Thoughts of the Day #24/2015: Martin Heidegger (28)

Martin Heidegger 

"Mein Denken - ohne Titel und ohne Autorität 

und "Richtung".

Das übereilte Einfächern - entscheidet schon - "

- Martin Heidegger

Listening: Snails sticking on a wall / My Reading Traces

Pensée comme pathos -

following the chain Heidegger - Hölderlin - D/G ....

Listening: Snails sticking on a wall / My Reading Traces

Listening to the sound of the pages

of D/G, again

Sounds Reviewed #8/2015: Noordwiijk - Sailor Boy II

Listening. Deep Listening. Listening to the sounds travelling back and forth in time and space. Listening to Noordwiijks's Sound-art "guiding you across the Atlantic Ocean accompanied by a young boy in 1952" (label text) moving around in dreamstate like a tiny and fragile microtonal bubble or atom. Listening to the sounds or echoes of the classical avantgarde music transpierced by contemporary electronics. 1952, what a year ! 2015, what a year, too ! 

Although there are melancholical and retrospective subtones implemented in the sounds of Noordwiijk the project can also maintain a close and constant proximity to the masters of contemporary electronics (let's say: Carter Tutti's 2007 masterpiece "Feral Vapours" and their allies up to Nik Void). It is a constant morphing in between classical avantgarde sounds and contemporary experimental music at work here. Consequently all sounds bear the signs of transformation, transition, disfiguration and transfiguration. An alchemistic mixing of real instrumental sounds with and through electronic production devices. You can sense a tension or the integration of subtle interfaces between usually divergent acoustical strata any second. Marvellous aural memories of a future past or a past future Jérémie Jones has invented here ! 

Microtonal shiftings and spectral sounds spelled out and re-orchestrated as re-evocations out of and into the deep aural and melancholic fogs of classical avantgarde music of the 195o/60's and beyond from Edgard Varèse's Ionisation or Amériques, Stockhausen's early tape- and later sound-manipulations, Ligeti's Lux aeterna, Giacinto Scelsi or Olivier Messiaen's Harawi to the most refined aural manipulations of the late live-electronic Luigi Nono, Pauline Oliveros' Deep Listening Project or Bill Fontana's beautiful sonic portraits. Jones has build up an infinitely rich dreamspace dissolving the borders between real instruments and electronic sounds and soundsources.

This is a poetic re-mapping and a feverish re-vitalization of avantgarde sounds. So don't miss it ! Please support this great soundartist (HERE and HERE). Already one of the best tapes this year and one of the best aural dreamspaces in a long time: an intellectual and sensual pleasure of the highest order. 

A document of Mon(t)-réal-ité, peut-être !
Highly recommended, in any case.

(10/10 Admiration points)

[SKG]

Listen like the snail :)

again ...

AUTUMN SPACES #44 / My Reading Traces

(No eyes, ears, nose, tongue, body, or mind;

No color, sound, smell, taste, touch, or thought-object.)

Autum Spaces, Reading Traces

D/G again, split pages

Listening (51): Snails sticking on a wall / My Reading Traces

 

(skg)

Reading D/G

Zero plus zero is nothing, but zero

Listening (50): Snails sticking on a wall / My Reading Traces

 

(skg)

Plus some of my reading traces again ...

yes reading reading .... D/G

My Reading Traces

Derrida, 

democratic or democritic ?

My Reading Traces

Derrida, the lost tapes ?
How would they sound ?

Listening (49): Snails sticking on a wall / My Reading Traces

(photo: skg)


Déconstruction, généalogique

Listening (48): Snails sticking on a wall / My Reading Traces

(photo:skg)

Three snails, three quotes, JD.

Le sujet deleted by sunlight !

Listening (47): Snails sticking on a wall // My Reading Traces

(photo: skg)



Another oreille stéréographique,
derridean repeatedly 

My Reading Traces

Jacques Derrida, sous rature

by sunlight - a refined teletechnic ?

Thoughts of the Day #23/2015: Martin Heidegger (27)

 

Martin Heidegger

"Lernt das Wissen.

