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Titles by Tony Cokes
- 1!
- 2@
- 3#
- 5%
- 6^
- Ad Vice
- B4 & After the Studio Pt. 1
- Black Celebration
- Confession
- Evil
- Evil.10 (W2tDotR)
- Evil.11: The Katrina Debacle
- Evil.12.edit.b (fear, spectra & fake emotion)
- Evil.16 (Torture.Musik)
- Evil.20 (b.o.m.h.edit)
- Evil.27: Selma
- Evil.35: Carlin / Owners
- Evil.48 (fn.kno.it.alls)
- Evil.5: Grin and Bear (No Responsibility Mix)
- Evil.66.1
- Evil.66.2 (DT.sketch.2.7)
- Evil.6: Making the Case / Faking the Books
- Evil.7: iraq.deadly.chronology
- Evil.8: Unseen
- Evil.9: (mmmfs) Fundamental Changes
- Face Value
- Fade to Black
- Headphones
- killer.mike.karaoke
- leeds.talk.04
- leeds.talk.trailer
- Margins and Bubbles Pt. 2
- Mikrohaus, or the black atlantic?
- Pause
- RRK (Reading Rosalind Krauss)
- shrinking.criticism
- studio, time, isolation: reconstructions of soul and the sublime
- The Book of Love
- The Morrissey Problem
- The Queen is Dead ... Fragment 1
- The Queen is Dead ... Fragment 2
- The Will & The Way ... Fragment 1
- The Will & The Way ... Fragment 2
- Untitled (m.j. the symptom)
Mikrohaus, or the black atlantic?
2006-2008, 31:07 min, b&w, sound
Drawing from music critic Philip Sherburne’s writings and British cultural theorist Paul Gilroy’s influential study The Black Atlantic: Modernity and Double Consciousness (1994), Mikrohaus, or the black atlantic? considers the socio-political context undergirding the roots of minimal techno in Europe, punctuating Sherburne’s profiles of German minimal techno artists Jan Jelinek, Thomas Brinkmann, and Basic Channel with quotes by the genre’s Detroit-based pioneers Juan Atkins and Derrick May and textual excerpts from Gilroy, Richard Wright, and Édouard Glissant.
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