radia #702 Cold Cuts & DIE ZWEITE HÄLFTE
by Mark Kanak for Radio Helsinki
“Tractatus illogico-insanus” is a mixture of parody (of Wittgenstein’s famous „Tractatus logico-philosophicus“ which he wrote exactly100 years ago in the summer of 1918), also influenced by Walter Serner’s “Last Loosening” and Hermann Burger’s own “Tractatus logico-suicidalis”. In short, it’s the author’s musing on the surveillance state – a situation that is at once absurd, manic and cutting, inherently illogical— wherein all participants acquiesce to being monitored, spied on, surveilled—and in the end, do nothing. In this tractatus, the author is travelling through a night time soundscape where the “Program” is always running, everything is being watched on the hiding everywhere—even in your own head.
In short: the limits of the surveillance state are the limits of our world.
Based on the book “Tractatus illogico-insanus”, upcoming early 2019, Ritter Verlag, Klagenfurt (AT). Full German and full English version.
DIE ZWEITE HÄLFTE
radia #563: ‘At The Edge of the Emptiness of All Things’ by Dieter Sperl & Michael Fischer for Radio Helsinki
For several years now, the saxophonist and instant composer Michael Fischer, founder and director of the Vienna Improvisers Orchestra, and the author and language-performance artist Dieter Sperl have been exploring poetical-musical auditory spaces in a freely improvised interplay of text, sound, and noise. In 2014, the two attempted for the first time an interaction between the feedback saxophone developed by Fischer and the lyrical-philosophical linguistic particles that Sperl extracted from his text-generating machine when the landscape ceases (http://www.hls-software.at/frame_sperl_en.html).
The feedback saxophone is an exclusively analog instrument: a microphone inside the saxophone connected to a speaker near the instrument serves as a tone generator that is modulated by the motion of the instrument’s keys and the musician’s voice. On the basis of resonance and overtone series, multilayered sound and noise sculptures arise. Besides the creation, ordering, and processing of material (attained and to be attained), a network of meanings connected to language and sound is produced, and convergences and divergences in space become audible and experienceable within the flow of time. Sperl, for his part, constantly generates poetic images, thoughts, and scenes, repeating them, abandoning them somewhere or other, taking them up again, and suddenly cutting them off, or he lets them oscillate in his oral space: paradoxes, platitudes, proverbs, idioms, and everyday wisdom are always located in their radius of action between construction and deconstruction, where the Now unfolds its full powers, flaring up for a moment just to disappear again in the next instant, as if they had never existed …
Fischer: “A meandering agent of reflection and creation, from the innermost to the outermost, from the outermost to the innermost … in the space between, the being of what is expressed, in a constant transformation of its appearance …; a field of probability formed from the linguistic metaphors of the texture of the sound/noise and the tonal texture of language.”
Sperl: “When we play together, I simply sit there and watch what is happening. I plan nothing and let everything happen.”
Translation by Geoffrey C. Howes