28 Jul 2008

Summer Reading

Repeating Ourselves. American Minimal Music as Cultural Practice

by Robert Fink

Description
"Where did musical minimalism come from—and what does it mean? In this significant revisionist account of minimalist music, Robert Fink connects repetitive music to the postwar evolution of an American mass consumer society. Abandoning the ingrained formalism of minimalist aesthetics, Repeating Ourselves considers the cultural significance of American repetitive music exemplified by composers such as Terry Riley, Steve Reich, and Philip Glass. Fink juxtaposes repetitive minimal music with 1970s disco; assesses it in relation to the selling structure of mass-media advertising campaigns; traces it back to the innovations in hi-fi technology that turned baroque concertos into ambient "easy listening"; and appraises its meditative kinship to the spiritual path of musical mastery offered by Japan's Suzuki Method of Talent Education."

Contents

Introduction. The Culture of Repetition

PART ONE: The Culture of Eros: Repetition as Desire Creation
1. Do It ('til You're Satisfied): Repetitive Musics and Recombinant Desires
2. "A Colorful Installment in the Twentieth-Century Drama of Consumer Subjectivity": Minimalism and the Phenomenology of Consumer Desire
3. The Media Sublime: Minimalism, Advertising, and Television

PART TWO: The Culture of Thanatos: Repetition as Mood Regulation
4. "A Pox on Manfredini": The Long-Playing Record, the Baroque Revival, and the Birth of Ambient Music
5. "I Did This Exercise 100,000 Times": Zen, Minimalism, and the Suzuki Method

18 Jun 2008

T.S. Eliot - Four Quartets

Eliot reading 'Burnt Norton' (what's that noise?-version)

10 Jun 2008

2 Apr 2008

Kantian Ethics as an 'Evental Site'

As Kojin Karatani rightfully stresses, the time has come for a rediscovery of both subjectivity and rationalism against the prevalent forms of empiricism. Similar to authors as Michel Henry, Ernesto Laclau and Slavoj Zizek, Karatani urges us to finally question the contemporary dogma of hermeneutic particularism in favour of a philosophy no longer condemned to an acceptance of the status quo. Especially the parallels with Alain Badiou’s project are striking, but while Karatani labels his project as explicitly transcendental (in a Kantian sense), Badiou turns Kant into one of his main enemies. This paper is the result of a certain wonder about this opposition. Why does Badiou oppose Kantianism so strongly?; is his philosophy not rather a new incentive to rethink the Kantian project and would a more positive relation towards Kant’s idea of transcendental subjectivity not serve well also Badiou’s own project of the rediscovery of universalism? I will not answer these questions head-on, but will focus on two possible types of Kantianism. While Badiou mainly refers to a specific sort of neo-Kantianism fashionable in France, Karatani considers Kant as prefiguring his own brand of postmarxist radicalism. Tracing these directions back to Kant’s own writings, I hope to shed some light on the possibility of overcoming the opposition, together with a better insight into the possible critical power of Kantianism today.

I. Kant versus Badiou

Before we move on to Kant himself, let me first say a few words about Badiou’s relation to Kant. Badiou recognises the importance of the Critic of Pure Reason for banishing the transcendent One from his ontology and so for the laicisation of the idea of infinity. But what Kant banishes from his ontology, he would resurrect in his ethics, succumbing to a strict register of objectified normality. Despite the apparent similarities of their project - both take their point of departure in a radically non-substantialist and supra-sensible idea of subjectivity - Kantian ethics comes to symbolize all what he detests in philosophy today. More specifically, Badiou reproaches Kant ideological conservatism: his ethics of duty and legality would lead to a philosophy of conformity; his nearly exclusive focus on the purity of motives would make any genuine political action beyond the acceptance of the given situation impossible. The main reason for Kant’s conformism is that he would lack an account of the ethical imperative as exceptional: Kant valorises human nature in general, implying a trust in the possibility of resurrecting a once and for all valid system of protecting the general human nature in terms of human rights.[2] The effect is double: first, he solidifies a given order (in terms of legality) as the home of the righteous attitude an thus objectifies right conduct. Second, he also objectifies evil, as that which threatens the stability of the given order. He would even go as far as turning this relation upside down: the a-priori identification of evil becomes the actual touchstone for the solidification of the legal system.[3] In other words, Badiou turns Kant into a very specific enemy: a right-wing conservative. In what follows, I will take a look at Kant’s ethics with these specific accusations in mind: to what extent do Kant’s own texts provoke the accusations and how much room would they still leave us for a different interpretation?

