Thursday, 23 October 2014
Apprenticeship. My Wiki Hegel.
when a master finds a slave, they become a team
making him toil he treats him as a thing
moulding him- the slave soft as wax
planting doubt, self-doubt and fear
to break stubbornness
at the end of bondage the apprentice leaves
taking some of his master's with him
one day he will become independent
and return to where he belongs
as a subject
not as a thing he was
he will exist as himself for himself, not for us
the wax has hardened, he will be on his own
but kept on the chain and sworn
only possible if the service is completed
if it were interrupted because of his stubbornness
or never terminated - made endless
he would either sink into himself and his thing-ness
or stay soft and shapeless, being moulded by others
the master's interest will be gone and he will unchain
and broken, melted, remoulded without end
he will never get home
on his journey back
carrying his lord on his shoulders
he meets others and as the burden is heavy
he wants to trade in order to keep going, actually
it's the master pulling the chain
rattling it to scare him and keep on the track
of course, he is not going to shake off
and simply drop on the road his load
even if he is making bad deals
with the people sent by his lord
getting things that are of no use
and of lesser and lesser value
no way, he won't run back, he'll carry his cross
he is not confusing the road with destination
the slave or master to be
is rendering his service to others
humbling himself as a thing-subject not yet
not simply a thing like before as he gets as well
the wax is now hard, it's his shield, he is unaffected
his body's exhausted
but something has happened- a break!
he loses everything and he loses himself
he's no longer here, where is he?
he drinks from a fountain, what an abundance of colours!
all what is lost is not lost and the tree is in bloom
his belongings are his as they're his master's
the master is here, it's him
he's returning, he knows where he comes from
have a look at the global desiring-machine
it's devouring its son
biting, sucking out blood, tearing out organs, chewing, spitting out bones
here they are, they will turn into dust
each corn unique, nomadic, no identity, spreading diseases
settle and lift like a cloud- it's a global return
you're saying: we are in a desert
this kind of return's not for us
okay, let's check the machine, there it goes
stomach ache, bad digestion? let's see
it needs to go to a wc
you're saying: we don't know the rules of this game
we don't want to be manipulated into any returns
we need some explanations: was that son
sent by the mother with a clock and TV?
no, that was his own idea, the mother...
you've met in the desert
it's coming, what's that ?
it's young and it's strong, looking more like its son
i see double and i see a mirage- an oasis?
are you sure it's that global desiring-machine ?
HARVEST MOON SONG
i found my grail in the gypsy flag
with that red wheel ever turning
bringing waters down on earth
earth to heaven in reverse
but the wheel was from my heart blood
bleeding heart and tears i cry
i was mixing blood with tears
for the things I left behind
i am carrying too much
and the storms tear down my tent
and i can't read in the dark
as the lamp in it stops burning
i was begging in the streets
sitting outside the temple
i was stealing white wax candles
when i got caught in the rain
i was dancing i was singing
then the sun was laughing at me
when the sun was shining on me
all the candles dropped in mud
once i was begged- didn't give
and she told me "you will bleed"
bound by blessings of that curse
i sail back to native shores
on my road with no end
i kept grinding never minding
that the spokes got nearly broken
brought my wagon to a halt
should have sharpened all my tools
with the spark of stones well used
now my blood is thin as sighs
but at least i learned to cry
BEFORE NEXT SUN
my sun is inside the earth
as a citizen of lemuria
i didn't want to be born
i stamped with my feet and i screamed
at her who gave me blue light
about my father in case you wonder
first he worked in mines
then he was a rainbow in the skies
there must be my light twin on the other side
because there are no flights
to the poles of the earth
to fall down and meet in the middle at last
we have to dig through the crust
another method is to rot to the core
that blue light has helped me before
when the seed is corrupted by rot
it's not like in seedless grapes
we buy on the market and eat
for the sake of their sweet taste
a totally separate mystical commodity
not an equivalent of value, neither usefulness
neither a show of effort made public
rotting is non-effort, digging sisyphean
and sweat seedless grapes are non-significant
when corrupted the seed's so not useful
that it's almost a work of art
and who can prove the impossibility of unity
with the southern twin rotting miles apart?
rotting, not growing downwards
we'll burn together as one, close to my father sun
Две песни из подземелья.
