Theoretical line text
february 2007, from the booklet)
audit of the translation
referred to italian texts or italian versions]
the Greek term that means "to perceive, to understand". It is part of the
etymology of the word "Aesthetic", indicative of the branch of philosophy
applied to art.
Aisthànomai, perception and understanding: sensation and cognition:
can be expressed through the formula:
perception is to sensation as knowledge is to art.
word “tragedy” (in italian "dramma", deriving by greek etymology drâma
–atos: action) has more than one meaning:
a. Sad and painful occurrence or situation (the expression is
well-known in a theatrical contest).
an action unfolds - the etymological meaning.
more precisely, "tragedy" means the sum total of tragic occurrences that
follow from an action, in real life as in the theatre.
consideration of the above mentioned meaning of Aisthànomai, the
tragic action to which we refer is that of man in relation to
consciousness, of which he has a consciousness figured by the everyday, a
false consciousness: the tragedy of consciousness, the theatre of human
have produced so far can be seen in Diffrazioni Sonore, not just as
a recording session, but also as a cd emblematic of the work I've done in
creation and elaboration (post-production), of the way I work, of
the meanings that the theory and practice of concepts like "system",
"structure", "composition" and "art" have for me. It's clear that subjects
of such fecundity can hardly be exhausted in one single project, one
single recording session, one single session of digital mastering, or even
a whole week of sessions. We are concerned, rather, with subjects that
find themselves at the foundation of a life or a work, subjects to which
many notable historical figures have made their contributions, subjects
for whose in-depth analysis ten lifetimes in this world would barely
suffice. So these are terms that recur in all of what I create, as they do
in every creation, in their search for a form in which to settle and take
root. For Diffrazioni, I spoke about "construction", "sensation",
their being together, a subject far from exhausted.
In as far
as improvisation is an empirical experience, as it ought always to
be understood (I think Diffrazioni fairly shouts this), there
follow other concepts and experiences; these are also to be found "in my
working in an art that concerns not a record, but a life".
to put my voice beyond every known and unknown, musical and non-musical or
By doing so, I wanted to put art in a similar condition. What follows is
There are two things here that stand out to the ear, to our senses and to
the whole of perception: electronics and words. "Other" elements with
regard to the solo voice, which in the past I wanted to free as much from
music as from intelligibility. Am I a prawn? Am I going backwards? Where
exactly are we to put the references to Stratos, Artaud and, more
There is another point to be made.
Without Diffrazioni Sonore, I couldn't apply today to my
vocal creations, in the way I do, the digital elaborations of non-vocal
sounds (or rather the use of electronics), or the text (mine, as it
happens, and of a poetic nature).
still break up, working on a clear rift, in one sense or another,
as much in the field of electronics as in that of a text, musical or
poetic: totally in line with the way I use my voice.
I'm only able to do this after freeing the vocal (a synonym for ability to
act ): freeing, in my work, the conceptions of music and of text applied to
for my texts, it must be remembered that their nature, in the same nature
as all my work (variously textual, vocal, musical, theatrical) does not
want to be compartmentalised or linear, but rather net-like
this sense we see the return of the subject of diffraction: the post-structuralist
idea of the "open-text", where, in Diffrazioni, I pointed to the
philosophy of Deleuze . Post-structuralism deals with French culture
through the thought of a few key personalities; thought that has its
origin in the central idea of productive human force as such. What I call
acting, working in the sterile sores of a common language where
concepts such as "centre", "structure", "field" hold sway; in favour of a
"non-common" activism that tends instead to "decentering",
Language and textuality have to undergo a reversal.
this sense, the basis of what I put in motion is to be found in Derrida :
from this starting point, the text is not a definite system but an "open
circularity continually redefinable and irreducible to a unity" .