Hört das Gespräch.

Wohnt in seiner Sprache.

Gehört dem Ungesprochenen des Gesprächs.

Beruht in der Stille des Ungesprochenen.

Seyd dem Seyn im Seyn.

So ist das Sein das Seyn. Es gehört sich selbst als das Selbe.

Also ereignet sich das Ereignis in das Eigentum der Enteignis."

Martin Heidegger

 

Thoughts of the Day #22/2015: Martin Heidegger (26)

 

Martin Heidegger

"Reicht kein Fragen dich hin

Zum Gefilde der Wahrheit -

Kehr in die Ant-wort zurück:

Beruh, Erwunkener des Winks,

Freudig im freyenden Dank.

Als die Beruhenden nur

Sind wir Wohner,

Wohnend im Hause der Huld

[Er-wunken = vertraut in den Schmerz der Freyheit

der Kehr zu Abschied und Verwindung ] "

Martin Heidegger

Thoughts of the Day #21/2015: Martin Heidegger (25)

 

Martin Heidegger

 "Fragen ist die erste Antwort

derer, die ins Hören

angefangen schon die Stille,

die sich bricht

als Schmerz ins Schweigen

- also spricht

die anfängliche Sprache

ins Gespräch des Seyns"

- Martin Heidegger

My Reading Traces

Jacques Derrida after all those years
this time in the sunshine, peut-être

Thoughts of the Day #20/2015: Martin Heidegger (24)

Martin Heidegger

"Da-sein als die Kehre

Die Kehre kein Be-fund auf Grund einer Untersuchung, sondern im erspringenden Erkennen in Gang gebracht - der Gang der Kehrung - ihr Geschehen nur im Vorgang des Vorgehens in das Inzwischen."

- Martin Heidegger

Thoughts of the Day #19/2015: Martin Heidegger (23)

Martin Heidegger 

"Sein und Dasein (Ereignis)

Die Kehre beider in einander im Ineinander der Kehre wesend.

Der ursprünglichste Sprung.

Die Blitzartigkeit und Augenblicklichkeit (Zeit) (Raum) des Seins.

Das Wesen der Kehre und das (Ereignis).

Die Kehre als Wirbel und dieser Wirbel als Zerklüftung.

Die ursprüngliche Eröffnung des Da !"

- Martin Heidegger

A Skull and a Rabbit

(photo by SKG)

Desire ?

A Skull and A Rabbit

(photo by SKG)

Not again ...

Why here ?

Thoughts of the Day #15/2015: Jacques Derrida (22)

"... la pulsion de mort est d'abord anarchivique, pourrait-on dire, archiviolithique. Destructrice d'archive, elle l'aura toujours été, par vocation silencieuse."

- Jacques Derrida

Thoughts of the Day #14/2015: Jacques Derrida (21)

"Le secret, c'est la cendre même de l'archive, le lieu où il n' y a même plus de sens à dire "la cendre même", ou "à même la cendre". Il n'a aucun sens à chercher le secret de ce que quiconque a pu savoir. "

- Jacques Derrida

Thoughts of the Day #13/2015: Jacques Derrida (20)

"Au fond, derrière la question de ce que j'appelerai encore la restance de l'archive - qui fait tout sauf rester au sens de la substance permanente d'une présence -, derrière cette question de la différance ou de la destinerrance de l'archive pourrait se dessiner, au moins le temps d'une séance, la silhouette de toute ce qui m'aparu mériter d'être discuter, puisque nous sommes ici pour discuter."

- Jacques Derrida

For an interesting review

of a Dieter Roth Exhibition

in Berlin by Joseph Nechvatal

CLICK HERE

Thoughts of the Day #12/2015: Jacques Derrida (19)

"Inutile de rappeler une fois encore que la déconstruction, s'il y en a, n'est pas une critique, encore moins une opération théorique ou spéculative méthodiquement menée par quelqu'un, mais que s'il en a, elle a lieu, je l'ai dit trop souvent, et encore dans Psychè, pour poser encore le répéter, comme expérience de l'impossible."