я нашла грааль в цыганском флаге
с огненным колесом
перекатывающим капли дождя
с неба на землю и потом обратно на небо
но это колесо
было моим истекающим кровью сердцем
когда я оплакивала где-то забытые вещи
слезы с кровью смешались, я слишком много
с собой взяла
истрепало палатку ненастьем
там темно, больше читать нельзя
ведь лампа вот-вот погаснет
я просила милостыню на улице
мне подавали у дверей храма
как-то раз я украла белых восковых свечей
да дождь помешал когда я их зажигала
я пела и танцевала
пока солнце надо мной не насмеялось
пока солнце на меня светило
я все свечи в грязь побросала
когда-то и у меня просили
но я ничего не давала
и благословляя проклятьем, она мне тогда сказала
"чтоб кровью ты захлебнулась"
я бы домой вернулась
по бесконечной дороге, колесо все крутилось
только когда повозка остановилась
что ось едва не переломилась
надо было наточить инструменты
высекая искры из камня умело
сейчас моя кровь уже водяниста
зато плакать я научилась
Скоро новое солнце
мое солнце внутри земли
я не должна была родиться
я топала ногами, кричала
на ту что мне синий свет показала
об отце, если вам интересно
под землей он работал
и радугой стал в небесах
где-то на противоположной стороне земли
есть мой двойник
вернее мы близнецы
самолеты на полюс уже не летают
не провалиться нам внутрь, чтоб встретиться наконец
надо тоннель прорыть
есть другой метод- до сердцевины гнить
загнивающий плод, где семена пропали
не как виноград без семечек
что мы покупали
я сразу ела, соблазн был велик
отделенный от нас волшебный товар
ни мерка ценности, ни полезности
ни демонстрация славной работы садовника
сгнить не работа, а рыть- для сизифа, сгнивая дотла
плод бесполезным становится
словно творенье художника, пусть мне поможет
синий тот свет
как доказать что союз близнецов невозможен
надо истлеть до конца
сгореть как единое целое, вместе у солнца-отца
it is actually happening now
two women speaking romanian on the tram
both look grimy, ikea bags, charity shop clothes, one of them's singing
a primitive song without words na-na-na
a peculiar kind- checkered pants, sits like a man
she is making odd rhythms to it with her umbrella
tapping her foot, laughing and swearing i think
her singing is really amazing
not performing and she is not begging
the song is too bitter, too crude, too hot, too monotonous
i wonder how she can sing just like that
only a baby with its arms and legs can express life so naturally
i can't be mistaken, it's her
i am turning away to avoid meeting her eyes
as mine may reveal dissolution, melancholy, amusement, recognition
to be completely honest i am falling in love with the situation
i have no rings in my ears, no nail varnish
i am not celebrating
she is joy, i am sorrow
i don't want to get off
i cannot cut myself away from the song
i am compelled to look right in her eyes
to see if she gets embarrassed- she doesn't care
i cannot hide a smile and i'm nodding
she is saying something to her friend
this one is definitely enjoying, mamaye
they are getting off, now the singer is angry and sad
she is sorrow and i am joy, but i can't just run after them
i cannot shrug myself off like an old coat to leave on the seat
whatever, i am getting off anyway
i am walking and my love light's too strong
it feels like a gloria, what shall i do about that experience?
i have never heard anything like that, and i'm sure it's her
she is poor, i'm broke, i need new boots
no, i 'm not buying boots- a one way ticket to a little town
i am totally in that na-na-na gothenburg tram number 1 song
i'm really not going anywhere and i'm on the bus now
walking, my love light too strong, my umbrella, my boots not so water-proof
sure that's her, i am hungry, she's eating now
waiting for bus number 7, it's coming
people get on, show their cards, getting on
where are them words of excuse me, but i have no money?
my card is not charged, the machine showing red, oops!sorry, now it's ok
the driver conspiring- my love light 's too strong
it's like a gloria, i'm singing that song
это в общем-то происходит сейчас
две женщины говорят по-румынски в трамвае
обе замызганные, мешки из икеи, куртки с чужого плеча
одна из них что-то поет
примитивную песню без слов на-на-на
странная, в клетчатых брюках, сидит как мужик
зонтиком такт в пять на шесть отбивает
ногами притопывает, ругается думаю я
смеется, пение просто прекрасное, не на публику и не за деньги
слишком проста ее песня , груба, монотонна, горька, горяча
я удивляюсь- как можно так петь?
от избытка жизненных сил
руками ногами такое выделывать может
я не могу ошибиться, это она
я отворачиваюсь, боюсь встретиться взглядом
так как мои глаза изобличают тот факт, что я
пытаюсь скрыть меланхолию, увлеченность происходящим, узнавание
если честно, я без ума от самой ситуации
у меня в ушах нет колец, ногти без лака
у нее есть
я не праздную
она радость, я горе
я не хочу выходить
я не могу себя оторвать от песни
я вынуждена ей смотреть прямо в глаза
захотелось проверить не смутится ли - нет, ноль реакции
мне не удается в себе подавить улыбку, киваю
она что-то говорит подруге, может
смотри вон той явно понравилось, эх мамае
им пора выходить, певица расстроена чем-то и злится
я радость, она горе
я не могу за ними бежать
я не могу стряхнуть себя на сиденье как старую шаль
сейчас и мне выходить, не важно
я иду и любовный мой свет так силен
я его ощущаю как ореол
что же мне делать? ничего особенного не произошло
я никогда не слышала ничего подобного и я уверена что это она
она бедна, я в безденежьи
мое ботинки совсем никуда не годятся
нет, я покупаю билет в один конец
еду в маленький город
без денег на обратный билет
я вся в той трамвайной песне номер 1 в гетеборге
в действительности я не еду
гуляю под зонтиком, ботинки мои прохудились
свет во мне по- прежнему очень силен
я уже совсем уверена в том, что это она
она ест, я голодна
сейчас жду автобуса номер 7
вот уже подъезжает, люди садятся, билеты показывают
я тоже сажусь, у меня только старый билет
где же слова извините, нет денег?
