In 2017, the Pic Ardie will see one of its oldest institutions close prisons: the prison in Compiègne, opened in 1867. Its capacity is 82 seats. Specify the imm- ediately: there are almost no sources addressing the history of this institution on the Internet. However, many online articles have different reactions surrounding the closure of that institution. The assembly could establish the 'story of a rescue that was never envisaged. " The conversion of the site even appears to be already found. A document available online e is a reference sure to present this property: the inspection report of the Comptroller General of places of deprivation of liberty.
(Gateway to the prison at Compiègne)
A majority for closing
If one refers to articles, differe nt reasons favor the absence of local reaction to the safeguarding of the prison. The main without doubt the future of residents living close as a liberation. Indeed, a neighborhood resident ntiel is built around the prison. Its residents suffer steadily increasing and inconvenience inherent in this situation.
"... Twenty-three old prisons will close and r e mplacées by new detention centers more modern. That of Compiegne, located in the heart of a residential area, closed in 2015 (...). Good news for local residents, who almost daily have to suffer the vagaries of the prison system. Rose and Antonin *, a retired couple, take this news with philosophy. "There was a proposed city court, but it's forgotten. One thing is for sure, no regrets ra no prison if she moved. It was used to stealth declaration of love on the street or to the horn. And the days of parlor, found cans and étritus our doorstep. Visitors are even mounted on cars parked in the street to throw the packages. It happened to one of our neighbors! But overall, we are less exposed than others. Some even have common walls with the prison. (...) * Names have been changed. "
added that since the beginning, a major element does not seem play in favor of preserving the prison: its age. As the other 22 schools ordered to close, replace the jail in a state would need a lot of money. But even if this problem had been resolved, another would have persisted: the lack of space to accommodate remand and sentenced. As suggested by the words of residents of the prison with the promiscuity Homes is already very important, there is no possibility to enlarge it. Politicians prefer to turn up the page and look ahead. Thus, their support goes to the draft con struction of a new prison at Beauvais in 2015. Its capacity is 700 places. Nothing seems precisely determined yet. Ajou tones that the municipality has long seemed to want the closure of the facility to carry out urban development projects (more consistent with the wishes of residents):
"Even before the announcement in July of this irrevocable decision, services of the municipality had anticipated the demise of the old jail 143 years. "We prepare ourselves," admits the aedile *. Our local plan provides for a vocation of individual dwellings on this site. Once the Department of Justice will sell its land, a tender will be launched. Four homes or small buildings "The site area is 4000 m2, we expect four houses or a small collective in harmony with the architecture of the neighborhood," he says. " (* Philippe Marini mayor of Compiegne)
If the functional argument is used to justify closing the prison, he is also invoked to encourage its continuation. Thus the prison staff, among others-conscious of having to work in Beauvais, sixty miles from home-that most is in a dehumanized future establishment-have tried to form a resistance against the decision to close the prison. As some articles have even been able to find support among the local magistrates.
"Why close the prison at Compiegne? That is the question that arises Erika Pin. Penalty enforcement judge and representative of the Union of Magistrates, she visited the scene Monday. Routine visit as part of the duties of a magistrate? Not only.
late July, the Attorney General, Michele Alliot-Marie, announced the closure of 23 prisons in the next few years, including Compiegne. Too old. "An announcement of the blue, without any consultation, regrets Erika Spindle, display policy. "
The magistrate has the less the decision, she found " a clean ": " I not seen crusty walls, as at Amiens, where it has not changed. In each cell, there are showers, toilets and separate closed. Inmates complain especially of the parlor is a common room and lack of privacy. (...) "
Despite these protests, it seems clear that closing the prison will take place. It remains to be seen what will happen to the projects planned for redevelopment the site in the coming years. One can imagine that the memory of the prison quickly disappear minds, especially as Compiegne has another place to proven historical significance-linked to the memory of the prison: the former internment camp Royallieu .
Here is a project of underground house which is close to my heart. I wanted quiet and generous, with the idea of wasting the least possible area of garden. The house has only a single south-facing, fully glazed and offers bright spaces. Only a glass house at the bottom provides additional overhead lighting in the axis of distribution spaces.
Any length, it opens so generously onto a large terrace and landscape. The advantage of being buried lies mainly in the thermal aspect of the building. Indeed, this depth, the temperature of the earth is constant, and the house benefits from an exceptional thermal inertia, we could not reach surface construction cost. The advanced band concrete south wall also protects the facade in the summer when the sun is highest in winter while the other hand, it lets in, and then heat the house. A buried building, however, requires much isolate the building from water infiltration (polyethylene sheeting, waterproof treatment), but generally the cost of such construction is slightly less than conventional construction, the economy developed facades in particular.
The house arrest of Dijon announced closure, endangered heritage
Located in downtown Auxonne street, the house arrest of Dijon should close its doors by 2015. Is this a good thing? Opinions differ among prison staff, the neighborhood of the jail and prison. What worries is the future. How will the new prison is to take over? What will happen to the current prison? The house arrest of Dijon is a site steeped in history is not without interest. Let us first about the history of the site to better understand the challenges of this closure.