- Jacques Derrida

Thoughts of the Day #11/2015: Jacques Derrida (18)

"La question de la divisibilité est l'un des plus puissant instruments de formalisation pour ce qu'on appelle 'la deconstruction'. Si par l'hypothèse absurde, il y avait une et une seulement déconstruction, une seul thèse de 'La déconstruction' elle poserait la divisibilité: la différance comme divisibilité."

- Jacques Derrida

Thoughts of the Day #10/2015: Jacques Derrida (17)

"Qu' est-ce que la déconstruction de la présence, sinon l'expérience de cette dissociation hyperanalytique du simple et de l'originaire ? 

La trace, l'écriture, la marque, c'est au coeur du présent, à l'origine de la présence, un mouvement de renvoie à l'autre, à de l'autre, une référence comme différance qui ressemblerait à une synthèse a priori si c'était de l'ordre du jugement et si c'était thétique".

- Jacques Derrida

Thoughts of the Day #9/2015: Jacques Derrida (16)

" La 'déconstruction' ne commence qu'avec une résistance à ce double motif. Elle en radicalise même à la fois l'axiomatique et la critique de l'axiomatique. 

Ce que son travail met en question, c'est non seulement la possibilité mais le désir ou le fantasme d'une ressaisie de l'originaire, le désir ou le fantasme aussi de rejoindre jamais le simple, quel qu'il soit. 

Il s'agit là d'un mouvement non seulement contre-archéologique mais contre-généalogique de la déconstruction: la 'généalogie' du principe généalogique ne relève d'une simple généalogique."

- Jacques Derrida

A Skull and a Rabbit

(photo by SKG)

Run rabbit -

Run

Run -

A Skull and a Rabbit

(photo by SKG)

Taking a rest

in the woods ....

ICE and SNOW

A bridge across -

what ?

ICE and SNOW

Disparity

ICE and SNOW #47

(What again was the purpose of reading/writing ?)

ICE and SNOW #45

(Melting - like relevant thoughts !)

Droopy reads

 

MY READING TRACES #30

(Jacques Derrida, Memoires. Pour Paul de Man)

(Paris: Galilee 1986)

The HNW-Q No.8: Romain Perrot (Vomir)

 

Anish Kapoor - ‘descent into limbo’ (Kassel, 1992 )

Dear Readers,

I am very proud to present the HNW-Q No.8 featuring Romain Perrot also known as Vomir. I discovered his HNW in 2010 during a lengthy period of research for more recent and more radical forms of free form minimalism than those I have already encountered in the works of Giacinto Scelsi, Luigi Nono, Morton Feldman, Pauline Oliveros, Eliane Radigue, Helmut Lachenmann, James Tenney, John Cage, Walter Marchetti, John Cage and LaMonte Young. My desire for reasearch found further support in my deep interest in ascetic and anti-capitalist forms of thinking that I found at least methodologically embodied in the works of Martin Heidegger, Gilles Deleuze, Jacques Derrida, Meister Eckhart, Lao Tse, Dôgen Kigen and the Desert Fathers (from Ancient Egypt to Edmond Jabès) and also in certain forms of Modern Art represented in the works of Ad Reinhardt, Robert Ryman, Donald Judd and Barnett Newman.

Consequently it was only a question of time for me to discover the works of Romain Perrot (in my case "Renonce" and "Proanomie") that should be read and inscribed in these lines of tradition. Let's say - for the sake of simplicity: his works are post-Cage, post-Noise and post-Duchamp. Sadly, this background of HNW was not seen. The result: the HNW-brand was captured, ruined and nearly destroyed almost over night by brainless nerds with UKW-radios and tape-recorders and equally ill-informed self-proclaimed fanboynerds. Or by the countless others that wanted to pump in more content into HNW. How ridiculous, annoying, pointless and totally pathetic ! Nevertheless Vomir's HNW will remain as an immense and ultra-smart entry in the logbook of essential experimental music and noise (comparable maybe to the inventions of Hijokaidan, Incapacitants or Masami Akita). His HNW is not a petitesse. It is a mature and adult invention: nothing that could have been invented by a teenager. So please keep this in mind, that you have to grow up if you are into negations and negativity, because negations are worthless without (an in depth) knowledge of the negated and affirmations are equally worthless, if they remain unrelated to a well conceived set of negations.(I postpone the writing about Perrot's immense (also still unnoticed) scope of literary allusions that reaches from Hölderlin, Corneille, Céline to Ribemont-Dessaignes and perhaps secretly to Artaud, Bataille, Blanchot and Deleuze).