водитель- да да, все в порядке- все как сговорились
свет мой все так же силен
как ореол, сижу я ту песню пою
Sunday, 19 October 2014
Unity is a missing part, it has to be fabricated and added to the rest. The idea comes from "Anti- Oedipus".
Deleuze is considered a philosopher of multiplicity and immanence, concepts usually contrasted to unity and transcendence. However, if we look for transcendence on the plane of immanence, as something outside of consciousness, but still belonging to a human being, it is probably the unconscious. To abstract from individuals, it's the collective unconscious as an enormous reservoir of memory of the mankind, connecting us to nature and expressing itself through myths, the motives of which are similar across time and space, perpetuating the code of an archetype.
There is an emptiness in nature. I am not referring to Hegel, but to what causes the eternal return, why repetition is repetition with a difference, or how dialectics of existence blocks concepts, theoretically designed to produce returns of the same or loops of general particularities. Deleuze, discussing singularities and how they disobey the rules of the general, points at some mysterious verticality in nature, the laws of which are superior. This verticality, obviously transcendent, is like an axis in the middle of a black hole, in proximity of which behaviours deviate.It is responsible for difference in repetition. Repetition itself expresses universality in singularity.
This emptiness was called the fifth element or aether by the ancients. By pulling the 4 elements inside it produces quintessence that turns everything it touches to gold (the salt of the earth that doesn't burn, but can be volatilized into spiritual fire). Unity we are looking for,contemplating phenomena and numbers, is strongly suggested by the overall uniformity of everything- the stages of embryo development coinciding with the steps of Darwin's ladder and the Chain of Being, patterns in nature following the golden section etc. So we can conclude that multiplicity affirms unity, in the same way that becoming affirms being. However, as empty or a missing vital part, it can only be fabricated (this introduces an artist as a magician) and added to the partials,to complete the whole that extends itself, is animated with life, breathes. Deleuze is more interested in how it works:
"A magical chain
brings together plant life, pieces of organs, a shred of clothing, an
image of daddy, formulas and words: we shall not ask what it means, but
what kind of machine is assembled in this manner—what kind of flows
and breaks in the flows, in relation to other breaks and other flows."
Disjunctive synthesis is another paradox of the same kind. I remember a scene in a Bertolucci film, I think it was "The tragedy of a ridiculous man", where one of the characters, working at the cheese factory, is literally assisting the flows of coagulated mass to be cut into and dropped down as separate cheeses.Initially they were liquid- milk, the living mass of primal matter. Cheese was the owner's gold, made capital, the flow and consummation of which was crucial in the film, as he had to get his kidnapped son back. The son was gone, but he returned. Magical 9, he lived, as the seer in the film predicted. In the picture below (it has nothing to do with the film), the sum is always 9:
4+5, 3+6, 2+7, 1+8, 0+9, -1+ 10 (horse shoe counting)
Production, consumption,consummation was like a desiring machine coupled with a body without organs. Work often looks repulsive, but it brings money. I don't mean we can't survive without ( not discussing lack as the basis of desire, neither is missing that unity as emptiness a lack, but rather a yearning), it's just that production has to go on in one way or another and the products are consumed all the time. This consumption and consummation are important for the process to start anew.
I really don't like pragmatists very much- they use and are being used, why can't we do things out of this yearning and simply to keep moving? Sometimes it's looping (habits, automated responses and ways of production), but it can become moving, if we discover potentialities of the emptiness. The path to it lies through ego destruction, as only an egoless body without organs can make itself fluid and indifferent, plastic enough for becomings, but it has to be coupled with desiring machines. Without application in real life it is a closure in the imaginary- "Better to flee to the body without organs
and hide out there, closing himself up in it." Here an ego loss means schizophrenia, but real sickness is in our split culture and closed minds.
An ego will always speak in terms of lack, envy, possessiveness (will cling to the results), self-preservation. Another condition allowing for intensive flows is that of a full body, in which opposing principles are in balance. It draws partials to itself and the axis around which becomings occur is a magic fetish- independence of familial reproductions from social production and reproduction provide "a transcendent detached object that crushes their polyvocal character; the detached object (phallus) must perform a kind of folding operation", not in a mode of oppressive triangulation of Oedipus- "3+1 (the four corners of the field folded into three, like a tablecloth, plus
the transcendent term that performs the folding operation"), but as 4+n, far beyond, reaching the ancestors. In primitive cultures all members of society undergo initiation into real life to be integrated in the group, not isolated egos. They are not conditioned by any grand signifier without signified- Father, not merely collective archetypal patterns either, but by real functions and intensities of filial structures.
