[ot] [!nt] \n2+0\ ferromagnet!k ekschange
integer at www.god-emil.dk
integer at www.god-emil.dk
Wed Nov 1 17:24:45 CET 2000
>having wars with fascist bernhard loibner.
>cw4tabs may please supply me with anti-loibner semantic truism.
nn != haz entangld avec Bernhard Loibner ver! aber
= auear he = !l!terat + !nkompetent + dezt!tut [FREE] = plantaz!on zt!le art!zt
= perfa travel!ng z!rkuz mar!oneta
ou!ng 2 fakt he = 01 plantaz!on zt!le art!zt he = qual!f!ez 4 uarm human!tar!an az!ztenza.
belou = 01 Bernhard Loibner `formal paper` foloud b! simply SUPERIOR nn data.
>This is what "Theory Music" is about.
what zkool grade are you Bernhard Loibner +?
"<<bernhard loibner>>" zkr!b!z - very very amussant++
>"Theory Music" is comprised of sonic treatments of texts spoken by their
>authors, and of found voice material from radio and other sources. The
>voices were chosen first, the musical compositions were built around
>this material. I used various strategies to make the speech musical.
>The title describes what this project is about--that is the fusion of
>'theory' and 'music'. In the tracks of this CD, these normally discrete
>entities work with, within and against each other. After more than 4
>years of work with these voices and sounds it has become impossible for
>me to distinguish between the 'theory' and the 'music' within these
>tracks. This blurring of normally separate domains was one of the goals
>of the project.
>The placement of the word 'theory' in front of 'music' should be read as
>a sign that music, despite its abstract nature, can and does reflect
>certain political, social or economic issues. This is certainly the case
>for electronic or digital music, which deals necessarily and elastically
>with the frenzy of constantly evolving hardware and software.
>During the course of this project's development, it has become
>increasingly obvious that the emerging, maturing techno-culture has
>defined itself as an ideology-free zone. "Theory Music" exists in the
>divide between a fun-loving culture (as understood by those who live it)
>and the reflections of a somewhat distant intellectual community that
>writes volumes of essays attempting to interpret this cultural
>phenomenon. My own work oscillates between these poles. I am fascinated
>by the beats of the techno-culture but feel the need for observation and
>analysis of this culture's substance. There is no better demonstration
>of the rapid, massive change caused by new technologies in our
>increasingly disintegrated societies. This music, my choice of sonic
>modifications--the techniques I use to manipulate the source
>material--delivers thoughts about this culture.
>Consumption seems to be the common denominator in this disjointed world.
>This is certainly true for a techno-culture being commercialized at
>breath-taking speed. What began as just an expression of a 'moderately'
>different way of life has quickly ended up being the marching orders for
>various techno 'parades'. The ideology-free zone gets stuffed with
>products which ideally exist within a certain "semantic fuzziness
>between its slogan and the projected image" (1), amplified by a
>marketing cult which leads to a "quasi religious devotion to certain
>products or product groups" (2).
>Jaques Attali shows (3) that tracing the social and economic status of
>music through history enables us to observe general changes that develop
>in other parts of society later on. Mass production; the decreasing
>significance of a product itself in favor of distribution and marketing;
>the transformation of counter- and protest culture into mass culture;
>the metamorphosis of cultural diversity into easy-to-consume uniformity:
>the music and entertainment industry has shown us the way...
>In the emerging digital economy, music is again the avant garde. Since
>the introduction of the Compact Disk in the early 1980's, music has been
>more purely digital than any other commodity. It is no surprise that
>music is the test pilot for the new forms of on-line distribution and
>"Theory Music" is not designed to render a consistent, analytical
>picture of these complex socio-economic changes. It is a stack of
>descriptions from different worlds, writing and speaking, and sound and
>music. It is a dialogue between modes of perception and nodes of
>communication. In this era of mediated culture the contemporary artist
>has an essential role to play, as an observer, commentator and
>transformer. It is always important to pay attention to how artists
>respond to new technologies, to listen to what they say when they deal
>with change, to watch how they sometimes retreat into traditional
>territory, and how they claim new media as their field of operation.
>This is what "Theory Music" is about.
[c]ccp Netochka Nezvanova.
_____...___.____ 0f0003.m2zk!n3nkunzt_|-art!kl nummer 0+28.
detektion of onset + offset asynchrony in multikomponent komplexes.
diskriminating standard stimulus from signal stimulus
audibility as crisis and kommodification in sine.x
dze no!sz ztruktur as system degraded to an abstract totality
inspired by desire to actualize itself as it migrates into tension with other
its audibility as subject, is imbued with urgency evoked by experience \ mem[e]module. i\o
its central impulses mobilized by the objective tendencies of the crisis itself.
accelerating along 0+1 hyperbolic channel the system resists delimitation
in an obscure anti-synthesis will of force.
cognizant of its audibility the audible gains awareness of
self-internal structure, habitation.
its actualization - its loss of maschinik autonomy, incurs an internal dialectic:
experience internal kommodities simultaneously with event, whilst posited as
nearfield patterns engaged in reflective displacement.
its impulses manifested in exterior structures
it is alienated under a regime of ownership
its becoming audible becomes a means of production.
the industrialization of audibility kommodified - the relationship between
labor of production and the event thermo-comprehends the linear coherence of
audibility as process, the objektivisation as generation of confronting objects
as alienation of the event to the process [ kapitalization ] and
the resolution of this alienation.
actualization alone permits comprehension of the essence of production
and the objective event: an actual becoming of entity - resultant of its
process of audibility.
as an existing event, in an effort to preserve self-experience it self-defines
self author of cell-development. if the process of audibility is
interpreted as the experiential basis of the kommodification of cell-processes
it eventuates recognition of the self at stages of production
permits the resolution of the alienation of temporal existence.
critical insight into the dialectic of alienated production and kommodification attains
practical efficacy within the system, arising out of the objective krisis complex.
dze no!sz ztruktur as one kommodified system of recursive discourse impedes
examination as a konsummate territorialized product.
internal events engaged in non-deterministik circulation, insist on non-fixity of form.
consequently the system's architecture may be generalized only as embracing [relays]
the means of production rezultant of the means of cell-production.
it is a massless object, an abstrakt maschine capable of self-acceleration,
its capacity directly dependent upon the practical appropriation of internal
events that are measured respektive to self-relations in discourse.
consequently a commodity's cell-fitness is formulated in terms of
its temporal audible space eventrelation ships [self]
d!fferent!al d.ka! on 0+1 dezolate plane ov debr!z
!nhab!td w!th !mmater!al 4rmz enkloz!ng
komplecx !nternl referentz
ccccel-fkonzeptual!szd 4mat!onz dzat =
flatl! abrogate object!v anal!s!z
relat!v!zt!kc effektz bg!n zett!ng !n
alternat!v h!ztor!ez + parallel un!versez
- art!kl nummer 0+28. anti[KM]m9ndfukc.com
Netochka Nezvanova - 74 kolors. 74 styles. 01 many feathered tale.
f3.MASCHIN3NKUNST - if you see something so wonderful it hurts - i rent it.
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