Re2: [spectre] :/| n0name nachrichten #147

[Matze Schmidt]

Hi Josephine,

(posted this to the spectre-list as well, hope that's ok for you)

well, no. I'm not interested in Music at all here (although I love it/need it) but in the political functionalities of Sound. Music understood as sub-category of sound. Some call music organized sound. The sound of the 'Vuvu-people' is not organized (not in a de-centralized way, not in a centralized way) but driven by the productive appropriation of a cheap plastic mass product in a context of gathering. That's the state of the art in Cultural Studies (not my 'knowledge'). Of course this understanding is a shortened one.

As I said, it's not Cagean stuff, what would form a school, but Cage's doings that are crucial. So, the masses in the stadium are not only making the WC more interesting. Their symbolic product (the sound, this post-colonial folkloric ethnic loaded thing) is used to make the WC the commodity these working people and esp. the working people in the west pay for. At the same time they consume and generate this commodity. They are not the assholes, they are driven and product for their part. I don't believe in boycotts, you can't boycott capitalism, only a single ware against another ware. So the Vuvuzela-Sound is not bad or good, it is the sign of what's happening. But this ain't bread and circuses for the plebs but the context of surplus value (value added by workers in their free time) etc.

Forget music as Music and Cage as music-maker against the noise. 4"33 could be interpreted as a reactionary but dialectic try to forget about music to re-invent it at the same time. That is what so called sound ecologists are trying to overcome: Oh, let's forget about the elitist modern art shit and their problems with the real. Let's make the real with the better sound with filters and great new buildings in the stinking city and then get back to our un-noisy village. With and against cage one must point out what's the case. 'We' are not the real receivers of our products (voice, noise, sound, plastic horns, etc.), we have to be exploited for it, isolated but in patches.

Have fun,

M

PS: Please note e-mailflyer below.

> You can find a reference to Cage as a silencer of unwanted city noise  
> in Douglas Kahn's Noise Water Meat. I tend to agree with him, but am  
> rather forgiving, as is Kahn... ;-)
> 
> The buggers are of course the vuvuzela artists.. ;-) Whatever they  
> are or what their purpose is, they have made this WC a lot more  
> interesting.

> Yesyes... your take is that it is a capitalist pollution of music and  
> the games. How does that change what I said?

> > "Wenn also jemandem der Nerv geraubt oder getoetet wird, ist das
> > nicht der Diebstahl, der interessant ist. Der liegt in der Wegnahme
> > der Kette der Herstellung des Dings, seiner immateriellen
> > Qualitaeten und der Arbeits- und "Freizeit", die dafuer verbraucht
> > wird."
> >
> > http://n0name.de/news/news147.txt
> >
> >>> And as we all know John Cage was wrong. We can't give back the voice
> >>> to the peoples. Vuvuzelas kill!
> >>
> >> Actually, this project is quite Cagean: silence the buggers!

 +
_O_
 |
/\  2. HHkonzerts

Gegen/Fuer die Fête de la Musique ist man jeden Sommeranfang, denn die
Buehnen sind nie kostenfrei und die Stadt nie ohne Eintritt. Feiern Sie
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der Pseudo-Hausband 38317 (www.38317.tk). Und dann vielleicht noch eine
Session.

Pro/Against the Fête de la Musique is one every beginning of summer,
because the stages are never costless and the city never entrance free.
Celebrate without Foundation Class Lottery with The RotTT
(http://press.rottten.info), the mock houseband 38317 (www.38317.tk).
And then maybe a session.

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