The second synthesis, connected with the past or the virtual, leads to the third- the static synthesis of pain and bliss, opening to the future. Virtual as an undifferentiated flow of forces, that take shape and start making sense (becoming structured and thus coherent) and after breaking into parts, their consummation in emptiness, return. Indifference of a well-balanced body is not a cancellation of passion, but will to power, the way it is understood by Nietzsche- willing it so much that you want its return and for that being ready to go under.
"- We shall speak of an absolute limit every time the schizo-flows
pass through the wall, scramble all the codes, and deterritorialize the
socius: the body without organs is the deterritorialized socius, the
wilderness where the decoded flows run free, the end of the world, the
I'm afraid I am making a mistake, described in "Anti- Oedipus":
"The three errors concerning desire are called lack, law, and
And it is futile to interpret these notions
in terms of a combinative apparatus (line combinatoire) that makes of
lack an empty position and no longer a deprivation, that turns the law
into a rule of the game and no longer a commandment, and the signifier
into a distributor and no longer a meaning, for these notions cannot be
prevented from dragging their theological cortege behind—insufficiency
of being, guilt, signification."
But I see the cure in polyvocal applications, not playing a global game, having fun (what's fun means nothing). So here is my advice (to myself to start with): move your Plato to your heart and live your ideals of harmony, (don't forget Aristotle, he provides tools), seize the now- that ever escaping present - and never let it go, stay open and keep loving your life.
I round up with a beautiful poem (in Swedish) by Bruno K. Öijer- "Tätt Intill" from "Svart Som Silver".
SSS, try to decode it! Everything is expressed there and so much better.
dom viktiga åren
och hela mitt förflutna
verkar så avlägset
men ligger ändå nära tätt intill
håller armen om mej när jag sover
och får allt tungt och värdelöst
att släppa taget
lossa sitt grepp om mej
en natt som den här är jag fri
fri att tänka mej hur långt bort som helst
och varför ljuga
jag väger mindre och mindre
svävar nästan till över marken
glider undan från tillvaron
som om jag
brutit en fjäder ur den dödas dräkt
hållit den länge i handen
och lärt mej använda den
lärt mej till slut vad allt gåt ut på
Wednesday, 10 September 2014
When a weaker force, performing a certain function in the body of a primordial unity, is destroyed in power struggles, inherent in the system, that function collapses, threatening the existence of the system. It has to be immediately replaced so that the unity can continue as one- this is the expression of the dynamics of conflict, suffering and strife that perpetuates becoming, in case when this dynamics is not affirmed by all parts.
Nietzsche describes life as a "multiplicity of forces, connected by a common mode of nutrition". A new existential interpretation of the great philosopher, presented by Vinod Acharya in "Nietzsche's meta-existentialism" (Monographien und Texte zur Nietzsche- Forschung), explains the idea as follows: " A multiplicity of forces forms a relative unity through organization and co-operation when a single dominant drive or force comes to subjugate other forces, which also have the lust to rule. The ruling force interprets the subjugated forces by forming a political structure, by setting up an "order of rank and division of labor as the conditions that make possible the whole and its parts"(KSA 11, 40/21/). Nietzsche calls this political structure, "body (Körper),"which has its own "perspective" as a "complex form of specificity"(KSA 13, 14/186/). Each perspective or view-point - whether described as subjective or objective- "strives to become master over all space and extend its force" (KSA 13, 14/186/). In cases where a dominating force is unable to subjugate a drive to obey the command of its regime, it could leave this drive out of its unit, in order to continue preserving the relative stability of the unit. In other scenarios, where it can transform the weaker force into its functionary without destroying the latter, it seeks to form a new alliance (KSA 12, 9 /98/). Or, when there is another equally strong force that is also seeking to control the regime, the currently dominating force seeks to "conspire together (with the other force) for power", therefore forming a new sort of union (KSA 13, 14 /186/).
Sunday, 23 March 2014
At Singh Thai, Norrköping, on 10th March, 19.20 CET
- Kosta is coming, Yvonne is coming, Antoine is also coming.
- Antoine? Who is Antoine?
- The guy from Animans who is playing with me. I think I'll recognize him when he enters the room. Googled.
- So you never met?
- Wow....and you are playing live tomorrow!
- Yes. That's pretty exciting. He is bringing his tape-recorder.
- Yeah, it's him! Bonsoir!
11th March, Flygvapenmuseum, Linköping.