II. A Right to Revolution? (the Legal Picture)

Most accounts of Kant’s ethics almost exclusively focus on the Groundwork for the Metaphysics of Morals (1785). This is not without reason, for it contains some of Kant’s most profound ethical ideas and intuitions. Nevertheless, this is only half of the story. Twelve years later, Kant published his Metaphysics of Morals (1979), as an attempt to complete the project of the Groundwork. This part is meant as a short systematic interpretation of the transition and of the ethical position of his later work by way of one specific question: is there a right to revolution? I will call the position discussed here the ‘legal picture’ of Kantian ethics. The ‘legal picture’ is thus not a specific side of Kant’s ethics, which would complement the insights of the Groundwork, but an overall interpretation of his ethical position. In the next part, I will contrast this picture with the ‘moral picture’ of his ethics, although it is noteworthy that the ‘legal picture’ is the one most directly supported by Kant’s texts.

So let’s start with our question: ‘is there a right to revolt, to disobey the orders of a tyrannically government?’ For a positive answer we could take our cues from Kant’s stress on freedom and personal responsibility. This is at least the road Hannah Arendt takes. In her reaction to Eichmann’s claim that he always had considered himself as a Kantian, Arendt points out that the categorical imperative doesn’t allow for a political interpretation. The lawgiver of the categorical imperative is the human subject as an individual: we owe obedience to the moral law that we give ourselves, not to the Führer. Eichmann’s Kantianism was nothing but an extremely cut down version of Kantianism, i.e. reduced to the formula: obey the law. Surprisingly however, Arendt’s own reply is based on a highly simplified version of Kant’s ethics, completely disregarding Kant’s own assertions on the topic of revolution and the disobedience to the lawgiver.

Kant was indeed known for his high appraisal of the French Revolution (he even got the nickname ‘the old Jacobin’), but we should not forget that his own philosophy categorically forbids something as a revolution. As he states himself in 1793, two years before the publication of the Metaphysics of Morals:

“All resistance against the supreme legislative power, all incitement of the subjects to violent expressions of discontent, all defiance which breaks out into rebellion, is the greatest and most punishable crime in a commonwealth, for it destroys its very foundation. This prohibition is absolute. And even if the power of the state or its agent, the head of the state, has violated the original contract by authorizing the government to act tyrannically, and has thereby, in the eyes of the subject, forfeited the right to legislate, the subject is still not entitled to offer counterresistance.”[4]

Arendt’s reply refers to a certain logic at work in the Groundwork: the universality-test is performed by the individual subject and there are no intermediary stages between application of the moral law and the subject. But this is certainly not the position of the later Kant. In the Metaphysics of Morals the direct authority of the categorical imperative is substituted for a specific taxonomy of duties. In order to know what we ought to do, we do no longer rely directly on a abstract application of the moral law, but we find ourselves in the midst of a whole network of interrelated duties. As we will see, this also explains Kant’s explicit condemnation of the right to revolt.

The most basic division Kant makes is between duties of justice and duties of virtue. The first are the kind of duties connected to juridical laws. These aim at protecting the external freedom of the citizen and only require that we obey them externally; here, we only have to act according to duty and not necessarily out of duty. Duties of virtue are those in which case the lawgiving not only makes an action a duty, but where the duty is at the same time the incentive to obey the law. In contrast with the first, they concern the inner freedom and cannot be coerced. They aim at morality, not at legality. As such, both domains have their own separate system of ‘legislation’: an external system of lawgiving aiming at external lawfulness versus an internal system aiming at action out of duty itself. However, the difference in lawgiving does not mean that both spheres are completely separated. Ultimately, both legislations are founded upon the formal and material dimension of the categorical imperative. Formally, this leads in the sphere of legality to what Kant calls the transcendental formula of right: “Any action is right if it can coexist with everyone’s freedom in accordance with a universal law, or if on its maxim the freedom of each can coexist with everyone’s freedom in accordance with a universal law.”[5] At the same time, the material dimension comes into play, and thus what is generally called the humanity-formula of the categorical imperative: the protection of the external freedom is founded upon the idea that humanity itself should be treated as an end. Kant thus suggests that the protection of the external freedom is a condition for the flourishing of moral life. Precisely at this point we witness how both spheres become connected: Kant stresses (in Religion within the Boundaries of mere Reason) that we have an ethical duty to overcome the ethical state of nature in order to become a member of an ethical community.[6] In the Metaphysics of Morals this implies an ethical duty to live within a state. This explains why even positive laws are discussed within the context of ethics: although the source of lawgiving remains different from ethics in the strict sense, every juridical duty is also an indirect ethical duty[7], because the worth of humanity itself requires us to respect these laws. In the direct sense, violating a positive law is a crime; indirectly, the violation is also an offence to humanity itself.