Satellite Image the house arrest of Dijon (source: maps.google.fr)
1830, the state decided to "give every department in a prison cell type capable of making prisoners think about their crimes." It is within this context that built the prison at Dijon. Project in 1847, the plans of the architect's department, Jean-Philippe Switzerland, are approved in 1851. All of the materials used and all companies for the construction of buildings from the department. The work was completed in 1852. Adopting a system like cell Pennsylvanian Prison Dijon is regarded in the nineteenth century as one of the most modern in France. Before 1850, the city of Dijon reuse of old buildings such as hotels or convents, sentenced to jail. Shortly after the prison opened in 1860, a semi-oval is laid out in front of buildings. The prison is owned by the department until 1945 when the site is sold to the state.
Improving living conditions of inmates and prison staff pushed by a riot
Few maintained, the house arrest of Dijon deteriorates gradually during the twentieth century. In the 1980s, despite the expansion of the chamber to reconstruct the women's quarters, overpopulation is more than ever the reality of the prison with an occupancy rate of over 250%. Inmates are often three or four in cells of 9 m2. So it's no surprise, broke out in 1996 to house arrest Dijon, one of the largest ever for the France riots.
On 7 April 1996, in mid-afternoon, an inmate belt a supervisor returning from the walk while another grabs his key ring. The riot prepared by a core, quickly followed by other inmates. Prisoners and rampaging fires on the premises. The police are obliged to intervene. 8 hours after the start of the riot, the prison is completely evacuated for the first time in its history. A police officer, one supervisor and five prisoners are wounded during the event. A cause of fires, the prison administration is obliged to completely renovate the prison. This will cost 25 million francs or about 4 million. During these months of work, the prison is virtually closed. It will resume its normal activity in 1999. For this work, we try to ensure that such riots will not happen again enhancing safety but also by acting at the source of the problem: poor living conditions of prisoners. The number of supervisors is increased, cells are equipped with toilet partitions, showers are renovated and recreation are diverse. But these upgrades have been sufficient? That is the question that arises today.
The closure of the prison at Dijon, good or bad?
In April 2010, the Justice Minister, Michele Alliot-Marie, decided that the house arrest of Dijon would close no later than 2015. It should be replaced before then by the construction of a new building.
Some see this closure as good news. The problem of overcrowding at the prison in Dijon is still valid. The number of inmates was 317 on 1 January 2010 for 188 seats theoretical or an occupancy rate of over 165%. Today, there is a period of 7 to 8 months between the time a sentence of imprisonment is imposed and when it is executed. European standards are not met. The new prison will be built in the Dijon. Family ties can be maintained. It's also good news for local businesses that should be asked to build new prisons. Some neighbors of the current prison are also satisfied by this ad. Indeed, some have complained of noise pollution caused by inmates who insult or whistle schoolgirls who train on the sports field next door but also by relatives of prisoners shouting outside the prison to be heard prisoners.
But everyone does not share this opinion. The prison staff opposes the closure of the prison. For them, the abandonment of this site is a waste. Indeed, the prison has been largely renovated and modernized after the mutiny of 1996. In 2009, two million euros have also been attributed to the prison sector Dijon most of which was to renovate the prison. In between, large sums had been paid for the roof, CCTV and video conferencing. , Recent developments show that the site is not as outdated as you thought. Supervisors Dijon talk about the jail as "a human-sized" and "a tool for quality work." The corridors are clean and well maintained throughout. Certainly, the prison is overcrowded but less than Many French prisons. The site is very viable. Some prisoners claim themselves as living conditions in detention are not so bad. The shopkeepers also complain about the closure. They fear the economic impact that this closure may cause.
What fear, as the unions of the house arrest of Dijon, the new prison. The new site should have about 600 seats. The prison staff condemned "a human factory," which eventually will host the usual two times more inmates than expected in actual theoretical . The new prison should also accommodate the inmates of the house arrest of Nevers (see article " The closure of the prison in Nevers: far heritage concerns) which must also closed in the next five years. While we advocate the importance of maintaining family ties of prisoners building the new prison in the Dijon, we agree to send inmates and guards from Nevers to over 2h30 home.
Despite these objections, the decision is taken: the prison close to Dijon. It remains unclear exactly when or which will be built the new site (three plots have been cited to accommodate future prison). Another question arises: what is the future of the buildings in the prison?
The three sites mentioned to build the new prison (personal fulfillment from www.mappy.fr )
sale to a developer: a probable future prison heritage exceptional
What will happen to the buildings of the prison in Dijon? In April 2010, it was announced that management inter prison services, located in the most modern buildings, would remain within the confines of the jail, street Auxonne. It should even be expanded to receive the services of the judicial protection of youth currently based in Orleans. The remaining buildings will most likely be sold. Land in downtown that could have success with developers. Some rumors say that the site will be rehabilitated, but so far nothing has been determined in this way. What is certain is that nobody talks about the backup site for what it is: a unique prison heritage.
Indeed, the first buildings have significant architectural interest. They have a typical architecture of the model prison Pennsylvanian with a system of solitary confinement and a cross plan around a central pavilion, the mid-nineteenth century. This architectural complex is unique in the Dijon. The historical significance is also noteworthy. The history of the prison fits perfectly in the history of detention in France: the creation of a county jail in the years 1840-50 in line with the thinking of the time, deterioration of living conditions and overcrowding in the twentieth century, and it is also a site where they underwent one of the largest riots in France.
The house arrest of Dijon is an exceptional heritage, as well as its future is uncertain. Even the announced closure in 2015 did nothing definitive. The new facility has not yet begun, and by then many elections have been held, including presidential elections. And we know as the change of elected officials can reverse many decisions.