Animans are in the program at around 14.00 CET, among the presentations by Vision Forum participants and guests http://vision-forum.blogspot.se/2014/02/vision-forum-spring-meeting-2014-march.html
Now that the jam is over, I am trying to look back. We had a lot of different ideas about the project: the concept, the message, the medium, the venue. Hard to evaluate the results. It could be better, it could be worse. Reading through our email conversations, I see a chain of key -words, all of them having something to do with "air" and "force". I know that they will never compensate for the failure with the radio stations- we didn't manage to build a chain of them, but to a certain degree they trace the trajectory of our work:
FREE AIR WAVES
As planned, we were showing a remote jam (two on stage, the third of Animans, Maggie, over the internet, the fourth remaining totally in the background)-crossbroadcasting and even receiving a broadcast or rather a re-broadcast by DJ Soulard from Spiritplants radio (www.spiritplantsradio.com), reading his poetry, all the sounds returning in a different rendition. One of the streams were hidden in a DIY "transmitter box" (a cardboard box with a plastic cup, connected to another one with a thread, passing through to the outside, a recorder, an iPhone and a mascot inside, the sound travelling through the thread, more often than not unsuccesfully). The audience could access it on their smart phones. Those who used them, brought the hidden sounds into the room, and they got picked up by the microphone, creating a continuous loop back into the flow. You can listen to some snippets from it here:http://soundcloud.com/kamikuma/animans-confessing-publicly
I was reciting a fable, written especially for the occasion- "Penguin and Chicken at Flygarns Haga"- the result of some brainstorming via emails. I even made a collage with it (can be heard on soundcloud-
Here is the text:
Penguin and Chicken at Flygarns Haga.
- What kind of bird are you that cannot fly?
- A navy bird, I can swim.
And what kind of bird are YOU, little chicken?
You cannot fly either.
- Oh, mr Penguin, I could before- I mean my ancestors could.
I am what has become of me.
- That's not your fault. Beware, those who walk on two legs...
- Like you, mr Penguin?
- No, those non-birds, who walk on two legs and can fly, they'll see to it that you get in a soup.
- Ay! No no no, I don't want to be in a soup.
- We are in a soup already.
AIRMAN'S DEFOLIATING SOUP
Monsanto Agent Orange (2,4- D and 2,4, 5-T) 1 tbs
PCB's 1 cup
Dioxin 5 tbs
Genetically engineered soybeans 1/2 cups ( from Dupont or Dow)
Genetically engineered corn 1/3 cups (from Syngenta)
Baking soda 10 tbs
Pre-cook soybeans and corn, mix well with the rest of the ingredients and pour into a plastic bag. Shake vigorously.
PFFFKT! PFFF! SHKTTT!.........AY! .....NGM GN GN......HRSSSS!......AY GNMN Ggn pkht pk
He was a butterfly
The sunlight was a great attraction
It was a spectacular death
Not a postmodern performance
There was a lot of pathos in his wish
To shine with a stolen brilliance
What was forbidden for a creature of land
Only spurred Ikarus, but wasn't his goal
Alight on his wings- of wax was it
Competing in the air as wings usually do
The right congealed, the left close to a melting degree
He made a casimi and under the rays of sun
And the sun, that radiant solar bird
With a beak, sharp like a laser beam
Ripped apart those belligerent wings
And the toxic wax rain fell on the ground
You think Ikarus fell too
But that's a horrible mistake
He died, but
He learned to fly without wings
- Ah, mr Penguin, you scare me.
But I don't understand how he learned it.
- The same moment you forgot how to do it, he remembered it.
- He made a flying machine...
- Wait, wasn't he dead?
- Yes, he was. He was dead in his heart- it got scorched by the sun.
But please, don't interrupt me.
So, he made a flying machine with wings just like yours and a brain inside a pilot much smarter than yours.
- That's an insult, mr Penguin. You think that if you wear a smoking, you are as smart as them, the two-legged non-birds.
- No, I am smarter and I have to hurry before all ice melts away.
Penguin the Butcher Bird as Ikarus.
He was launched into atmosphere
On an airraft of ice
Illuminating the dark skies like a nova
And leaving meteorologists at a loss
He turned clouds upside down
Over the corn fields of the world
Like buckets of Chemtrail soup
To feed the hungry GMO sprouts
When all the foliage went grey
The temperatures stopped disobeying
Global warming ran out of steam
And ice was winning huge areas
On a kamikaze mission
Penguin the Butcher Bird
Self-butchered to join Laika
As the forces of gravity died
(Some ice splinters are still visible in the extinguished earth's telescopes)
I asked the audience right after the concert to try to imagine space as smooth and sounds from afar meeting no barriers on their way. Then we, who are playing together, while being located in different parts of the world, are not like separate dots, connected with lines, but lines or separate flows of intensities, intersecting at some points during the performance. Even today I cannot see us as individual perfomers, only as Animans generating conjunction points in a seemingly chaotic flow of transmitted information.
