An exploration of the multidisciplinary creative culture encapsulated by the term industrial art, which spans musical, visual, multimedia, and performance arts.
Industrial music appeared in the mid-1970s, and far from being a simple sound experimentation phenomenon, it quickly spawned a coherent visual culture operating at the intersection of a multitude of media (collage, mail art, installation, film, performance, sound, and video), and initiated a close inspection of the legacy of modernity and the growing pervasive influence of technology.
Deriving their sources from the modernist utopias of the first part of the twentieth century, the sound experiments conducted by industrial bands, including designing synthesizers and transforming recorded sounds from audio tapes either recycled or laid down by the artists, were backed up by a rich array of radical visual productions. Such saturated sounds were translated into abrasive images, manipulated through the détournement of reprographic techniques (Xerox art), that investigated polemical themes: mind control, criminality, occultism, pornography, psychiatry, and totalitarianism, among others.
This book aims to introduce the visual and aesthetic elements of industrial culture to a general history of contemporary art by analyzing the different approaches taken and topics addressed by the movement and the artists who perceptively anticipated the current discourse concerning the media and its collective coercive power.
By:
Nicolas Ballet
Imprint: Intellect Books
Country of Publication: United Kingdom
Dimensions:
Height: 244mm,
Width: 170mm,
ISBN: 9781835950753
ISBN 10: 1835950752
Series: Global Punk
Pages: 592
Publication Date: 09 May 2025
Audience:
Professional and scholarly
,
Undergraduate
Format: Hardback
Publisher's Status: Forthcoming
Foreword Pascal Rousseau Acknowledgements Introduction Alternative Postmodernity Graphical Perspectives Cultural Registers and Industrial Themes Artistic Hybridizations Part I. The Last of England: Post-Industrial Trauma and a Tradition of Subversion Chapter 1. Dystopia for Utopia “Prolétariat & Industrie”: Marginality and Post-Industrial Change Post-Industrial Context: Transformation of the Nature of Power Irony and Industrial Détournements Post-Industrial Zeitgeist and “Global Village” Atomic Paranoia: The Post-Apocalyptic Iconography of the Nuclear Age Survivalism, Paramilitary Decorum and the Fear of Death Breakdown and Continuity of Post-Psychedelic Violence Post-Beat Culture Transgression and Destruction: An Aesthetic of Carnage Post-Apocalyptic Perspectives and Junk Culture Urban and Industrial Ruins: Dissidence of “Dark Romanticism” Aesthetics of Destruction: Confrontational Attitudes and Visual Parasites Bodily Mutilation: The “Industrial Disease” Industrial Pain Cultural Terrorism Chapter 2. The Legacy of Modernity and Postmodern Challenges Informed, Marginalized Generation Culture Clash: A Diversity of Artistic Traditions Collides Knowledge of Previous Movements and Experimental Shifts Redefining the Avant-Garde in the Post-Modern Era Future Tense: Reinterpreting Futurism Manifesto Culture Rupture L’Ordre par le Bruit: Constructivist and Suprematist Precedents Influence of Propaganda Constructive Destruction “Mechanical Eye”: Organic Machine Dadaist Offensive Subversive Cabaret The Dada Cyborg: Doubting the Man-Machine Post-War Trauma and Prosthetic Men The Duchampian Model of “Anti-Art” Alternative Networks Imaginary Surrealists Dark Surrealism: Altered Reality The “Uncanny” of a Mechanical Sexuality Dreams Less Sweet: Surrealist Dreams The Neo-Avant-Gardist Factory “Fluxshoe”: Behavioural Experiments Actionist Radicality Post-Situationist Détournements Part II Nothing Short of a Total War: Industrial Dissidence and Shock Tactics Chapter 3. “Persuasion”: Burroughsian Strategies of Reversing Mind Control “Spread the Virus”: Electronic Revolution and Industrial Cut-Ups Post-Industrial Biopolitics and Strategy of Recycling The “Control Process” and Disruptive Advertising Televisual Piracy Bioelectronic Virus Duty Experiment: Military and Civilian Scientific Experiments Experimental Scientific Protocols and Torture “War of Nerves”: Acoustic Warfare and Crowd Control Military Infiltration and