Cravant The dungeon, a medieval heritage and Prison
Village of the Yonne, Cravant is marked by an important medieval heritage.
Indeed, this medieval village of 830 inhabitants had a rather rich history during this period. The Battle of Cravant of 1423 has been a particular event important during the Hundred Years War. This is one of the first battles after the Treaty of Troyes of 1420 was broken. It ended with a victory against the English-Burgundian.
The Dungeon Cravant is built in the early fourteenth century. It is a centerpiece of the old fortifications of the village. It is fast in prison for the diocese Auxerre. The Knights Templar were locked up in the late thirteenth century and early fourteenth century. It still retains, on the walls of jails, graffiti made by these knights prisoners. From the fifteenth century, the tower serves as a prison but also a lookout tower and manor house. Despite the lack of defense system, the tower is used during the Hundred Years War and the religious wars of the sixteenth century. In the eighteenth century, the tower is transformed and is no longer used as residence. In 1991, the dungeon Cravant is classified as historical monuments, historic medieval more for his interest in prison.
The dungeon which makes it unique octagonal turret, stands on four levels. Upstairs, the room has a huge Gothic fireplace and served as home to the jailer and then to sergeant. During the Revolution, this room was also used to hold municipal meetings. This is the second floor you can see the jail. It also stores supplies and weapons. Later, this level was used as rooms for the canons of passage. In the basement, you can see the foundations of the keep sinking more than 17 meters, and the latrines are not forgotten as it was believed for a long time.
Today the tower is privately owned. Colette Bechet, the owner, is passionate about very attached to the heritage of Cravant. It ensures proper maintenance of the tower but also to know all the secrets, as shown in the following article about research on the famous dungeon of oblivion. She also tries to open the site to the public whenever possible. The owner of a tour of the dungeon during the heritage days but also by appointment when it is present on the site. These are the basement and the Gothic hall that are open to visitors. In summer, the tower hosts exhibitions which will keep the site open to visitors.
article by Jean Pasquier, "A still mysterious dungeon" in Yonne Republican 1999 (source: cfpphr.free.fr )
The final section summarizes the famous execution rule written Adorno in 1938 (and not 68 as mentioned by the author), and refuted point by point (the original passages in German are available in notes):
IV. The music of Sibelius and modernity.
One question remains unanswered: what is modernity Sibelius? We believe that modernity is best expressed by Sibelius to be sought in the seventh symphony. This work is modern in its autonomy. The symphony creates its own material. Its necessity is purely internal. By this we do not claim that Sibelius is a mere passive recipient of ideas natural that would have imposed on him. This is not to say that the work belongs not its creator. We just want to say that the measures implemented following a logical, discursive dynamic movement that is induced by the state of the form. A form that would develop an uninterrupted succession of surprises plunge the listener into a wandering unacceptable. We need anchor points and a notion of continuity which tends towards an opening. In Sibelius we are not far from the ideal, and therefore it is a beacon for contemporary design, creating haunted by the problems of form and dynamics. In the symphonies of Sibelius shape is constantly changing during the course of the work. But this change is accompanied renewals leading the work to other states (the climax of dynamic waves) in a direction induced by the formal content. The ultimate size of the music of Sibelius is located in the dynamic relationship between time (the foci) and duration (the time of the form). Composer before Sibelius had a profound intuition of the dynamic relationship of time in musical form is the fourth and ninth of Bruckner symphonies. It is no wonder that Sibelius had a great admiration for him. There are moments where the music of Bruckner, by kinds of sudden appearances that really through the flow of music, fate truly forms imposed. Mahler suspends, cancels, the bidding takes away the irony built forms in the forms, but do not transgress.
In traditional symphonic forms dynamics is not purely formal. The proof is that the forms can be plated on the course of music. Anaphoric processes bring to the recapitulation of the same themes. As a consequence of different works can have the same shape. In Sibelius, each work has its own form and is governed by inducing materials own logic. The first symphony (1900) has yet to be located among the great symphonies of the Romantic repertoire. Its shape is traditional, but this work is remarkable for its art of transition, the proportion of finely nuanced tempos, strong thematic unity and a high concentration of the material. The second symphony (1902) has been much talk of it for its formal strangeness. All elements of sonata form are present in appearance, but the treatment of this form is completely innovative for its time, especially with regard to the first movement. The exhibition presents itself dislocated and fragmentary. When the time comes the recapitulation, the composer presents the various events of motion and by superimposing them hear both development and recapitulation! Already in this symphony, genetic principles are present. The form develops starting from a fabric similar to a mosaic of fragments that give a feeling of improvisation. The whole shape gives rise to a massive and dynamic sound dense or each pattern is a square and emerges from each other. The tone is never questioned, but the modal colors appear here and there. Compared second, the third symphony (1907) represents a complete renewal of the language of Sibelius. The first movement is constructed in appearance as a kind of sonata form, but actually subtly changing the discourse by a genetic operation. The fabric is very dense sound and an amazing concentration for that time. The rigor of articulation of musical discourse combined with the lightness of this music has earned him the name of classical symphony. The work has a strong internal cohesion made possible through an organic unity. The construction unit is made using methods independent of the usual means. The tone is still well established, but the modal scales are also widely sold. We have already made extensive reference to the Fourth Symphony (1911). Still say that this work represents a further renewal of Sibelius's language and is denser and more complex than the earlier symphonies. She always uses genetic processes operating. The tone is in question. The Fifth Symphony (1919) did not pursue the path of the symphony before. While the symphony from 1911 was built without polyphony, that of 1919 is richly polyphonic. The transformations of the sonic texture of this work are subtle and very complex. Ideas appear and are distributed in the whole of the thought form organically. The organicity of the fifth symphony is the reappropriation of past events in the unfolding of the musical flow. Whole sections are tonally indeterminate. The Sixth Symphony (1923) represents a further renewal of the language of Sibelius. It is a work light and full independence in which employment dominates the ropes; Sibelius considered itself as a pure spring water. Despite a lackluster speech and a very sober, this symphony is developed in a concentrated and homogeneous structure. The complexity of events fabric is woven in the tangle of cords. The work is written entirely on modal scales. Finally, the Seventh Symphony (1924) presents itself as one movement. In its compact form and highly concentrated, and exploitative work exceptionally developed genetics, Sibelius manages to achieve the unity of the symphonic form. The work
Sibelius Symphony is modern by the materials used and the independence of the creativity behind it. Evidently, Sibelius symphony than the material of his time. In 1907, when he wrote the Third Symphony, his first great work of maturity, his only rival in symphonic form is Gustav Mahler. Therefore, we are against the ruling unjust and deeply contemptuous uttered by Adorno against music by Sibelius extremely violent in a text written in 1968 [32].