For broadcasting we used a popular streaming platform- Mixlr- but rather unconventionally. We were both streaming and monitoring each other at the same time.
I put our streams together, not trying to correct the latency. It comes rather close to what I remember from my perspective:
Who are Animans?
Monday, 3 February 2014
kamikuma is on Mixlr
Will be broadcasting here soon- Animans live in Sweden, at Flygvapenmuseet, on 11th March, around 14.00.
Created an internet radio station so far, where you can hear songs from our recent albums.
Animans is a remote collaboration between four people in different parts of the world, making nofi, noisy, primitivistic anti-music.
Imagine a choir of monads. They cannot hear each other, but still there is a kind of harmony or accord between them, leading the listener through half-pains to pleasures. Not total pain, I hope.
Sunday, 29 September 2013
Trying to get an aerial view of our project, I asked myself: What are the real properties of "Base"?
If we take it out of the box of identities, conditioning our perception- context, image of the author, name, gender, background, producer/consumer networks on Soundcloud, behaviour patterns, levels of activity and presence on Soundcloud as a social platform- what remains is pure sound, and then nothing is real except feeling. We can never disengage from narrativity, which is independent of tellability, but once again, with sound, as with non-objective art, the signifier/signified relationship works on the level of feeling rather than representation. We hear what everyone hears and we think what no-one has thought within the frame of the narrative. " It's amazing how sine tones, just before they turn into alarms, transform and dissolve into the whole. Drifting away, being washed away. A sweeping movement in sound-space. A feeling of pain followed by relief, spiced with melancholy." ( A listener's comment, my translation. Made after the title "Black Square" was added in the description.)
When authorship is ambiguous like in our case- it is four different people who claim it- each individual self gets obscured and each participant's ego demands become threatened by doubts of the listener and by frailty and transience of the work: literally so, the track was making its four days' transit over our Soundcloud accounts, remaining hidden for the following four days. Like that rogue planet Melancholia in Lars von Trier's film, hidden behind the Sun and then blocking Antares from view on a collision course with Earth, the track made the four corners of the black square fall upon its empty centre. I am referring to Animans and the four of us, not so much to the title with its associations with the iconic painting of Malevich.
"I arrived at where I started from: nothing. Nothingness is too much for you, Jack",- says the main female character of the film to her employer, harassing her on her wedding party about an unfinished tagline.
When nothingness becomes too much, we start longing back to our identity box, that threatens to swallow us under the pretext of branding- positioning on the market in a unique and different way with help of logo, name, slogan, character, mascot- anything that creates positive associations in potential customers' minds. Instead of crawling back, we can choose to re-design the box and turn it into a black box. Blackboxxx is in the cloud, connectivity of our networks is provided by a seamless flow, and opaqueness allows us to be ourselves. Who is the author of the track is going to remain a mystery.
Black square is not a denial of everything good and pure, it is not a dark prophecy of trouble to come, not a fear of the future, but a rejection of the secure past. We don't profit from yesterday's growth and we celebrate our victory over the Sun for a future world without objects, in which considerations of fame and prosperity are less relevant.
I'm dying at the bottom of a pit in the blazing sun
in Wild World with a female octopus named Marina
The small plane is normally not used for people
to float freely and experience weightlessness
Mystery horror woman who visited Cedar Sinai Hospital in 1972
Embrace Despair for free
A Living Stream in the Desert!
How the Christian faith will be a subversive
away from her
(The universe went through an episode dominated by a different form of dark )
Somebody somewhere must be tolling a bell...
Octopuses have a relatively short life expectancy
and some species live for as little as six months
The wings of a fixed-wing aircraft are not necessarily rigid
A woman in white gown shows up
Objects not in contact with other objects "float" freely
The only problem is that she was soaked in blood.
We must embrace our awesome freedom
The decision, abandonment in making it alone, and despair when it backfires
Turn to it daily, tune out the clamor of living!
Gravitational attraction pulls galaxies towards each other to form groups
Stars burn out, stars cease to be created, and the universe goes dark...
The last thing I see is my heart. Still beating
The white lady grabbed the neck of one of the boys
There are no muscles in fingers and thumbs
Note that! Because the object is floating
Larger species, such as the giant pacific octopus
(if she finds that only its sides have been stained with blood
since all of us share the same situation)
do a good turn daily.
This is the slogan of the Boy Scouts
Communities usually avoid each other and are aggressive towards outsiders
Humans are an exception in that we form a variety of social group patterns
Is it true that all the stars we can see in the sky are so far away that they are all actually burned out
and that we are just seeing their glow?
Sunday, 30 June 2013
1. Kamikuma plays Animans, Initiation, while watching videos with Zizek and Dolar.
"One divides into two, two doesn't merge into one" is an old maoist slogan not many people recognize today. Antagonism between the classes, inherent in the capitalist system , unavoidably leads to class struggle and cannot be reconciled within the existing system. The reconciliation is only possible in a new order, in a synthesis different from the initial One.