It is a chain of postponements that presents itself through difference:
denying any all-understanding rationality.
involves sound-diffraction and introduces textual diffraction (wherever
the text, as it is commonly understood, is emblematic of an omniscience
that I want to undermine.)
conclude on textuality, I quote Barthes:
«It's necessary to free the reader (and the listener) from his condition
of minority, a condition brought about by a kind of rigid textuality that
excludes the user from "the pleasure of the text" and condemns him with
respect to a universe of predetermined meaning.»
consciousness, of which I announce the tragedy, I quote from my notes on
Consciousness: from the Latin "to be aware": in the sense of
self-awareness and awareness of the external world in as far as both are
psychic functions in which every conscious experience of the subject is
summed up. Therefore: to be aware or rather to act and to know with
regards to oneself and the world.
etymologically, the word "consciousness" does not consist in, as in its
common meaning, of an indiscriminate conformism (free of dialectic) to the
prevailing value-system: this system does not coincide in itself with the
realization of empirical and psychic consciousness, it does not unfold and
declare it; it coincides rather with an indiscriminate a priori acceptance
of age-old social mechanisms, even where these happen to be rotten. The
awareness of a moral edifice that tends to undo itself (the values of
western society) and to which it objects in order to stand against and
follows that: in the average consumer culture as it is, there is no
working out of a purely ethical question: a pure moral process turned
towards the consciousness of the possibility of relationships that man
establishes with himself and with what lies outside himself . On the
contrary, as far as we can see, there is a sterile legality that fills
moral discourse with artificial movement and acceptance of the
already-given; and there is, complementarily, the work of psychologists
and psychiatrists .
Voice-matter-nature. Electronics-sound-technique. Language-text-concept .
are the three territories where Aisthànomai (a term emblematic of
perception and knowledge) unfolds and is realised and on which and in
which my law of cognitive non-conditioning
is placed and situated: as an
expressive goal deliberately pursued.
Music? A code.
We are not interested here in how it has been named, variously altered, in
the historical consideration of morphological logic, unless in relation to
the signifying value of each sound or to the relation between sounds, in
the voice as in music.
we speak about signs, in aesthetics and semantics, in the light of
historical consciousness, the categories of popular music are obviously
laughable; in particular, the classification of genre appears to be a superfluous question (useful only for the purposes of filing and to give
an idea of history to the uninformed) which one can face in order to
arrive at genuine cognitive goals without differentiating between
sub-codes and sub categories.
"Philosophical indifferentiation of grammars" .
draw the meaning that is closest to me from the interpretation
of this definition:
Indifferentiation of linguistic codes of a philosophical nature.
Indifferentiation of linguistic codes starting from ?cognitive? research.
of codes (linguistic grammar is the system, emblem of every system)
within cognitive research.
don't exclude a priori the prevailing codes, the categories, from my
research into consciousness, of which my music is a part.
by exploding the correspondence between characteristic and category, and
so also the non-individuability which is followed by indifferentiation (in
the Deleuzian sense as well as the Pasolinian), what comes out, in the
research itself, is the sores and the differences; they gush from the
emptiness of meaning that the categories as they are related to
themselves, in the light of historical consciousness, determine.
ciphers of the dominant language are counted with regards to credits. In
this, the dominant language is sterile. To escape the moral and
intellectual mortality that comes of this, we must work in the sores of
Within the morphological vocal discourse
the prevailing codes are all the way of using the voice, from speech to
the singing styles that belong to every academy (conservative or modern),
from which we derive a conception of the voice that corresponds to the
sophisms in this area, such as: music, theatre, speaking etcetera. A
compartmentalised and closed conception: in which there is no
consciousness of multiplicity or the web, and consequently not of the
meaning of exploration and consciousness.
We have never wallowed in the false waters of anti-conformism as we have
in this age. Where modernity is an object of research and, talking about
the post-modern and the contemporary, The Refusal
become a merely aesthetic question.
I who still believe that to refuse is an act! And that an act is a
concrete action that imposes as it is posed and that creates a rift. To
refuse: all that is not necessary. Or rather everything that looks more
like a gob of spit than a lake.
For a theoretical introduction to the work of Demetrio Stratos: J. El
Haouli, Demetrio Stratos, alla ricerca della voce-musica,
Milano, Auditorium, 1999; for the work of Artaud, the bibliography is
vast, I suggest: D. Jacques, "Antonin Artaud.
Disegni e ritratti"
Abscondita, 2004 - D. Jacques "Antonin Artaud. Forsennare il
soggettile" sE, 2005; for the current work of Monk:
"The voice is conditioned, right from the birth of every man, by a
kind of culturally imposed check tied to its being used intelligibly,
by the circularity of repetition of the same product to which the
filed and modelled subject belongs". At the foundation of indexing,
classification and categorisation there is meaning and the application
of rules. The rule, as far as it is a formula that prescribes what one
is to do in a particular case or in a particular cultural activity, is
connected to the most ancient meaning of constant order that is found
in the unfolding of a certain series of facts. Order is: the
positioning of all things in their appropriate place according to a
determinate criteria. So the regular corresponds to the
individuable according to a criterion; thus order, since it
is established a priori so that this or that might work.
of the voice, of human action and of consciousness are to be traced
back to the cultural indexing and intellectual entrapment which
dominates society. (Cfr. J. El Haouli, Demetrio Stratos, cit.)