Till so far the general distinction. Concerning the possibility of a conflict of duties: Kant thoroughly denies the possibility [for all duties are founded upon reason and there can be no conflict within reason itself. He only admits the possibility of two conflicting grounds of obligation. It remains a little obscure what is meant by the idea of a ground of obligation, but the most sound interpretation seems to be the combination of facts with an action (material circumstances) and relevant duty.[8]] of a conflict a priori, though must admit that conflicts may arise at the level of actual application. Kant hardly discusses any of these kind of conflicts explicitly. Luckily, his theory is robust enough to provide us the criteria to judge those conflicts. The general principle is that a formal principle has precedence over a material principle.[9] The formal principles consist of a principle consistency and universality. The material one refers again to the formula of humanity, as a principle to promote the flourishing of reason and humanity as an end in itself.

Let us go back then to the case of revolution. First, can it be legally justifiable? Kant refuses the Hobbesian idea that it is conceptually impossible for a lawgiver, the sovereign to do injustice. The sovereign is also bound to the demands of natural reason, to the standards of justice founded upon the categorical imperative. This does however not mean that it can be just for us to disobey an unjust law. Once a political regime is installed, the highest authority belongs to the lawgiver, the sovereign and to include a permission to ignore or oppose the given laws would be contradictory. Logically, there can be no legal authority to oppose the highest legal authority. The opposition would have to be based on a higher legal authority and as a result it would deny the fact that in a juridical state the sovereign represents the general will of the people; it would deny the idea of legality altogether. As Kant argues: “For a people to be authorized to resist, there would be a public law permitting it to resist, that is the highest legislation would have to contain a provision that it is not the highest and that makes the people, as subject, by one and the same judgment sovereign over him to whom it is subject. This is self-contradictory.”[10]

If revolution cannot be justified on legal grounds, what about a possible moral justification? Kant’s answer is again negative. As we have seen, duties of justice are indirect also duties of virtue, in the sense that our respect for legality as legality is in itself an ethical duty; and because a revolution would not only undermine the actual system of legislation, but the whole idea of legality, it is also our moral duty to preserve the legal conditions of justice. Even the direct application of the categorical imperative would not legitimate a revolution, for universalising the maxim of the revolutionary shows it as self-contradictory. The argument is similar as above: at the same time it is willed that there is justice and that there be no justice (by denying the highest authority of the lawgiver).[11] The crucial Kantian premise is again that justice demands a highest legal authority, and that from the moment on a sovereign comes to represent the general will of the people, the will of the people is only legally knowable by way of what the sovereign commands. Of course, Kant does not deny that the successful outcome of a revolution might be morally desirable; but Kant is not a consequentialist; moral desirability may never be confused with moral legitimacy. At the same time, Kant’s non-consequentialism does not imply that moral ends do not matter in moral reasoning. To the contrary, the formula of humanity (of the CI) allows us to take ends explicitly into account. It is even part of our ethical duty to work towards a just society in which the freedom of all people is maximised. The idea of a revolution could therefore be supported by the humanity-formula, were it not that formal criteria have always precedence over material.

At a few occasions, Kant however makes room for a kind of disobedience, more specifically when we are commanded to do things that are evil in itself and thus directly opposed to the ethical law.[12] But we should note that this is only a passive disobedience subjected to some specific criteria. First, it only concerns acts which are deemed immoral. Second, the act of disobedience should not undermine the authority of the sovereign, for in that case the passive disobedience would become an active one, undermining the idea of legality. As a result, it remains highly questionable if Eichmann would have been able to disobey the commands of the lawgiver on Kantian grounds: the test of the legitimacy of disobedience fails to meet both criteria. Eichmann was probably more Kantian than he could have ever imagined, at least according to the legal picture.

III. The Singular Imperative (the Moral Picture)

Coming back to Badiou finally: that he opposes Kantianism as a philosophy of duty comes as no surprise. Not completely unlike in some Islamic theologies, Kant’s stress on the radically noumenal and thus transcendent nature of the moral law has an awkward effect: it tends to revert into a quasi making absolute of the given, positive order of law, into an ideologically conservative valorisation of what we can call in Lacanian terms the ‘symbolic order’.

Nevertheless, we are still confronted with a certain paradox: how is it possible that Kant was that enthusiast about the French Revolution, while theoretically condemning all possible sorts of revolution? To one report even “he said that all the horrors in France were unimportant compared with the chronic evil of despotism from which France had suffered, and the Jacobins were probably right in all they were doing”[13] and in The Contest of Faculties Kant himself refers to the enthusiasm for French Revolution as an example of an event that demonstrates the possibility of moral progress. So, at least we still need an understanding of the operations of the categorical imperative which allows us to align Kant’s theoretical innovations with the expressions of his personal belief.