Why I am referring to that slogan, which is also the topic of the conference I am watching, when my intention is to discuss the album, is understandable: I think the album is a celebration of the split.
01- Bubotu Cotumbo-A March Song of The Furniture Army
02 & 03- Bubotu Cotumbo- A March Song of The Furniture Army & Maggie Ledes- And Away They Went with Their Senses
2. Kamikuma discovers God, but he doesn't exist.
Hegelian triad of thesis-antithesis- synthesis, summing up what I said so far, can be replaced by " being- nothingness- becoming" , nothingness or the void as the source of movement. When things are pushed closer to the void or virtuality, a becoming is about to take place. Very incorrect to use Deleusian terminology here, as his concept of virtuality never leaves the material plane, while Hegel being an idealist reaches out to God in his statement that the universe is incomplete, but somehow I feel that it's legitimate, as I imagine that universal force called God as feminine, it is not a father-figure, a master, but a mother hiding somewhere among the ordinary things. Nature as mother or Mother-nature...The umbilical cord is severed, but we need a re-link (religio). Nature comes first as Hegel himself would certainly agree.
How two bodies can become one is a mystery that belongs to God. I heard about it at a wedding ceremony in the orthodox church. God doesn't exist, but he rules. By analogy, how two elements are united in perfect harmony in a work of art is a mystery that belongs to the artist. The author of the album I am discussing here withdraws into a role of consumer, granting the priviledge of judgement and acting upon it to the users and the listeners. It will become clear, if you take a closer look. I cannot find a better expression of it than that of Boris Groys: "The artist's insight has become 'disembodied' and all-consuming: it is an insight that can always be 'embodied' again, as often as anyone has the desire to reconstruct the processes that the artist has revealed". ( From the essay The Artist as Consumer)
The gap is in the substance, there is an unrest or disquiet in all being, expressing itself as potentiality of war or madness. Hegel is often criticised for negativity, but actually his negations ( and the album is full of them: anti-music, anti-rhythm) lead to a new positivity by pushing the limits of the thing negated. Anti-music is not the same as not music. And anti- is not only a marker of the alternative, standing ouside of the music market, of DIY aesthetics and cooperative spirit of punk, noise, no-fi, discordant sound. It is also an affirmation of music that misbehaves, acting like a clinamen, a singularity of space.
04&05- Bubotu Cotumbo- The Walkaboots & Maggie Ledes- And Away They Went with Their Senses
3. Kamikuma gets lobotomised.
The problems I experienced with some tracks of Initiation ( which made it a very traumatic passage) were not on the level of time-form, but on that of a musical gesture. It just didn't make sense to me what the combined tracks were doing there in relation to each other- I found none, and when the mind in its attempt of finding a relation fails, it runs into irreducibility of the two . It's Lacanian antinomy of One that splits into itself and the void or the Other ( One already posterior to a split). This is exactly how the songs of Initiation are made- each splits into itself and the x, then a new cut is made and again a split into itself and the x, occupied by the Other. They don't merge into one, but remain two separate lego pieces: so the gap is maintained and I had to find an abstract midpoint in my mind, creating an oscillation between the tracks and finally a new parallax mode of listening.
06 & 07- Maggie Ledes- And Away They Went with Their Senses & Kamikuma- Knas VH
08 & 09- Kamikuma- Knas VH & Half Digested Taco- HV Sank
10 & 11- Bubotu Cotumbo- A March Song of The Furniture Army & Kamikuma- Knas VH
4. Kamikuma's new theory of gender.
I find the support and explanation of my reaction in Lacan's classical "il n'y a pas de rapport sexuel- there is no sexual relationship,...the woman doesn't exist", provoking the anger of feminists, but none the less making me believe in love and in Lacan as well as Hegel as philosophers of love ( It was Zizek who pointed at that), because through the experience of love you have to meet the otherness in yourself - it is something that shatters you out of your own existence. Probably in a woman that otherness occupies the first place, I understand it as universality in relation to a masculine particularity, the conflict of the opposites as a conflict between the universal and the particular within the self, and identity emerging in the gap, depending on where the split takes place.
12 & 13- Bubotu Cotumbo- A March Song of The Furniture Army & Half Digested Taco- A Wind Song of The Furniture Army.
14 & 15- Bubotu Cotumbo- A Shepherding Process & Half Digested Taco- A Wind Song of The Furniture Army.