To have the voice act means to give it more importance than reason,
than the desire to use it one way rather than another, than the desire
to shape it, to tame it. What's more, I should make clear that: the
most experimental voices today are still those which function as an
instrument; but there is nothing experimental or avant-garde in this.
There is still the sweat of doctrine about this, a service that
surrenders “to a harmonious, and in no way anarchic, aesthetic.
Today the meaning of technology is strongly tied to that of technique,
from which the word derives. In the beginning, technology certainly
was not computerised; tecnologia: tecno e logia, based
on the Greek technologhìa 'treatise of an art'. To enter more
deeply and grasp completely the meaning of the scientific elements of
information and electronic processing, we must break free from the
mundane and superficial conception according to which everything is
given; and turn to the historical premises of the phenomenon of
technology itself. It is in this sense that the concepts of technique
and technology are twins. In common language technique, since it is
tied to the deliberate non-understanding of and unwillingness to
analyse technology, it appears, in all cultural fields, as a code to
be answered to, a false necessity, a duty: obligation to which is
necessary to satisfy a standard. Formal obedience and the
interiorisation of duty are, in fact, typical aspects of submission to
a code. All the same, it must be said that: only by working, only from
the action in course, does technique emerge, which derives from the
Greek term "techne" and from the later Latin word "ars", which means
"technique", something that is concerned primarily with artisanship,
working with the hands, therefore with a kind of "know-how", a being
able to do. In this sense, technique "saves us from constriction",
from the conditions that would fold our mind and our potential as
agents into the facelessness of a general intellectual flattening.
What one wants to hear but does not know how to bring about exists
only because of indoctrination. Viceversa, production, the bringing
into presence of something that was not there before, working,
creating, summoning up, demands disdain in the face of the onrush of
provocation from an imposition disguised as technique. To conclude:
"Technique is conscious, voluntary, changeable, personal and creative.
It can be learned and improved. Man has become the creator of his
life-tactics. This constitutes his greatness and his ill-luck. We call
civilisation the internal shape of this creative life, we
create a civilisation and we suffer a civilisation."
(O. Spengler, L'uomo e la
tecnica, Parma, 1932, p. 47; in A. Trione, L'ordine necessario,
cit., pp. 32-33).
We have spoken about electronics and the voice. To be precise about
"voice-matter-nature". The doctrine of singing, being based on the
counterfeit of a real concept: or rather that the voice is a genuine
gift of nature, the voice is falsely natural: it is held up by a
misleading rule, technique and aesthetic. This deviant concept is just
an example of a constant deviation, present in all fields, that comes
from a non-functioning and unconstructive economy of thought but leads
to mental and practical imprisonment. The voice is certainly natural
in the same way that the human organism is. What is not certain is
that some have potentially greater gifts than others. What is called a
gift is in fact a clear tendency towards what is called beauty and
pleasure in the everyday sense. But the voice's being natural is
something else entirely: first of all it is not based on the beautiful
and pleasurable, which are moral questions of taste, but rather on its
origin and materiality, the possibilities and the potential of and for
its presence and existence. The misleading concept of the beautiful is
tied to the rules of human production and not that of nature, whose
substance adopts extreme disguises in all its "unpleasant" aspects
(reflection on which would in fact undermine the superficial course of
an average life).
the phenomenology of refusals one finds the quality and the
peculiarity of poetic doing»
(A. Trione, L'ordine necessario, cit., pp. 117-118): "The will
to refuse that which does not obey laws that are imposed on us
(revealing the awareness of artistic work), ends up exerting such a
constriction on the person that the work reviewed and corrected
several times and realised without paying any attention to the labour
and the time taken are rarer and rarer, and that regardless of the
density he has acquired, the 'difficult' author is accused of
sterility." (P. Valéry,
Oeuvres I, p. 655; also in: A. Trione, L'ordine necessario,
cit., p. 118; my italics).
In this sense my
musical and vocal work is based absolutely on my refusal in the face
of the non-comprehension of those who despise it, ignorant of the
cultural premises at the basis of that same work.