Christine Korsgaard for example, a Kant-scholar and pupil of Rawls, is willing to accept the case of the virtuous revolutionary. She describes this situation as the opening up of a gap in the moral world.[14] As a good, virtuous person caring for wellbeing of the people, the revolutionary takes the law into his own hands. He therefore places himself in a position he detests the most: acting independent of the established procedures of consulting the general will of the people, his stance towards society is one of paternalism and thus despotism. In order to save the procedures of justice, the revolutionary violates his respect for these procedures. The gap itself results from the fact that it remains undecidable from the stance of morality to know when things have gone too far. In Korsgaard’s words: “Morality cannot tell you when to leave the moral law behind, in order to make sure that the world remains a place where morality can flourish. In making this kind of decision, you are entirely on your own.”[15]

But does this really help us out, evoking a kind of Kierkegaardian exceptionality, beyond the ethical? As such, morality remains confined within the logic of legal conformity, destined to function as a complete decision mechanism. Moreover, there is very few evidence in Kant’s own writings for the acceptance of a existential sphere beyond morality. For the time left, I would like to consider the possibility of finding a solution starting from Kant’s own ethical principles. Could there be any legitimation of revolution on Kantian grounds, and what would be the outlook of such a Kantianism? My intuition at least, is that there could be serious evidence for pro-revolution stance, though only at a high cost: condemning the Metaphysics of Morals as unKantian – Kant failed theoretically to apply his own transcendental principles – or reading it as a political work of absolute faithfulness to the event of the French Revolution: the prohibition of revolution concerns possible counterrevolutions[16] and should not be read as a general philosophical theory (it’s the work of a situationist). Anyway, in both cases we have to explain why the Metaphysics of Morals should not be read as a sound Kantian philosophical theory.

The closest we came to a possible legitimation of revolution on Kantian grounds was by reconnecting it directly to the categorical imperative, and more precisely to the formula of humanity: a revolution could be seen as necessary in the light of our duty to promote the flourishing of humanity as an end in itself. Nevertheless, formal criteria overrule material criteria, and our case failed to pass the formal test of the categorical imperative: the maxim of revolt resists universalisation. But does it really? The crucial question is still how maxims are to be articulated in the application of the categorical imperative.[17] Let us take a more simple example, discussed by Kant himself: the possibility of lying. The case goes as follows: someone knocks on your door and asks if your friend, who is hiding in our house, is inside the house; you know he is a murderer and that he is there to kill your friend. Do you have the right to lie? Kant’s answer is categorically ‘No’, for the maxim of lying does not pass the universality-test.[18] But for what reason does Kant only consider the most simple and unqualified version of the maxim? A more finely-differentiated maxim would yield different results: for example, is it possible to will as a general law, lying to a murderer who shows up to kill an innocent person? In the application of the categorical imperative, Kant indeed dismisses the role of the situation in the process of application; a dismissal which might be questionable even on Kantian grounds. First, it seems morally arbitrary to reduce the maxim to its most unqualified version. Kant is very well aware of the need of judgement in moral reasoning. Moreover, as he explicitly confirms in the Critique of Practical Reason, moral life does not take place within a vacuous sphere of pure noumenality. This would turn us into automatons, gesticulating everything well, but acting as puppets without life in the figures.[19] Moral life implies moral struggle, suggesting at least that there can’t be any principle prohibition of taking the situation into account. Second, the option for the most simple version of a maxim tends to slide again into heteronomy. Kant disregards the situation because he is looking for a moral law which is truly universal, valid for all and for all times. Taking material conditions into account, would only imply a possible threat to the sought-after universality, he believes. But does it really? As we have learned from Badiou (and to a certain extent also from Kierkegaard), ‘situationism’[20] and universalism do not have to exclude each other. Of course, it is not Kant’s conclusion, but it should have been, inherent as it already is in his anti-substantialist idea of subjectivity, and necessitated from the perspective of avoiding heteronomy. Kant insists on the demand that the moral law is given by the subject itself and thus on the impossibility of turning the law into something externally given. I have to give myself the law; as a giving it is a singular happening. Nevertheless, by disregarding all possible material conditions of the giving, he disrobes the act of all singularity, pretending the act is performable within an ideal, abstract space, allowing us to translate the categorical imperative into a set of objective rules as ‘never lie’, ‘never revolt’… as if we could generate a list of duties existing somewhere ‘outside’. In other words: if we fail to singularise the imperative, we risk undoing Kant’s main ethical intuition.

This is however not the same as materialising the categorical imperative[21]. Singularising the imperative does not preclude the distinction between the formal and material dimension; they don’t collapse into one formula. Neither does it devaluate the required universality of the maxim. The application of the first formula remains a strictly formal operation, independent of the particular language-game of the context. As we have seen (according to the legal picture), the prohibition of revolution results from a shift of the direct authority of the imperative to an intermediary logic (the network of duties), towards a stress on our being embedded within a community. The problematic character of the legal picture is itself the result of contextualizing the imperative. Singularisation is nothing less but an opposite movement: taking the situation into account should prevent us from sliding back into the heteronomy of a positive legal system; it subtracts the validity of the imperative of what is considered as valid within the ‘symbolic order’. In other words: every ethical act as ethical remains exceptional, for as an ‘evental’ happening the act is undecidable in terms of the ‘symbolic order’. Would the moral law ever gain an objective status, as being “there” before we act, it would destroy our autonomy.[22] Kant himself realised this, stressing the subjective and unconditioned nature of the ethical act; only as a result of his abstract, non-situational approach of the imperative, he tends to bypass his own insight. But isn’t that why precisely Badiou is so important for Kantianism today: instead of being an incentive for a dismissal, it is Badiou who offers us the opportunity to deepen Kant’s own quintessential insight, reconnecting again the universal with the singular. Might not the time have come for a new alliance?