Yes. Perrot's HNW is radical, but not in the way it was usually perceived. His sounds are radically anti-capitalist, radically anti-communitarian and radically de-capitated. There is no HNW-movement and there will be never one: only disconnected bands of outsiders. His sounds are directed violently against the unconscious mantra of capitalism to dwell, own, consume and destroy. Perrot is consequently enough to fold this mantra repeatedly back against his own invention until there is nothing left to consume or to assume but absolute nothingness. Épater le bourgeois is no longer his point ! He is turning the usual idea of production and consumption upside down. Perrot produces like an anti-productive and anti-expressive factory or demonic force totally cut-off the market desiring to produce a commodity factor of zero and below. He is producing anti-matter (in all senses of this compositum). He is the non-master of anti-matter, of course, but he is very polite and generous as if he is whispering silently in the direction of the sounds: après vous ! The "listeners" are deliberately consumed and virtually destroyed by the sounds. And the sounds remain absolutely indigestible. This makes them look and sound under the capitalist optic at the same time totally useless and absolutely dangerous, because they interrupt und subvert all reasonable ideas of labour and connected ideas of shareholder value and material surplus value and consumption. (Maybe one could relate this to Georges Bataille's idea of an unrestricted economy and expenditure developed in "La notion de depense"(1933) and later in "La part maudite" (1949))

Perrot's HNW is outrageous - it atomizes everything - leaving behind only ashes and scars. His sounds are in a very radical sense non-directional, inaudible, indifferent, self-consuming and inexistent. They annihilate the subject of perception. These sounds are neither related to aesthetics nor to aesthetic judgements or systems. They are rather an excess for, or a collapse for the aesthetical apparatus or the senses themselves. Consequently it is (and should be) equally impossible to be a-part or to be no-part of the HNW-sound (cf. Bataille's idea of the proletariat as a part of no part). If you are still able to discern between sound and self you still have an aesthetic approach to HNW and you are still "listening" ! So even the formulation "I" listen to HNW is a ridiculous contradiction. Experiencing HNW is impossible and has to be a massive counter-experience. Counter-experiences are keeping the asymmetry alive between my conditions for reception and the anhuman or inhuman nothingness or abyssal otherness that appears to me (here !) as "sound".  

Without this radical asymmetry HNW would still be a part of the distractions of the global Kulturindustrie. Any attempt to re-fill HNW with aesthetic contents, intentions, or qualities is not HNW, but popmusic ! Real HNW is anti-aesthetic or better: anti-anti-aesthetic, because it is not related to aesthetical questions at all (e.g. is it loud enough ? is it ugly ? is it nice ? --- these are futile questions asked by idiots !). HNW is virtually in-finite, because it is "beyond" the perceptive horizons and cognitive possibilities of humans. HNW is beyond the programmable duality of expression-impression (cf. the title of his 2012 release Le Mur Bruitiste Est Non Programmable, Il A Une Fonction Heuristique: Il Révèle; Il Ne Représente Pas: Il Présente) This "beyond" could even open new channels for "perception" different to the industrialized programs that aim at a total "proletarianization of the sensibility" (Bernard Stiegler). Something of Perrot's deeply serious anti-anti-aesthetics embodies herself in the black plastic-bag Perrot wears over his head during his anti-performances with his back to the audience or simply lying on the floor. Perrot's "style of performance" as-if-already-dead could be deciphered with the help of Blanchot who once wrote: "Penser comme on meurt: sans but, sans pouvoir, sans unité (...) pensée de chaque côtée, en déséquilibre, en excès de sens et en excès sur le sens - sortie, dehors." And one last remark: only Perrot has the legitimate right to produce serially and almost automatically (maybe like On Kawara's daily paintings). This is his idea - he has invented it - and it will remain his idea.