5. Kamikuma gets tired of transcendence and asks Deleuze to come and rescue her. ***
Speaking about the mysterious unity we experience through art, it's difficult to avoid mentioning Kandinsky. There is an indirect reference to his black and white in one song- Deaf White Blind Black. The axiom of 'two doesn't merge into one' or impossibilty of returning to one after the cut is made- that irreducibility of the two- works extremely well in art as we saw it, because art is as obscure as the unconscious and in art an opening to a spiritual dimension allows for transcendence of the experience, it takes the viewer to a higher level , where a synthesis makes sense. Now Beuys has to be mentioned as well. I am more comfortable with immanence, so I would prefer calling it connecting to a flow of forces and intensities .( The same mistake again.)
Kandinsky elaborates a system of correspondences between colour and geometrical shape in his theoretical work 'On Spiritual in Art- it serves as a trampoline, allowing him to make a jump into unknown, and relying on his model, he starts eliminating all the hinders. His "Blue Rider", marking a gradual shift to abstract painting is already a patchwork of colour the viewer can enter and then synthesise. In his later works, he separates colour and shape , opening up even more, and in the black and white paintings he only relies on shape, bringing things to their closure or death or silence of a body, which is the meaning of his black. White is all colour, only unmanifested. Colours entering those black and whites in a viewer's perception seem to come from nowhere, it's ephemere like music.
16 & 17- Maggie Ledes- Societal Resistance & Half Digested Taco- A Wind Song of The Furniture Army
18 & 19- Kamikuma- Yes Happy & Half Digested Taco- A Wind Song of The Furniture Army
20 & 21- Kamikuma- Yes Happy & Bubotu Cotumbo- Deaf White Blind Black
6. Chalk and butter.
What I am describing is a process of initiation with its stages of separation, transition and incorporation in a new order. In other terms it can be called a becoming, like in 'becoming animal' . I already mentioned Beuys and his famous performance. The very first link is in the title: Animans -the word animan (animal-human). In his 'I Like America and America Likes me' he symbolically re-enacts his life experience during the war, when his plane was shot down over the Crimea and he was saved by nomads who smeared his body with wax and fat and wrapped in felt. Beuys gets transported to the place of the performance in the ambulance, covered in grey felt (grey felt is also a depression), and spends several days sharing the room with a wild coyote, using the felt as the only protection. Through this encounter with the other he comes to terms with his past trauma and undergoes a shamanic transformation.
A wound cannot be healed through reconciliation of the opposites by simply patching up the gap, only through acknowledging it and letting the ever changing force of nature nurture you. The symbolic value of organic materials like butter and fat as life-saving substances is that of a healing power of nature Beuys strongly believed in. In another work, Wirtschaftswerte ('Economic Values'), he used a block of plaster that had been in his studio for a long time and was full of 'scars'. To correct them he put butter on it and then it got slowly absorbed by the chalk.
22 & 23- Kamikuma- Yes Happy & Maggie Ledes- In Accordance With the Prophecy
24 & 25- Half Digested Taco- Maybe (Bogo 1000 Remix) & Maggie Ledes- In Accordance With the Prophecy
26 & 27-Half Digested Taco- Maybe (Bogo 1000 Remix) & Kamikuma- Dry Wheat
7. The Unconscious is structured like the language.
Animan ( animal/ human) looks like a slip of the tongue. ( There was another one, more Freudian, forniture, corrected in the final version). Usually it's the unconscious breaking in through the cracks in the language manifesting as slips and other distortions. It was one of the reasons of bringing Lacan here.
Sound and language intersect in the split, I am both listening and reading the album and the art work as a text. The concept of the project or a model on which it is build is programmed for deviation. As a cooperative effort it is not vaccinated against mishaps and glitches: it could go wrong -Hegelian totality that includes failure.
28 & 29- Bubotu Cotumbo- A Matchmantra for The Animansarmy & Kamikuma- Dry Wheat
30- Bubotu Cotumbo- A Matchmantra for the Animansarmy
The maker of the project is a (sound) painter, calling himself Bubotu Cotumbo, located not far from the town of Trieste, but not very close either( ya or nay on the same continent) playing (junk, broken instruments,...) with amazing presence and sensitivity located on a totally different from us continent or not located there due to summer re-location, called Maggie Ledes (MergFromMemphis), with amazing presence somewhere in France, Half Digested Taco and sensitivity, a (sound)painter- maybe not always of France, playing kamikuma of the North (of north-eastern ghettos of Gothenburg playing sound or not playing).
More about the participants:
Deleusian (Foucauldian) fold of ANIMANS's album- new kind of subjectivity (exterior made interior) produced as the result of a collective practice:
figure 1, figure 2
1 HDT.............K; 2 LISTENER X..........LISTENER Y
ML..............BC; LISTENER Z..........BC (HDT, K, ML)
figure 1- a double fold of a square (horizontal - HDT to ML, K to BC+ vertical - HDT to K, ML to BC; diagonal left - HDT to BC+ diagonal right - K to ML); figure 2- a new double fold.
Can be continued ad infinitum, new listeners/users in the corners, contributing or not contributing with own material.
No doubts are left to whose art work this is.