[1] Dialectic of the Enlightenment, p. 83
[2] Cf. especially Badiou, Ethics
[3] Cf. Badiou, Ethics (ned. 29).
[4] Cf. I. Kant, On the Common Saying: That may be correct in Theory, but it is of no use in practice, in I. Kant (ed.), Practical Philosophy, Cambridge Cambridge University Press, 1996 (1793), 273-309.
[5] I. Kant, The Metaphysics of Morals, in I. Kant (ed.), Practical Philosophy, Cambridge, Cambridge University Press, 1996 (1797), 353-603, p. 387.
[6] Cf. I. Kant, Religion within the Boundaries of Mere Reason, Cambridge, Cambridge University Press, 1998 p. 108.
[7] Cf. Kant, The Metaphysics of Morals, in, p. 384. : “Ethical lawgiving cannot be external, although it does take up duties which rest on another, namely an external, lawgiving by making them, as duties, incentives in its lawgiving.”
[8] For this interpretation, cf. especially R. McCarthy, Moral Conflicts in Kantian Ethics, in History of Philosophy Quarterly 8 (1991) 65-79.
[9] Cf. I. Kant, Toward Perpetual Peace, in I. Kant (ed.), Practical Philosophy, Cambridge, Cambridge University Press, 1996 (1795), 317-351, p. 344.: “In order to make practical philosophy consistent with itself, it is necessary first to decide the question, whether in problems of practical reason one must begin from its material principle, the end (as object of choice), or from its formal principle (resting only on freedom in external relations) in accordance with which it is said: So act that your maxim should become a universal law (whatever the end may be). The latter principle must undoubtedly take precedence; for, as a principle of right, it has unconditional necessity, whereas the former necessitates only if the empirical conditions of the proposed end, namely of its being realized, are presupposed.”
[10] Kant, The Metaphysics of Morals, in, p. 463.
[11] Cf. also P. Nicholson, Kant on the Duty Never to Resist the Sovereign, in Ethics 86 (1976) nr. 3, 214-230, p. 222.
[12] Kant, Religion within the Boundaries of Mere Reason, p. 110.: “As soon as something is recognized as a duty, even if it should be a duty imposed through the purely arbitrary will of a human lawgiver, obeying it is equally a divine command. […] the proposition ‘we ought to obey God rather than men’ means only that when humans beings command something that is evil in itself (directly opposed to the ethical law), we may not, and ought not, obey them.”
[13] G. P. Gooch, Germany and the French Revolution, New York, Russell & Russell, 1966, p. 269.
[14] C. M. Korsgaard, Kant on the Right of Revolution, in A. Reath, B. Herman & C. M. Korsgaard (ed.), Reclaiming the History of Ethics. Essays for John Rawls, Cambridge, Cambridge University Press, 1997, 297-328, p. 319.
[15] Ibid., in, p. 321.
[16] Historically, this seems indeed to be the case. Cf. for example in Zum Ewigen Frieden (AK VIII 346), where he explicitly denies other sovereigns to intervene in French affairs. Cf. also L. W. Beck, Kant and the Right of Revolution, in Journal of the History of Ideas 32 (1971) nr. 3, 411-422, p. 417.
[17] Cf. also T. E. Hill, Questions about Kant's Oppositio to Revolution, in Journal of Value Inquiry 36 (2002) 283-298, p. 295.
[18] Cf. I. Kant, On a Supposed Right to lie from Philantrophy, in I. Kant (ed.), Practical Philosophy, Cambridge, Cambridge University Press, 1996 (1797), 611-615.
[19] Cf. I Kant, CpR, p. 258.
[20] I use this term to refer to the idea that every truth is the truth of a situation.
[21] Some tend to conflate both, cf. for example R. W. Davis, Is Revolution Morally Revolting?, in The Journal of Value Inquiry 38 (2004) 561-568.
[22] Cf. ook C. Lotz, The Events of Morality and Forgiveness: From Kant to Derrida, in Research in Phenomenology 36 (2006) 255-273, p. 259.; A. Zupančič, Ethics of the Real. Kant, Lacan, London/New York, Verso, 2000, p. 60.

