At the moment I’m quite inspired by an article in The Wire about Matana Roberts (not a jazz musician, but an experimentalist). Her focus on the past of black slavery and reflection on the present (immigration, LGBT, and more) make me think about my own position and desire to reflect my own past, the past of this country. Slovenians, huh. I’m thinking of slovenian folklore, perhaps a slavic, pagan one on one hand, and about the partisan-communist/belogardist-collaborators issues and conflicts on the other. What kind of people are we Slovenians? Cankar talked about servants, fieldhands, toadies… Cankar is a dark departure point. Slightly halucinogenic. I’m asking myself questions about what are my/our roots which define the most problematic issues in the present? And of course, is there a way to express them, or at least this retrospection and questioning – in a contemporary audio-visual way?
Perhaps I don’t want to be so specific in historic way. Perhaps it would be interesting to think about all those different historic roots, but then move onto a slightly more general feelings, like hate, fascism, xenophobia, … and it seems important to stay honest, to keep a strong connection to what I really stand behind.
I would be looking at:
- history of slovenia (80s?)
- histories of art/avant-gardes (Zabel, Šuvaković)
- theories of fascism, anarchism, critical-culture,
- philosophy of noise (Voegelin)
- audio-visual languages (incl. M. Chion), Tscherkassky
I imagine producing textual fragments, visual fragments, 3d structures, sonic fragments – a lot of noise, a lot of bass.
I’m thinking of how different today time is, the precarity, the capitalist exploitation (of workers, of consumers). Is this a new form of fascism? No. Since there is no totalitarian state.(?).
Let’s hold that we are living in informational capitalism. Is it possible to use certain political-artistic strategies from the alternative movements of the 80s in order to reveal the paradoxes of informational capitalism? Jodi Dean.