In a way the photo (of an installation by Anish Kapoor) above visualizes Romain Perrot's initial idea: the desire to re-insert or fold-in a dangerous void in our homes and daily surroundings, that's desperately missing. This void is dangerous, because it is extimate (a neologism coined by Lacan) it is an intimate exteriority, an internal exclusion, or a foreign void at the heart of the familiar. If this void would not be something at the same time intimate and extimate - the void would have no interruptive force. The void has to interrupt "la société de contrôle" (a concept developped by Gilles Deleuze following a syntagma by William Burroughs and Michel Foucault's book "Surveiller et punir"). And in a way, Perrot desperately - but joyfully - seeks for nothing else but an absolute and resolute interruption of our daily, always already corrupted and exploited lifes. In a poem that accompanied his 2010 "master"piece "Renonce" we could or should have read: 

Quand je me retrouve
La solitude
Quand tout sont éloignés
La solitude pénétrante
Je me recroqueville dans le fini
Je me fige
Mon bruit interne me clarifie
Je suis pur

[written by SKG, 
21.2.-27.2.2015]

This is the HNW-Q No.8
brilliantly completed

by Romain Perrot:

The HNW-Q No. 8

[1] I discovered and invented HNW for myself, when I fully let built the sound I had in my head.

[2] The initial radicality of HNW would be preserved, if nothing happens.

[3] HNW is Harsh Noise Wall.

[4] HNW is not to have fun.

[5] I discovered the acronym H.N.W. on the releases from The Rita's label, Militant Walls.

[6] HNW is pure love, hate, magick, sex, witchcraft, giallo, nylon, reclusion.

[7] The sounds of machines are the streets, the futurist's music or from the industrial related culture.

[8] HNW helps the inner self to be revealed.

[9] Monolithic Walls are good experimental music.

[10] The Future of HNW would be no future.

[11] The Death of HNW would be in ecstasy.

[12] HNW should be related to harsh noise to understand it better.

[13] Singularity and Originality in HNW are none.

[14] HNW should be called Static Minimalism, because...

[15] HNW should not be called Static Minimalism, because static does not include necessarily harshness. HNW is no drone.

[16] The permanent repetition of the HNW-Mantra (No ideas, no change, no dynamics, no development etc.) leads to some rules I did put in my first manifesto. But that was not intended to become rules for the genre. I am no guide.

[17] Volume in HNW is of some effect.

[18] Distortion in HNW is a part of it.

[19] My Unconscious is comfortable in HNW.

[20] Narratives, Analogies and Metaphors in HNW are some possibilities.

[21] Time and Space in HNW are some possibilities.

[22] HNW is a possible way to absolute Nothingness.
 
[23] My HNW amplifies my mind.

[24] Minimal Music and Cosmic Drones are other genres of music, and Harsh Noise is the main genre of HNW.

[25] Conceptualism is the bad word of HNW.

[26] The main ingredients of brilliant HNW are static harsh noise.

[27] The purpose and the concept of my HNW are No ideas, no change, no dynamics, no development, in static harsh noise sounds.

[28] The distinction between ANW / HNW is in the harshness of the noise.

[29] The philosophy of HNW can change from one to one.

[30] My first words about HNW were 'static shit'. This is what I called my sounds before I embraced the HNW letters.

[31] My final words about HNW would be not now.

[32] The phrase I would like to add to this questionary is....
 

 Merci beaucoup, Romain !

Visit Romain's blog

HERE

Thoughts of the Day #2/2015: Walter Benjamin (4) James Joyce (5)

                  

"Telescopage der Vergangenheit 
durch die Gegenwart."

- Walter Benjamin

"When I am dreaming back like 

that I begins to see we're only all telescopes."

- James Joyce 

Thoughts of the Day #1/2015: Walter Benjamin (3)

Walter Benjamin (1889-1940)

"Zum Denken gehört ebenso die Bewegung wie das Stillstellen der Gedanken. Wo das Denken in einer von Spannungen gesättigten Konstellation zum Stillstand kommt, da erscheint das dialektische Bild. 