Adorno finds the music of Sibelius hollow, formed of poorly aligned sequences of sound, without logical sequence of agreements . It is music without backbones, colorless, featureless and animated by a rhythmic continuity hazardous [33]. Sibelius was a composer dilettante, a bad student who does not even write correctly a simple composition for four voices and would be returned home to hide its mismanagement [34] ... We could multiply examples revealing the absolute repugnance music by Sibelius on Adorno. Sibelius would be a by Stravinsky, whose productions are even lower than those of industrial music and light music [35]. The symphonies are incomprehensible things that give the illusion of depth. Adorno puts this pitiful look amateurish with the echo received by the world music of Sibelius, except in Germany hastens he nonetheless stated, visibly relieved that the decline hearing has not yet reached the country Beethoven. In reality, the music of Finnish composer is a musical effect. What matters is the appearance, but in Sibelius's all fake and inauthentic . His music will sound new, but it is outdated. Under the guise of modernity, it is actually the triumph of conformity [36]. The mundane wants to go original. The main criticism made by Adorno to Sibelius is to believe in the rescue of a tradition that is no longer valid. In other words, Sibelius composed with a substance that aesthetics belongs to a tradition already passed. In fact, his creativity would be determined by the feeling that the old ways no longer suffice to create modern music. Using a retrograde material that does not even control, Sibelius would then give the illusion that can derail a hunch that this material is exceeded. The result is doubly negative. On the one hand, the kind of music by Sibelius leads the listener in a regression of his trial hearing. On the other hand, the resulting music is absurd and nihilistic. It is absurd, because while lacking the means of its claim, it tends to want to transform a world in which there is nothing more to transform [37]. It is nihilistic because it represents the destruction of the harmonic system of acquired long struggle tempered by humanity. Sibelius is a traitor. He denies everything that makes the language of music from Bach to Schoenberg . Adorno ends his harangue against the music of Sibelius, calling it subtle and dangerous . Sibelius betrays the true musical tradition by incorporating it absurd and decadent the achievements of the tradition [/ b] [38].
against this verdict without appeal to Adorno, we showed that Sibelius does not fall in a revival of traditional materials. The methods used by Sibelius may seem strange that if one insists on putting them in the post-Romantic tradition. However, Sibelius, especially from the Third Symphony, uses techniques that are closer to Debussy Brahms: questioning tone, harmonic progressions foreign functional harmony, modal scales systematization, use of tone scales. Despite this proximity to the language Debussy, language sibélien borrowing remains strong idiosyncrasy. The "deviant" by Adorno observed are justified in specific ways that liberate themselves from inherited structures of functionalism harmonic. Sibelius's symphonies are not backward because they do not return to a material used by the Wagnerism. It innovates by extending the classic tone by pushing the boundaries yet unexplored. The true here is rather backward Schoenberg, for he wanted to return to bases harmonic sound that is to say prior to the vagaries of chromaticism. By comparison, Sibelius explores the ways that lead by a language in constant renewal in the generalization of the terms, the ambivalent tonality / modality in atonality and extreme chromaticism. By this he does not deny, as the accused Adorno, the articulation means inherited from the harmonic feature, but he discovers new. More than that, temporality at work in the forms of Sibelius symphony is very far from traditional classical, romantic and post-romantic. His way of expanding the time and involve different levels of time in the same texture is unknown in the dialectic forms of the Germanic tradition. Again, insist that this temporality Sibelius is the result of genetic forms of employment growth and developed by the superimposition of a multitude of fragments. The powerful organization and the formal dynamism of these exceptional works, especially in the seventh symphony, allow continuity of musical fluidity. This efficiency results in a formal density unknown in the 20s. As we shall see later, the exploration of timbres and articulations harmonic innovated by Sibelius has another news in the most contemporary composers of our time.