Civilian Conditioning Attacking and Hijacking Popular Culture Chapter 4. Symphony for a Genocide: Industrial Music and Totalitarianism Détournement of Trauma and Industrial Provocation Death Factory: Dictatorship of the Mass Media and “Dark Situationism” Paramilitary Fetishism and Transgressive Attitudes Laboratory of Ambiguity Industrial Anti-Fascism Industrial Catharsis: Psychological Mechanisms and Cognitive Tests Shock Impressions and Historical Boundaries Overplaying Totalitarian Brutality Human Atrocities: Countering the Inhuman Industrial Excesses and Political Manipulation (Re)discovering the Shoah Fascination for the Historical Archive and the Effect of Complacency Radicalization of a Political Scene Fear of Cultural Disappearance Chapter 5. “Suture Obsession”: Aestheticization of Horror The Atrocity Exhibition: Anti-Psychiatric Interference and Tolerance Thresholds Reflective Tradition of the Unbearable Image Science of Perception: Psychiatric Perversion and Shock Treatment “The Cathedral of Death” True Gore: Fascination and Repulsion of the Unbearable Image The Toilet Exhibition: Shared Trauma Bleeding Images: Criminal Anxiety The Manson Family/Jonestown: Sectarian Lure and Collective Suicide Warped Portrait of a Serial Killer Murderous Impulses and Creative Desires Criminal Experience Sex Crime Atrocities Chapter 6. “Prostitution”: Sexual Reconfiguration and Industrial Feminism White Souls in Black Suits: Pornographic Abuse and BDSM Subculture “Degree Xerox” and Sexual Repression Psychopathia Sexualis and the Fascination with Sexual Transgression Sexual Discipline: Effects of Fetishization and Reconfiguration of Pain Unusual Perversions: Bondage Subculture Crash Biomechanical Sexual Mutation Brutality as a Masquerade Gender Relations Within the Movement “Obsession”: Infiltration Tactics and Appropriation of the Female Body “Alpha Females”: Violence and the Power of Gendered Deconstruction Engaging the Industrial Male Part 3 “Body and Soul”: Industrial Occulture Chapter 7. Pagan Day: Occult Rituals and the Re-Enchantment of Reality Third Esoteric Revival (Revolutionary) Social Utopias of Magical Awakening (Re)discovery of Occult and Artistic Practices Crowleymass: Rehabilitated Contemporary Occultism Magia Sexualis: Influence of a Magical System Writing and the Language of the Occult Astral Explorations and Queer Mysticism Zos Kia Cultus: The Legacy of Austin Osman Spare Sigils and Graphic Work Automatic Drawings Under Spiritual Influence The Alchemical “Whole”: Occult Androgyny and Hermetic Challenges The Process: Sectarian Systems and Informal Satanism “Psychedelic Fascism”: Influential Processes at the Margins Transparency, Devotion and Overthrow of the Guru Industrial Satanism Demonic Possessions and Religious Reconfigurations Modern Primitives: Neopaganism and Ritualized Body Modification Wicca Tradition: Nature Worship “The Orgastic Potency of the Primitives”: The Anthropological Turn “Traces of the Sacred”: Marks of the Body and Mind Conclusion Authoritarian Reconfiguration and Cultural Assimilation Extra-Planetary Village Archives and Interviews Bibliography
Nicolas Ballet is an art historian and assistant curator in the New Media Department of the Centre Pompidou in Paris, France. He is the author of books and articles exploring the visual and sonic contributions of countercultures and experimental artistic practices. In 2023, he curated the exhibition “Who You Staring At?"" Visual Culture of the No Wave Scene in the 1970s and 1980s at the Centre Pompidou. He is currently leading a research project for the Centre Pompidou on pro-sex perspectives in art, from the 1960s to the present day.
Reviews for Shock Factory: The Visual Culture of Industrial Music
""A history of industrial music needed to be written. Nicolas Ballet has accomplished this. Thoroughly. This is the book's greatest strength. It explore the significance of noise as a reflection of a world in decay and screaming as a need. And doing it so it reveals a significant connection between industrial music and contemporary art. This is also what makes it an essential book: its contribution to dismantling categories and rethinking history from mixed creative territories."" -- David G. Torres, art critic