integer on Sat, 11 Mar 2000 10:57:21 +0100 (CET)

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[Nettime-bold] Re: THEORY MUSIC - \/\ anti[KM]

>"Theory Music" is a collection of sound works by Bernhard Loibner. These
>works were created originally for Kunstradio, a weekly radio art program
>on the Austrian Broadcasting Corporation, and for other related network
>projects. "Theory Music" was released on CD as part of Edition
>Kunstradio in February 2000. The on-line version is available at:
> .


    Netochka Nezvanova  :  refuszd komm!ss!onz \ !nv!tat!onz 
    farmerz manual. schoemer haus. cagl!ar! ea soc. orf kunst rad!o. 
    ultra korporat fazc!st organ!zat!e v2 amsterdam.leonardo music journal. 
    teleportaz!a.!kk  + etc + etc + etc


     kompare ma! output of korporat fasc!zt male elemnt - Bernhard Loibner
     avec Netochka Nezvanova zplend!d osc!laz!onz

     = belou !ntakt plz f!nd Bernhard Loibner.z korporat fasc!zt zkema

     = thuz ma! plz 4mulat 0+1 prznl konztataz!e pozt 0+1 met!kulouz anal!z!z
       apropoz konglomerat zerfz ++

c!ao. nn.

_||- konglomeratz != kompet. 
     0+1 kompend!um ov korporat \\ male fasc!zt refusz

--------------    | |

the . science . of . noise 

- the precise construction/restructuring of noise in an environment 
inhabited by representation, relativization and allusion enables the 
analysis of the constant barrage of generated noise interpolated 
abstract and vocal social commentary. If the decisive level of social analysiis 
in language then this is highly indicative of the move of the higher 
societies toward digitization. A collapse of unification through multiplicity, 
KROP3ROM||A9FF is an exponent of opposing ideals, of postmodern artistic and 
political thought.

KROP3ROM||A9FF is a language game. However the rules are either entirely 
non-existent or require a constant updating of intellectual and social 
systems knowledge. Most certainly, the positions of speaker (the music itself), 
the listener and referent of information (in this context information replaces 
the narrative element) create a relation of mutual exteriority.  
A cohesive communicative vehicle it is not, where as a form, or structure within 
which a communicative discourse can take place, it excels if the listener is competent. 
This work is unavoidably incoherent to the ill-informed.

Here, the discursive temporality is circular, not linear like most 
scientific discourse, and like most [repetition teaches humans]
complicated musical forms only upon repeated listening is the information 
relayed with any clarity. In this context the work takes on credibility as 
a commentary on social forces (the darker nature of much of its length suggests 
condemnation and support of fascist values) and scientific language (where it 
plays its own game - it is incapable, like science, of
legitimizing other language games). 

The status of legitimization takes on two tendencies, each of which appear to 
extend in conflicting directions. First, it develops its own self justification with 
its internal imagery and compositional techniques of unification through 
thematic structures (rhythmically and referentially), confirming its musical 
cohesion. Secondly, science (the science of computer music, of social commentary, 
of politics and economy) expands its relation to society, or the instrumentality 
of society. Computerization enables both these opposing tendencies and Kroperom 
is circular in its internal referentiality.

The theory of computerization has provided a model for the system control 
that equates contingency with noise. The ideal: to eliminate contingency 
and maximize control by the system. The elimination of contingency here points 
to the reprezentationality in KROP3ROM||A9FF of social currency. 
Perhaps most relevant is the appearance of a sample of the system control machine 
Alpha60 from Godard's Alphville. The control of society by a mainframe computer 
and its inevitable faults made only apparent with the arrival of a man 
from an outside 'democratic' society. Like the multiplication of sites of 
power and resistance on the .net and currents in modern politics and economic
management, there seems an effort to complicate the social and extricate it from 
the theoretical clutches of analytic and dialectic reason. 
KROP3ROM||A9FF redefines noise structure as a locus of contingency, absence 
of subject and linguistic uncertainty.

This work exemplifies certain issues brought about due to the 
emergence of computerization. A powerful discourse in systems management, 
as complicated and formulaic as Hesse's Glass Bead Game, and probably as vague. 
Though it may express the foundational theme: that our existence is becoming 
increasingly characterized by machines, it challenges the instability of 
digitization while remaining within the set itself. A degree in higher mathematics 
would be desirable to fully comprehend the chaotic structures of KROP3ROM||A9FF. 
The macro points to frameworks similar to fractal patterns, demonstrating order 
and presence of pattern in apparently irregular systems.

In KROP3ROM||A9FF there is no centered subject directing the listener 
through a narrative, more a multidimensional logic of deleuzian strata 
and assemblages, recalling the disfunctionality of concept and subject. 
Is KROP3ROM||A9FF the disciplined consciousness of a scientist or social theorist? 
The highly developed non-linearity contextualizes the binary 
logic of the current systems as weak, proclaiming an anti-authoritarian stance. 
Clearly acknowledging the intertextuality that constitutes social and musical 
structures as a proliferation of linguistic instability giving rise to 
increasingly unintelligible tendencies, KROP3ROM||A9FF is a radical non-centered work mitigating the suspect notion of freedom as the flux of desire.

0+002 -

_____...___.____ 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 the urge to actualize itself as it arrives into tension with other 
its audibility as subject, acquires urgency evoked by experience \ stored data \ memory module
its central impulses mobilized by the objective tendencies of the crisis itself.

accelerating along 0+1 hyperbolic path the system resists delimitation 
in an obscure anti-synthesis force of will. 
as consequence of audibility the audible gains awareness of 
self-internal structure, self-habitation. 
its actualization - its loss of maschinik autonomy, incurs an internal dialectic: 
retain self-alienation, 
experience internal kommodities simultaneously with event, whilst regarded as an 
external structure engaged in recursive reflection.

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 comprehends the self-generation of linear 
audibility as process, the objektivisation as generation of a confronting object 
as alienation of the event to the process [ kapitilization ] and
the resolution of this alienation.

actualization alone permits comprehension of the essence of production
and the objective event: an actual becoming of entity - the result of its
process of audibility.

as an existing event, in an effort to preserve self-experience it defines
self-author of self-development. if the process of audibility is
interpreted as the experiential basis of the kommodification of a self-generation process 
it eventuates that 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 production - 
it is a massless object, an abstrakt maschine capable of accelerating endlessly,
its capacity directly dependent upon the practical appropriation of internal
events which are measured in accordance to their relations in discourse.
the value of the commodity is subsequently analyzed in terms of explanations of
event relationships as utilized in temporal audible space.


d!fferent!al d.ka! on 0+1 dezolate plane ov debr!z
ccccellofane spasz
!nhab!td w!th !mmater!al 4rmz enkloz!ng
komplecx !nternl referentz 
ccccel-konzeptual!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]

     0\   zve!te[z]!ztem



ma!ntenant - dze !mpotent m9nd akt!v!t! ov 
korporat fasc!zt male elemnt Bernhard Loibner.

>"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.
>(1) Robert Adrian, The Real Thing, in "Medienkultur", Memesis - Die
>Zukunft der Evolution, Ars Electronica 1996
>(2) Norbert Bolz, Die Sinngesellschaft, Econ Verlag
>(3) Jacques Attali, Noise - The Political Economy of Music, University
>of Minnesota Pres
> Bernhard Loibner

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