Insofar licenses taken by Sibelius with the conventional material used to address structural problems posed by the heterogeneity of the traditional symphonic form in his time, they participate in the historicity of their time. Certainly, we must agree in saying that only a few symphonies and other major works of Sibelius, in our view, a real aesthetic interest. This represents approximately twenty works on approximately 630 included in the catalog of works by Sibelius [39]. These are some important parts essential to the solutions they offer relative to the historical problem of exhaustion at the end of the nineteenth century the possibilities of the report of the symphonic form and functional harmony. We have seen how Sibelius proceeded to ensure effective internal consistency works by connecting the different parts of deductions, as well local and global, of symphonic forms. So very obvious, Adorno remained, meanwhile, attached to the functional harmonic system, including the rigorous application based on this material in its time is the very principle of what he calls Great Music. For Adorno, Sibelius arises as revolutionary, while the music sings the credo of conformist. But it is clear that Adorno does not perceive the formal originality of his music. Being himself the heir and fierce defender of a traditional musical dialectic, could he really be in the background otherwise? Moreover, his decision seems to admit as modern music than that which upholds the principle of dissonance. Schoenberg's response made by the extension of the tonal system to harmonic relationships are not centered on the tonic is certainly a solution of excess. This response is now well known and has been widely reported. In contrast, the response of Sibelius has long remained marginal. Yet the gesture made by Sibelius Music is indeed a critical dimension. The recovery of the internal organization of the symphonic form than the traditional disparate forms. The concentration and unity Organic forms developed claiming greater autonomy and an art of transition more efficient and dynamic. The methods used rely more on internal resources works independently of outside elements. The methods used by Sibelius allow the development of large forms accessible to the memory and intuition of the listener. For these symphonies, Sibelius offers a modern open new areas of creation. It is interesting to note that historically what the response of the theories of Schoenberg, serialism is, then the result serialism in the 60s to an aporia due mainly to the extreme rigidity and rejection of the subject component inherent to this way of composing. For cons, the influence of Sibelius is still important in the field of contemporary creation. His art of the transition and operation of microstructures, control of dense textures, its harmonic relations associated with the dynamic formal sense proportionalities dynamic and rhythmic, all this inspires some important musicians such as Henri Dutilleux, Magnus Lindberg, Pascal Dusapin, Tristan Mirail or Hugues Dufour. This influence remains strong and enduring music of Sibelius seems to offer the best unjustified-judgment denial of Adorno. Sibelius is undoubtedly not only an artist of modernity, but it may even be regarded as a contemporary symphony. Unfortunately, Sibelius is one of those characters ignored by musical aesthetics. Reassess the contribution of the Finnish symphonic would in itself have interesting consequences such as taking out of the shadow of strong musical personalities such as Busoni. To understand the novelty of the musical work of Sibelius, it is probably necessary to track and to rediscover the thought of Busoni, his best friend, who was himself a great musician and a very cultured philosopher. There is an obvious relationship between the formal processes at work in the symphonies of Sibelius and the thought of Busoni. We conclude by quoting a text by Busoni in 1907, which could serve as a guide for reconstructing the configurations of musical thought of Sibelius: "It seems to me that each theme contains a pulse, a germ, a seed. Different seeds produce plants by their separate forms, their leaves, flowers, growth and color. Even within a plant species, each plant maintains a development, shape, specific force. Thus, each theme contains a predetermined shape completely finished, everyone must develop differently, yet each reflects the need of perpetual harmony. This form remains unchanged without being yet always the same "[40]"
1.2)
Echoing one of the last texts of Philippe Lacoue-Labarthe: " Notes on Adorno and Jazz (an obscure disaster) .
We can not find it in its entirety on the net. subsist in the first page:
In 1953, Adorno coined the concept of Entkunstung, a neologism which, moreover, to my knowledge, does not appear before in his work. This happens in a sensational article entitled "Timeless Fashion ', which publishes the magazine Merkur. Adorno - let me summarize his thesis as well, for starters - it denies the right of jazz artistic existence. He does not, or not quite plainly: jazz is not art, yet that is the lesson most widely spread and that, for example, that immediately critic Joachim-Ernst Berendt (which Adorno himself obliged meet a few months later [1]). He said and I quote here the concluding sentence: "Jazz is the false wind of art: instead of achieving the utopia disappears from the image. "This is, I believe, a somewhat different scope. *
Entkunstung : the concept - not the word, which will be used later in the Aesthetic Theory - Appears just before the conclusion in the proposal: Kunst wird entkunstet that the French translators render by "Art is deprived of its artistic character. "Although it is nowhere attested, that word - this concept - is perfectly proper training in German, even if none exist kunsten verb nor noun Kunstung, by which we designate under the process of formation art than this, more radically: it yal'art. Ent particle, however, clearly indicates a movement or a process, in this case negative: disappearance, remoteness, deprivation, deterioration, degradation. Our prefix makes a fairly faithful: entarten, for example, in the infamous phrase entartete Kunst, resulting in degeneration. By that, I just want to indicate that the concept - or the word - which in fact dominates the whole aesthetic theory, the last thought of Adorno, strikingly consonant with other keywords (or concepts) of the dark years of this century: the Entzauberung Max Weber (the "disenchantment of the world"), the Entgötterung Heidegger (referring to what had Hölderlin such as leakage or withdrawal of the divine), or even Entmythologiesirung - the 'demythologization "- at least the meaning of Protestant theology inspired Heidegger (Bultmann) than that conferred on him Benjamin, when trying to think, as the "testimony of mythological", not the modern crosses (again) that leads to Hölderlin and prose (or to "the Idea of Poetry"), he likened to "sober . In all three - or four - cases, we see that it is to find the concept, or the word, a world of ours, now deprived of sacred or religious content (if it ever was) and delivered what some are calling and other market society or the world market, the reign of technology the administered world, etc.. In short, to what Nietzsche had begun to describe as the nihilism.
