Waiting For The Moon
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Between Tlaloc and Caos. Working on a new book idea and part of the greater The Urban Meta Project. This time we are focused on Mexico City. It is the culmination of five years of work documenting water management in the Mexican capital. Tentative title, "Entre Tlaloc y el Caos" –as mentioned in the head of this post. Tlaloc was the Aztec god for rain so we are mixing an old narrative of what the pre-hispanic city of Tenochtitlan was like in equilibrium with nature, surrounded by water following into the chaotic urbanization of present day Mexico City with water shortages.

©2010-2014 Carlos Cazalis/All Rights Reserved. Mexico City, Mexico

Injustices may not be perceived as injustices, even by those who suffer them, until somebody invents a previously unplayed role. Only if somebody has a dream, a voice, and a voice to describe the dream, does what looked like nature look like culture, what looked like fate begin to look like a moral abomination. For until then only the language of the oppressor is available, and most oppressors have had the wit to teach the oppressed a language in which the oppressed will sound crazy - even to themselves - if they describe themselves as oppressed.

Richard Rorty, Feminism and Pragmatism, 1995 (via deafmachine)

Chinese factory workers are not welcome at XOXO. This is a profoundly uncomfortable thing to say because it feels like punching down, but it is true. Chinese factory workers are not independent creators. What inspiration would they find in hearing John Gruber talk about Google Reader’s impact on his business model? What advice would they pull from Anita Sarkeesian describing the conspiracy theories leveled against prominent women on the Internet? What series of completely patronizing assumptions did I make when I wrote those last two questions?

What We Talk About When We Talk About What We Talk About When We Talk About Making | Quiet Babylon (via iamdanw)

House Music from Japan, plays well late in the evening with a little Mezcal 

Daniel Lanois - “Opera”


Just a reminder

Please Broadcast This

(via workman)


The nice folks over at Stack Magazines made a lovely video about us! Thanks guys!

Four Tet mines a rich vein of Atoms For Peace and then refines it into a 24 Karat Masterpiece  

K = 24\,\frac{M_\text{g}}{M_\text{m}}


T-Model Ford Live at WFMU on Fat Possum Blues Caravan, 2004

01I Love My Babe 
02 Chicken Head Man 
03 Wish I Was a Catfish

© Hulton Archive/Getty Images

Read The black Victorians: astonishing portraits unseen for 120 years

The Limits of Control (Jim Jarmusch, 2009)

Beautiful film

(via ratak-monodosico)

Mixed for Rag and Bone runway show.

Via: Chief Boima

Almost everywhere I played, I dropped an extended set of songs in a 6/8 time signature, which was either met by enthusiastic cheers to a new rhythm in the club, or dancing bewilderment by crowds probably used to moving in 4/4. So in part to highlight some of the exciting developments in dance music led mostly by producers of the Lusophone World, and also to allow people to practice their moves at home, I present to you my new mix-tp3 – Six Over Eight:

So why did I do this mix, and why has this time signature become a central part of my sets? Well, 6/8 and 12/8 are often associated with Africa, even to the point of become a central motif in many stereotypical depictions of the continent as a whole. However, beyond the superficial engagements with what is probably the world’s most (or 2nd most?) culturally diverse continent, this rhythm does seem to be a universallyAfricanthing. Traveling from Algeria to Zimbabwe and everywhere in between you can come across it.

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