24 Mar 2008

Tony Conrad - Dream Music/ Early Minimalism

"Repetition itself creates bliss. There are many ethnographic examples: obsessive rhythms, incantatory music, litanies, rites, and Buddhist nembutsu, etc.; to repeat excessively is to enter into loss, into the zero of the signified. But: in order for repetition to be erotic, it must be formal, literal, and in our culture this flaunted (excessive) repetition reverts to eccentricity, thrust toward various marginal regions of music."
Roland Barthes (as quoted by Tony Conrad)

Read Conrad's essay "Preparing for the Propaganda War in the Time of Global Culture: Trance, Form, and Persuasion in the Renovation of Western Music" here

Tony Conrad with Faust - The Pyre of Angus was in Kathmandu (mp3) (reissue on Table of the Elements)

21 Mar 2008

The Grandeur of Reason - conference

Looks like universalism is back en vogue; a post-9/11 effect? Anyway, the perfect location for this topic and an interesting choice of keynote speakers: Slavoj Žižek, Giorgio Agamben, John Milbank, Stanley Hauerwas, David Schindler...

The Grandeur of Reason
Religion, Tradition, Universalism

Rome, 1-4 september 2008

Conference organised by 'The Centre of Theology and Philosophy' of Nottingham University

Conference website

27 Feb 2008

Valet - Naked Acid

Having recently discovered Honey Owens' first Valet album, this sophomore album (out on Kranky) comes as a pleasant surprise. Even more haunting than one the first, her voice really stands out. The atmosphere reminds me a bit of German krautrock, but in a more American, bluesy kind of way. Definitely one of the best psychedelia-albums of this year. Added you find the song 'Fire', one of the more quiet ones, but also a highlight of the album.
"These songs were Inspired by the Pacific Northwest landscape, semi-conscious dream states and the idea of one's DNA code being accessed as eternal memory."

17 Feb 2008

Cornell conference

looking forward to my first conference in the US


The Substance of Thought: Critical and Pre-Critical

keynote speakers: Simon Critchley (The New School for Social Research) and Alberto Toscano (Goldsmiths, University of London)

Cornell University, Ithaca, New York, April 10th-12th, 2008

http://www.arts.cornell.edu/trg/conf2008.html

The last few decades have witnessed a struggle within continental philosophy between those thinkers who accept Immanuel Kant’s “Copernican Revolution” and those who refuse critical philosophy in favor of a “classical” metaphysics that, in the words of Alain Badiou, “considers the Kantian indictment of metaphysics…as null and void.” This conference will consider the conflict between “critical” and “classical” or metaphysical strains in contemporary thought. Has critical philosophy run its course, as Badiou suggests? Or has Kant’s critical turn determined the horizon of all future philosophical work? Or is there an alternative path?

We are interested in analyzing the contemporary division between thinkers who prescribe a return to the pre-critical metaphysics of, for example, Spinoza, Leibniz, or Lucretius, and those who continue to take up various trajectories of Kant's critical legacy. The former camp might include Deleuze and Badiou as well as Negri and Althusser, while the latter might include Adorno, Benjamin, Heidegger, and Derrida. We particularly wish to encourage work that takes a stand on the conflict between the two camps, as well as work that considers the implications of the conflict for the arts and social sciences. The wide range of our inquiry includes interrogations of the nature of critique, the fate of aesthetics, the privilege accorded to immanence or transcendence, and the status of materialism.

13 Feb 2008

Herzog vs Jean Paul

oh, they can be so dramatic, these Germans!

"I heard only the eternal storm, which no one rules, and the shimmering rainbow, strechted over the abyss and falling into it. And when I looked up to the immeasurable world in search of the divine eye, only an empty eyesocket stared back at me; an eternity lay upon chaos and gnawed at it and chewed upon itself. Cry out, raise a cacophony, scream until the shadow breaks, for He is not! ... Rigid, speechless nothing! Cold, eternal necessity! Insane chance!"

Jean Paul, Siebenkäse (1796)

Werner Herzog on the obscenity of the jungle

Few filmmakers are so thoroughly modern as Werner Herzog, so thoroughly romantic, but in a disillusioned, anti-romantic kind of way.

"the trees are in misery, the birds are in misery; I don't think they sing, they just schriek in pain […] but there is some sort of harmony; the harmony of overwhelming, collective murder”

29 Jan 2008

(K-RAA-K)3 festival - 1 March 2008 Brussel

MARSHALL ALLEN [us] & PAUL HESSION [uk] BARDO POND [us]
CERAMIC HOBS [uk]
CHERRY BLOSSOMS [us]
DRAGONS OF ZYNTH [us]
RICHARD CRANDELL [us]
ENTRANCE [us]
HELLVETE [b]
TON LEBBINK [nl]
ALEX MACKENZIE [ca]
SEAN MEEHAN [us]
PINK REASON [us]
HENRI POUSSEUR´s "Voix et vues planétaires" [b] PSYCHEDELIC HORSESHIT [us]
R.O.T. [b]
SILVER APPLES [us]
UP-TIGHT [jp]