Therefore, since I can not bring myself to adopt the translation of Mark Jimenez in the French version of the Aesthetic Theory (which he makes by Entkunstung "désesthétisation," which means something else), I propose, and not simply per game vain désartification. Resonance is marked with "desertification." I think the prophecy of Zarathustra: "The desert is growing! Woe to him who protects the wilderness! This formula means arrival - installation - nihilism. Indeed. I venture, therefore, out of respect for the vigilance of Adorno, talking about Desart [2]. The question would be: Is what the Desart grows? And jazz is it an indication of such Desart? Of growth? *
Entkunstung (désartification, Desart) refers, in its first Adorno, decay or collapse of the art, dissolved in what the Kunstkritik calls "cultural industry". So far, but it is extremely fragile, that art can be grasped in its concept as "autonomous", that is to say, freed from the tutelage "magic" or religious (which is not to say metaphysical) This happens heroically with modernity, désartification is the process under conditions of capital and society administered hétéronomisation of art. If you like, one word: his becoming-merchandise. With its inevitable consequence Ethics and Politics: the ruin of emancipating or liberating utopia he was carrying for some two centuries - the destruction of its force to protest the termination of his spiritual energy, forgetfulness of his messianic vocation. The désartification is the end of a promise, even worse than it is unnoticed, a kind of betrayal engineered without the knowledge of those who betray.
This is exactly illustrated jazz. Let's go. *
[...]
2. Variations.
We will extend this friendly chat later on the issue of 'clean' and 'the unfit, "the" authentic "and" inauthentic ", Heidegger, thinking Derrida. Thinking Thinking Derrida to Heidegger, we will think of Adorno, too. Adorno criticized the "rhetoric of authenticity" in Heidegger (or "jargon" does not chipotons). But sometimes it happens that the one is what we unwittingly condemns in the strongest terms.
We will consider, on occasion, on the basis of aesthetics and philosophy Art for Adorno. [This is not to deny the value of this philosopher, who had the courage to take risks, to assume positions that did not please everyone. These are challenging what we consider to be distractions, the blind masses, about several important issues, musical or non-musical, keeping us at heart. We will grow without nuance, rather hyperbole, we allow it in the excesses and contradictions not necessarily "dialectics" of the author of Minima Moralia, great philosophy book critical of the twentieth century, lucid, tragic and vehement. So that no mistake not on the lines that follow. They are also to be taken "cum grano salis"].
We ask, always thinking of Derrida and Philippe Lacoue-Labarthe directs us (in spite of himself, presumably) to outline the critical suspicion, which would eventually springs "metaphysical" in the sense of a metaphysical ininterrogée in these aspects of the Adorni, but also the reflection of a Benjamin on the Work of Art in the Age of Mechanical Reproduction, whole metaphysics of "Angel" and "Aura", which authorize and obsession, of messianism and kneaded sacred, a place of Art, an Art désartification threatened by the breeding industry, which made us "lose" so tragically Origin pure hitherto preserved from decay, degeneration of nihilism, the "everything goes to hell with my good lady water to all this music c't'heure slight lift to the station in Braille."
However, understandably, Adorno, that. When you are German, the concept of "light music ," it squeaks. It's like " TanzTraüme " a horrible cacophony. A contradiction. A circle-square. A antinomy of pure reason. Shameless caricature, as Adorno knows so well when he's flying in consternation "folklore" of others: it gives the great Bert Kaempfert Orchestra, to enliven the evenings of tango Südwest-Rundfunk of background music or porn Tyrolean Sex as a delegation of mammoths rushing together on a Apfelstrudel , wearing spiked helmets. Or Peter Kraus singing "ich bin allein. It's horrible, traumatic. There's no words to describe it.
But do Adorno knew nothing of the "jazz" in its diversity and complexity, can be exactly hold it against him? That's precisely the problem. And he would not know, none of it. He had his prejudices about it and never stood firm. This also taking a fundamental point of his teaching music: the traditional dichotomy, cut with an ax, between "composition" and "improvisation", which characterizes the fair or the "jazz" or the "classical" nor No Anything else, for that matter.
Adorno lived at the time of Monk, Parker, Coltrane, Mingus, Ellington. He never bothered to listen. He was not curious . For him, that there simply not. As for discourse on jazz as an expression of militant black minorities, he openly despised.
Yep, that Adorno also had his "Jewish", as Husserl had his "gypsy", and we shall repeat the obvious, which is not a commonplace, without worrying that Josyane Savigneau of operetta Syldavian forum, glaze the marmoset Philip Jewels hackneyed, do we tax "Lucien Rebatet" or "Gobineau" of the Cybernetic peel. The "Jews", it does not mean the Jews. By this allusion to the book of JF Lyotard, Heidegger and "Jews" , I mean here "Jews" everywhere and always those who, from the standpoint of the dialectic of history (musical or otherwise) of Adorno would not have entered this history and would not participate in this "dialectical" .
