one.

In a post-debate analysis with news anchors Adrienne Arsenault and Rosemarie Barton, David Cochrane, host of CBC’s Power and Politics, characterized the media group’s tactics as “rage-farming.”

Rebel News appears to be merging the strategies of American outlets like Fox and Breitbart with the MO of social media. Indeed, the “new” digital media have now capitalized for decades on inciting extreme moral outrage.

“The mission of Facebook is to connect people around the world,” stated former Facebook employee Frances Haugen in an interview with the CBS News programme 60 Minutes. “When you have a system that you know can be hacked with anger, it’s easier to provoke anger in people. Users say to themselves, ‘If I make more angry, polarizing, dividing content, I get more money.’ Facebook has created a system of incentives that divides people.”

Anger is an energy. But is it the right energy in a time when unity is more urgently necessary?

Pulse Mag Issue #1 Launch, Le Système, 17 April 2025

Ryan Diduck, left, and Pulse Mag editor-in-chief Jen Lynch at Le Système. Eva Rizk for NicheMTL.

It logically follows that if digital media arouse outrage, analogue media might offer an antidote. One reason for this may be the quantifiable time that users invest in media engagement.

The speed with which we access and discard online content encourages a general sense of agitation. When we slow down to read printed words, say, in a magazine, we cultivate a more deliberative mindset, one which stimulates empathy and understanding. These virtues are the building blocks of community.

Magazines inspire readers to read, share, and re-read. On the internet, never are any two given people literally “on the same page.”

Payare Conducts Mozart’s Moving Requiem, Orchestre Symphonique de Montréal, Maison Symphonique, 16 April 2025

Organist-in-residence Jean-Willy Kunz performs with the OSM, 16 April 2025. Antoine Saito for the OSM.

“If America (like ‘Vietnam’) was primarily the name of a war, we would understand its historical function far better.”
—Nick Land, “2014,” Outsideness.

Obsession with war is implicitly obsession with death. Regardless of whether a war is military or economic, hot or cold, the only product that war consistently generates is casualty. More than the axiom that war has no winners, war also renders life itself, even for those only peripherally involved, null and void.

Blood, contrary to popular belief, is not a form of fertilizer.

Persons with Cabral Jacobs and Bob Tape, Atlas Building, 18 April 2025

Persons perform at the Atlas Building, 18 April 2025. Photographed for NicheMTL.

“A man complains of being hungry. All the time. Dogs, it seems, are never hungry. So the man decides to become a dog.”
—Brian Massumi, “normality is the degree zero of MONSTROSITY,” A User’s Guide to Capitalism and Schizophrenia.

Modernity is inextricably linked to capitalism because no other form of socio-economic organization demands perpetual novelty.

Yet, newness has no truth value because of its inherent arbitrariness. How long does a cultural text hold its currency? How long is a McDonald’s hamburger allowed to sit on the counter before it gets tossed in the bin?

A society that prizes youth culture, in so doing, sacrifices what is true for what is new. The acceleration of so-called innovation in truth is simply the hastened refresh rate of desire. Novelty correlates with functional dissatisfaction. Capitalism thrives on habitual frustration.

Normalcy exists antagonistically against novelty because as soon as normalcy is achieved, it is no longer by definition new. Therefore, hyper-capitalism requires hyper-normalization.

Furthermore, modernity exists in opposition to pragmatism because it is pragmatic to repair and preserve and it is modern to discard and reinvent. Therefore, there is no true conservatism under capitalism. In its place, we are provoked with austerity.

Plural Contemporary Art Fair, Grand Quai, Port of Montreal, 11-13 April 2025

Gallery views at the Plural Art Fair, Grand Quai, Port of Montreal. Photographed for NicheMTL.

“The greatest disorder that those who order an army for battle make is to give it only one front and obligate it to one thrust and one fortune.”
—Niccolò Machiavelli, Art of War.

Cities are modern sites for alternating periods of movement and stasis, speed, slowness, and rest. They are naturally contested and potentially violent terrains that frequently mimic fields of battle. Think of vying for space on the metro, or how quickly a queue tightens up when one of its members leaves.

The Romans routinely broke their armies up into three speed-dependent battalions. The first, the hastati, struck the quickest. If and when they failed, their ranks fell back into the second, the principes, which attacked more slowly. If and when they, too, were expended, they all absorbed into the triarii, who lumbered behind in the lengthiest regiments.

Their enemy would have to conquer three separate meta-armies operating in three unique temporal intervals in order to prevail. First there’s the tweet, then the retweet, then the legacy media story that rounds up the tweets.

Donald Trump’s shadow strategist Steve Bannon famously said in 2018 that political rivalry paled in importance to conflicts in information. Democrats were not the enemy, Bannon believed. The media were.

“Flood the zone with shit” was Bannon’s solution. In other words, advance as many competing viewpoints across as many media platforms as quickly and consistently as possible to destroy wholesale the concept of credibility itself.

A healthy republic depends not only on information but access and intelligence to discern its accuracy.

If democracy dies in darkness, fuck with the lights on.◼︎

Thank you for inviting NicheMTL to your thing. Please get in touch at the about page.

NicheMTL is Montreal’s independent not-for-profit source for this city’s most niche arts and culture. If you love what you’re reading, please consider buying a yearbook and subscribing.

Cover image: Rafael Payare conducts the Orchestre Symphonique de Montréal, 16 April 2025. Antoine Saito for the OSM.

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