+ FILMS LAFMS: The Lowest Form of Music NOT THERE HOMMAGE AU SAUVAGE: Henri Pousseur LUC FERRARI DEVANT SA TAUTOLOGIE LABRAT MATINEE + DJ´S after midnight in recyclart + record stands

Official site kraak festival 2008

17 Jan 2008

Josh T. Pearson - Kierkegaard as a Cowboy

"The time has come that you must decide... to take two steps towards Texas tonight"


Few regions are as polarized as America's South: "either you're in the bar, or you're in church". Josh Pearson has spent quite some time in both. Born in Texas as a son of a preacher, he started to play 'devil-music' in 1996 with his band Lift to Experience, releasing just one album, the magnificent the Texas-Jerusalem Crossroads (an apocalyptic concept album about Texas as the promised land). Unfortunately, he gave his companions 'the boot' shortly after the album-release in 2001. He left Texas for Europe, trying to make a living here (or maybe just living by faith alone) and playing some concerts every now and then. A solo-album has been planned for years. Let's hope he finds the inspiration. Desperate, honest outsider-music; a beacon of hope in our times.


Josh T. Pearson - the Clash (mp3) (lofi live-registration Nantes, France, 2003)

Lift to Experience - With the World Behind (mp3) (live, Peel-session 2001)

15 Jan 2008

Cindy and Bert - DER HUND VON BASKERVILLE

the good old days of German Schlagermusic

11 Jan 2008

"My blood is clean, but the devil is in me"

Although we inevitably keep on thinking about music in traditional categories and genre-distinctions, nothing is as fascinating as witnessing young musicians doing away with this, not for the fun of 'everything goes', but because the 'old forms' have lost their urgency; because their creativity asks for a new language. Of course, this is the way 'free jazz' musicians have understood themselves from the sixties on, but even 'free jazz' has become a niche, a respectable institution with its canon, instruments and techniques.
One of these youngs guys deserving our attention here is definitely Chris Corsano. Mostly known for his collaborations with saxofonist Paul Flaherty, he takes 'free jazz' beyond the jazz-idiom, bringing some hardcore-punk energy within a jazz-setting or adding some noise-folk-psych influences together with people as Thurston Moore, Matt Valentine, Jandek... Below you find a song from his album 'The Radiant Mirror' (out on Textile Records), a performance together with Mike Flower, who plays here the shahi baaja (a japanese electric dulcimer/auto-harp).
I also added a song from a great psych album I recently discovered: Blood is clean from Valet (out on Kranky). Valet is the solo-project of Honey Owens (who has previously played with Jackie-O Motherfucker). Haunting impressionistic guitar-playing with beautiful, etheral vocals.



30 Nov 2007

Ben Chasny. An American Mystic

In some way or another, in our personal life, we are all shaping something like our inner destiny. We are looking for these works of art, for these philosophies, for these people which might help us to refine this essential, singular project. If we are asked though to explain this destiny, we do not find the right words. Of course, we do not give up on reflection. We do not neatly separate life from thought. There is philosophy, as a meaningfull and indispensable figure on this path; but there is no ready-made intellectual framework which fits this destiny. The great joy of music is that (in rare cases) it allows us to catch a glimpse of precisely our own project; that it embodies a vision which is so closely connected to our own destiny, that it strikes us immediately, on a wordless and intuitive basis.

Speaking for myself, Ben Chasny's Six Organs of Admittance hits the right chord there. Independent of his personality, his interests or his lyrics, most of his music embodies a perspective which haunts me in a partly incomprehensible but direct and effective way. Added you find the opening song of his new album 'Shelter from the Ash', out on Drag City. Reading the liner notes, I was very surprised to discover that the song takes its title from a book from Henry Corbin, a French philosopher and scholar of Islamic Mysticism. In his explicitly gnostic readings of the three monotheistic traditions, Corbin is known for affirming their essential unity in strictly dividing the inner religion (the 'inner church') from the different ecclesial masks. As such, together with his pupil Christian Jambet and Michel Henry, Corbin represents the fascinating other side (the esoteric side) of French postmodernism, opposing the superficial playfullness of the exoteric postmoderns with a deeply spiritual vision.