Thus, lack of curiosity, imagination, ethnocentrism unworthy of a serious musicologist, Adorno did not seem to conceive a second, he who had a horror of "cosmopolitanism" and Gershwin's an abomination, that a "light music" could be non-German, ie light, so. And sometimes "deep" without being "heavy".
(Of course, we will not discuss here the wealth of all the current German jazz, the metamorphoses of the "third stream", promoted by Ghunter Schuller, Friedrich Gulda and others in the mid 60s. Hard magnificent Albert Mangelsdorff Günter Hampel, the heyday of "free jazz" European, Peter Brötzmann, Joachim Kühn, the companion "mfp" improvised music, this great bazaar where crossed all the great composers / improvisers here and elsewhere, exiled or destinerrance; later Eberhard Weber sparingly distilling its subtle "color", secretly nestled in orthodoxy a little too aquatic Company Munich ECM more recently Christopher Lauer, etc, etc, without forgetting the nearby Swiss Mathias Ruegg and exciting "Vienna Art Orchestra").
We will question the fact that risk incurring the "culture industry" of contemporary nihilism close to us away from this pure and noble origin of Sacred Art, precipitated this terrible fall in the hollow and shallow imitation of Sibelius, a Stravinsky, or the recording industry's "jazz."
We ask some questions that will not upset or angry about not possible artocentrisme or an obsession with clean original purity tainted by the avatars of a consumable "modernity" leads us right into the wall of barbarism constantly threatening and always ready to reappear, as the vile beast, the bowels of the massification of consciousness alienated by the "hoopla zimboum Pouet Pouet" electro-acoustic instruments and other wah pedals alienating the new generations and destroying their relative pitch.
We will ask whether Adorno, who disliked both listen to music (even "new", ie always, purified, and finally, slag balls bagpipes parasitic) radio, because reproduction degraded palimpsest of Art - this is something that can not live at depths of authentic presence, pure interiority, score in hand and eyes closed, or in the ritual of the concert, pure moment of unrepeatable communion of souls - was not responsible, after all, an old reactionary, before, tomorrow and always, even at the edges and squarely in the middle of the center.
For attention, I hear (echolalia or tinnitus, I'll have to consult) with beautiful souls that whispers to pronounce offended by the umpteenth variation of the "thought" of Mr. Luc Ferry, contemptuous of the "Moderns". But if Ferry tap with a hammer on the "modernity" in art, Kant pleading to explain that art is "beauty" (skipping the "sublime "), ado, Duchamp's urinal or sonata" keyboard closed "Cage, we systematically tightens on all plates as examples of" innovation "that would not be the Art, this is quite the contrary, not only desecrate the "pure idea" essential "art" but also indicate that through the (already old) formalized references of "modernity" and "novelty" (musical), operates perhaps the most uncompromising reaction to this phenomenon we call "modernity".
When Derrida attacks the concept of a "dialectical difference" for him to oppose a "non-dialectical difference," he perceives in the Hegelian dialectic logic of identity and interiority. The movement of aggregation at work in The Phenomenology of Spirit , for example, would be one by which the Spirit appears to itself gradually to himself - as happened to the identity of immediacy and mediation. ; But what does such an "identity"? Here we will touch on the issue.
In this version of Hegelianism, the Spirit, seizing at once as "immediately given" illusion of immediate knowledge that was not already aware of being worked by mediation of the sign, is gradually revealed in its purity, that is to say without all the rest of the "Real" Nature itself "reflected" in and out ultimately confused. Which was designated by the temporal representativeness of the sign as a given outside to it and it does not reduce, finally returns to the interiority of the Spirit-A. The concept, hitherto alienated in things, then operates the "notes" time, which was his protest improper. The "negative work" main claim to fame of Hegel, giving the concept a History, fractured as seldom close identity of the "substance" Parmenidean, to put it quickly, and paradoxically seem to devote themselves to "finding forever" and rebuild the beautiful united all Greeks. Nietzsche already included the "dialectic" in terms of a machine to produce "the same". It became the traditional herald of the "panic" of the dialectic, and in his name, associate the Hegelian dialectic to "totalitarianism" mummifying large closed systems, enemies of "open societies" became a sort of bridge-to-asses have. Under the aegis of this "Nietzscheanism" liberator, Adorno already rattling against the return of identity. Hoping to find the separation power of Hegelian negativity in empowerment, it fomented a "negative dialectic" that gives the appearance of an anti-dialectical Hegelian dialectic Hegelian decapitated when he removed his "third time", one of the famous Aufhebung . This isolation and withdrawal did only one direction? The movement of the Hegelian dialectic is a temporal process "all cast" it is not composed of three "phases" separate decomposable on a timeline segmented, like a Zeno of Elea. There is not a statement (of identity), followed a negation (this claim), followed a negation (of this negation). The dynamic overshoot suppression and keep evenly through the three stages, distinguished for educational purposes only relieve the joint of the single movement that the plasticity of what Hegel calls the "dialectic". It s 'act then a totalizing movement "open" rather than "closed": that, not subsumed under any part, becoming-other, the movement of difference, under the category of a static identity, but rather "sursum" to use the term "barbaric" by PJ Labarrière, that is to say, continues to capture the "thing" above its immediate gift, to ask the identity of immediacy and mediation. And there is no guarantee that such a motion is "inherently" sub-ordinated to a principle of identity already defined upstream. From there, it might be possible to sketch a question early on so great a difference between a difference "dialectic" and a different "non-dialectical. least in the Phenomenology of Spirit . But it's not my point.
