Chris Burke
Since the beginning
Works in New York, New York United States of America

Chris Burke, Writer, Director-- Chris studied film production at NYU's School of the Arts where he made several short films. Subsequently he worked in film production for 8 years and wrote music for seven feature films and a number of television programs.

As a composer, Chris Burke has been working with electronic music and sound collage since the mid 1980s when he created his Bam Bam catalogue of cassette releases which eventually became the Mode Avant release, Idioglossia. Since then Chris has had three other releases, including the Sire Records release All Wave Super with his band Glorified Magnified. He has collaborated with Grammy-winning producer Don Was and with Tom Morello of Electra recording artists Rage Against The Machine.

Under the name glomag, Chris began working with gameboys to create electronic music in live performance. He has frequently collaborated with new media artists Lab[au] in Brussels and performed in Paris and Vienna. In New York he has collaborated with visual artists Benton Bainbridge, Giles Hendrix, Chiaki Watanabe and others.

Chris's sound and music compositions have been presented at Lincoln Center, The Whitney Museum of American Art, Rhizome's Digital Happy Hour at The Kitchen, The American Center in Paris and on television and radio in the US, Belgium and France. His current CD release, "Device" is available on line at

This Spartan Life marks Chris's return to visual media and a fascination with the new form called "machinima"- making film or video using a game engine.
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Past and Present in "Strange Simultaneity": Mark Fisher Explains Hauntology at NYU

I think the points discussed by Fisher can be attributable to the simple fact that bands now are hyper-aware of recent music history. The millions in development money spent in the music technology industry developing analog modeling synths and retro effects plug-ins promise to make even dabblers like Darkstar sound just like a synth-pop band from the 80s. Similarly, recording techniques since the late 90s have largely focused on recreating the sound of anitquated recordings. If there is anything "odd" happening, it's that there is now more nostalgic synth-pop from the last 4 or 5 years than there is original synth-pop from back then.
I think it's simply too easy for music, being a non-tactile art,  to be "haunting". I understand Fisher is quoting a cool term from Dererida, but if he's saying more than that, I'm not seeing it. To set this apart as special phenomoemon is simply a stretch. I have to admit I have not read Fisher's blog. Does he offer better evidence than the vagueries above?


Notes on Going Under: A DEVO Primer

I enjoyed this very much. Thanks. I can't say I disagree with David Thomas's assessment really, but I have always thought that "devolution" was not meant as a cohesive critical concept, but more as Devo's tongue-in-cheek contribution to what they felt was a disintegrating society. Plus, they rocked.