27 Nov 2007

Postmarxism, also for non-(post)marxists. Kojin Karatani's resetting of the agenda

"I, too, was part of this vast tendency - called deconstructionism, or the archeology of knowledge, and so on - which I realized later could have critical impact only while Marxism actually ruled the people of many nation-states. In the 1990s, this tendency lost its impact, having become mostly a mere agent of the real deconstructive movement of capitalism.
Skeptical relativism, multiple language games (or public consensus), aesthetic affirmation of the present, empirical historicism, appreciation of subcultures (or cultural studies), and so forth lost their most subversive potencies and hence became the dominant, ruling thought. Today, these have become official doctrine in the most conservative institutions in economically advanced nation-states. All in all, this tendency can be summarized as the appreciation of empiricism (including aestheticism) against rationalism. In this sense, it has become increasingly clear that the return to Kant in recent years has actually been a return to Hume."
K.K., Transcritique. On Kant and Marx, p. xi

16 Nov 2007

Julianna Barwick

Julianna Barwick is an American solo artists, who has just released her debut album 'Sanguine'. All the 13 short songs are variations on one theme: she loops her own, mostly wordless, vocals and adds some spheric effects to create a circular microcosm. It reminds me a bit of the way Animal Collective makes use of vocal loops, although Julianna's approach is definitely more minimal and introspective.
A live performance at the Portuguese radio station 'Ma Fama', can be found here.

9 Nov 2007

"Xenakis, prophet of insensibility" (Milan Kundera)

In doing some reading about Xenakis, I came across an intruiging essay by the Czech novelist Milan Kundera. Through a short sketch of some of the basic parameters of western music, he explains the revolutionary character of Xenakis's music. Reading the passage together with the former (on immediate revelation) might help us to understand his work as the musical equivalent of a 'transcendental materialist' position.
"European music is based on the artificial sound of the note and the (tone) scale; it opposes the brutal and objective sonority of the world. As a result of an unbreakable convention European music is obliged from the beginning to express a subjectivity. It seems to fight the sonority of the outside world, like a sensitive being resisting the insensitivity of the universe. European civilization (from the year thousand on) is one of the only civilizations accompanied by a huge and dazzling history of music. This civilization - with its adoration of the suffering of Jezus, its courtly love, its cult of the bourgeois family, its patriotic passions - shaped the sentimental man. Music has played an integral and decisive part in the ongoing process of sentimentalization. But it can happen at a certain moment (in the life of a person or of a civilization) that sentimentality (previously considered as a humanizing force, softening the coldness of reason) becomes unmasked as ‘the supra-structure of a brutality’. This was the moment at which music appeared to me as the ear deafening noise of the emotions, while the sound-world in the works of Xenakis became beauty; beauty purified of the dirt, purified of sentimental barbary. To be a ‘prophet of insensibility’ Joyce could remain novelist; Xenakis had to step out of music. Xenakis opposes the whole of the European history of music. His point of departure is elsewhere; not in an artificial sound isolated from nature in order to express a subjectivity, but in an earthly ‘objective’ sound, in a mass of sound which does not rise from the human heart, but which approaches us from the outside, like raindrops or the voice of wind."
M. Kundera, Prophète de l’Insensibilité, in M. Fleuret (ed.), Regards sur Iannis Xenakis, 1981, Paris. (the translation is mine)

Iannis Xenakis - Concret PH (mp3) (A short piece written for the Phillips-pavillion (cf. picture) at the World Expo 1958. Manipulation of the sound of fire).

6 Nov 2007

Iannis Xenakis

"Art has something in the nature of an inferential mechanism which constitutes the platforms on which all theories of the mathematical, physical and human sciences move about. Indeed, games of proportion - reducible to number games and metrics in architecture, literature, music, painting, theatre, dance, etc., games of continuity, of proximity, in or outside of time, topological essence - all occur on the terrain of inference, in the strict, logical sense of the word. Situated next to this terrain and operating in reciprocal activity is the experimental mode which challenges or confirms theories created by the sciences, including mathematics. […] It is experimentation that makes or breaks theories, pitilessly and without any particular consideration for the theories themselves. Yet the arts are governed in a manner even richer and more complex by this experimental mode. Certainly there is not nor will there ever be an objective criterion for determining absolute truth or eternal validity even within one work of art, just as no scientific "truth" is ever definitive. But in addition to these two modes - inferential and experimental - art exists in a third mode, one of immediate revelation, which is neither inferential nor experimental. The revelation of beauty occurs immediately, directly, to someone ignorant of art as well as to the connoisseur. This is the strength of art and, so it seems, its superiority over the sciences. Art, while living the two dimensions of inference and experimentation, possesses this third and most mysterious dimension which permits art objects to escape any aesthetic science while still enjoying the caresses of inference and experimentation."
I.X. Art/Science. Alliances
Iannis Xenakis (1922-2001) is Greek/Romanian composer and architect (he often worked together with Le Corbusier), known for his highly intellectual approach to music. Experimenting with mathematical algorithms, the relation between sound and space, and the manipulation of sound, he became one of the pioneers of electro-acoustic music. Some of his later electronic music is even surpringsly noisy, in a way you wouldn't expect from a modernist composer. Bohor, a work from 1968 is probably the heaviest piece of Avant-garde music I've ever heard (think of Sunn O))) plays John Zorn's Kristallnacht). In contrast also to the work of some of his contemporaries in Avant-garde music, most of his work is very dense, calling to mind the saturated universe of orthodox spirituality (although his language and imagery isn't religious at all).