Es ist die Zäsur in der Denkbewegung. Ihre Stelle ist natürlich keine beliebige. Sie ist, mit einem Wort, da zu suchen, wo die Spannung zwischen dialektischen Gegensätzen am größten ist. 

Demnach ist der in der materialistischen Geschichtsdarstellung konstruierte Gegenstand selber das dialektische Bild. Es ist identisch mit dem historischen Gegenstand; es rechtfertigt seine Absprengung aus dem Kontinuum des Geschichtsverlaufs."

Walter Benjamin, Das Passagen-Werk

Sounds Reviewed #7/2015: The Quash Wagon Reclusion - A Room with Tempered Walls

Dear Readers, 

the sensational third release by The Quash Wagon Reclusion with the smart title "A Room with Tempered Walls" (self-released on bandcamp in February 2015) gave me the opportunity to re-open my sounds reviewed section after a long hiatus. Read the word sounds both as a verb and a noun. Now I will go on reviewing on a more regular basis. In various formats from lengthy reviews to feverish counter-signatures or groovy freestyles. This depends on the record. The following text was written in a free improvisation in real-time while listening - and I kept the raw character of this review. Although it could have been unfolded in a more systematical manner.

This record is already one of the best records this year. And I write that without the shadow (a little insider joke) of a doubt and without a nano-second of hesitation. This record is a lot at once. A Robert Rauschenberg Metal Sculpture build up as a pile of guitars crashing into each other in realdreamtime. Slomo-Auto-dissecting-"Rock": an Auto-Autopsy of "Rock". A fierce and boiling combination of material-force against the usual material-form - "un système surlinéaire un rhizome au lieu d'un arbre": an aural plane of a generalized "glissando " ("Plan sonore d'un "glissando" généralisée" (cf. Gilles Deleuze, Félix Guattari, Mille Plateaux). The players: where are they ? Maybe sucked in by the instruments themselves - playing themselves totally de-humanized, a guitar playing a guitar ! Performing guitarcrashs like carcrashs: a-subjectal sounds !

A dis- and re-entanglement or welding of guitar(sounds), guitar-(k)no/t/d/s and nodes: the shaking of metal sculptures like Harry Bertoia's, but this time weirdo-electrified. As if ONE-SOUND - Guitars-in-Coma; or guitars bend by the curvature in time/space (= a soundspace ?) - or vice versa time/space being bend by the sheer mass (a sheer hellish miasma) of guitars, drums etc. Julio Estrada's Pieces for Stringquartet meet Iannis Xenakis' percussive glissandi or both hammering the scales into metal: a re-chording and a turning of space-time-articulations up-side down. Where do these pieces start: infinity jazz ? These guitars weren't played with hands. They sound almost automatic like in Nancarrow's Studies for Player Piano. Maybe these musicians are pulling the strings while hanging on the ceiling like spidermen (yes a plural, my dear !) or the strings played like a spider’s web - causing vibrating pluriverses like in string-theory. Drums are played like percussive fretboards in the background.

A me(n)tal-machine-music: translating electroacoustics - acousmatics - minimal electronics (Deleuze about the syntheziser) into stochastic guitarmusic. The morphing of guitarsounds with guitars losing their identity playing themselves all along like samplers ? What is a guitar, anyway ? For example, sometimes accordion-sounds pop-up and re-morph back into "guitar"-sounds. Been thinking of Morton Feldman's method in his lengthy Stringquartet 2: changing the character of static pitches by introducing new playing techniques or mere repetitions. This is a Dream-Building or a dream building: Kevin's drum(m)s aufgehoben Or Cut(t)s Derek(tly) into Bailey's Quiet North...

SKG, 15.2.2015

The Quash Wagon Reclusion 

"A Room with Tempered Walls"

(released on bandcamp, 9. Febr. 2015) 

Highest possible recommendation !

(10/10 Admiration points)

ICE and SNOW #46

(Frozen - like irrelevant thoughts !)