Returning to the "negative dialectic" of Adorno, I pose the question of the superficial meaning of the "negativity" as he promotes. One might think, for example, that Sartre, who "dialectical" Being and Nothingness, applied a similar procedure in respect of Hegelianism: devoting a negative gap of "notes", the split insurmountable the "self" and "for himself". The difference between Sartre and Adorno's conceptions of negativity, however, is capital. Sartre n'autonomise or purified not only negation. He secondarisation instead. Being is Nothingness is not. Nothingness presupposes being, it does not presuppose. Any denial is denial of . As in Kojeve, which is of course dependent on this (not others), hole is the negation of be or in be, but it does not deduct. Negativity human be haunted, not in the sense of being according to Heidegger, of course, is precisely that nothing is, but the sense of a given or "being" which basically existed previously and can not reach. It is the phantom limb, the additional unjustifiable. Better because the negativity is a lack of being "there" of being, a concept of "nature" is developed. Is undecidable indéductiblement both from the "aftermath" of consciousness, tearing the things that constitutes it as their mark negative, that "pre-shot" of a "nature "is named, as it is from the" front-stroke "a" kind "as" the aftermath "of the trace is formed. Another way to define "secondarity native" or "supplement of origin.
This type of approach," anthropological "or" realistic ", or" finitary "(as a Kantian receptivity first), seems far more embarrassing for the design, still debated a monistic holism of the Hegelian Spirit. Shall decide the matter without great emotional, immediately jeopardizing the very idea of a return to itself of the concept as pure interiority. Why this kind of "graft" and semi-parasitic Heidegger is still the subject of intense rejection of the defenders of the Letter to the Village Hegelian. This village was stirred by a beautiful game since quarrel speculative importance between "idealists" and "materialistic." Each other and share the same obsession tier, which allows them to "dialectic" to infinity all united to Cythera and mutually supporting their salaries. The former spiritualist Christian ecumenical path to the parousia, support needs to be said lag bouschtroumpf ("Matter is spirit"). The latter, a doctrinaire retarded "dialectical materialism" pompously renamed "transcendental materialism", support should be said smurf-cap ("The Spirit is Matter").
Adorno, when fenced to think for himself the negative moment of the dialectical process, certainly believes finally escape the dialectic "identity" of Hegel, but in doing so, he may just be that devoted to the most padlocked, the more idealistic and more purposeful. For in claiming that empower negativity, constitute "first mover" maybe then he makes a pure class "metaphysical", an inside without an outside, without an outside in a "dialectical" abstract, Informal, establishes itself, inventing its own law, working alone and making a hole in a hole, that is to say nothing. It is not enough to think "cons" in her identity between an abstract negativity that would in some way before or autonomous in relation to the category of "identity". Negation is, this is his function, for more complex identity falsely taken as immediate and pure, and identity design as happened to the immediacy and mediation. Negation can not not wrap his own succession, except to close the history where it was believed the "open".
"History of Music" for Adorno, a "dialectic," he will be a beautiful new floor, a "base", in "dialectical", it still seems typically no less a classic reversal of Hegelian aesthetics, hence events impure form of expression to its complete, full, accomplished in his Schoenbergian by the model. To those who, like Sibelius, would not think neither dialectic nor Aufhebung, or a dialectic without Aufhebung because they arise and articulate the problems differently, they said that Adorno? They lack the "dialectic", of course.
But if Adorno hardly escape the teleology of the Spirit in its version school, he escaped at least in the history of Being seen as a return to "Greece" in the "second" Heidegger?
We ask now, poor awareness strayed far from the phone first, how we arrived at this monstrous contradiction to prefer the discs recorded in the first major of the Berlin Philharmonic or Chicago. Do power inversion of values indicative of a worrisome nihilism, really appreciate the time that music in the order of his recovery, his reiteration of its delayed replication, in absentia rerum , by technology, this nasty dirty thing that replaces the socket ears and hands clean and bare, the synthetic prosthesis, the graft anonymously popularization, uprooted the supplement, the "tape" on all rotten and magnetos sampled at 160 kbps mp3, misery.
We therefore ask whether, in Adorno's musical aesthetics, far from being simply an "aspect" or marginal epiphenomenal not reporting in Adorno's philosophical project its totality, does not condense or rather not asserted in an old truth, so ancient and so old even timeless nostalgia from the beautiful Greece lost, and the endless complaints of the gods flew mélancoligène whose absence we are reminded by the voice of the few poets to time as obscure say Philippe Val for times of disaster, absolute disaster of loss of vital essence that gave meaning to our world, the world before, concerts on the hearth by the fire, back when people took the time to meditate on country roads, on our first connection to Mother Earth.
O first time we were in contact with the non-ontological kneaded clay by tractors and pesticides. It's over, all this is over. The year ten thousand, remember? And the shepherd who guided us, to be sheep, to the unveiling speech, tearing the fog of the metaphysics of subjectivity.
We thought maybe so - but do not think nihilism thus industrious we watched - that our finitude of existing meant for "us men", that always in the aftermath of the trace, we were always already behind the "true nature of things," the immediate gift of choice was impossible and that we could flow back to this below, as long as desired and fantasized terminating the creeping anxiety of being unable to build a shelter, a refuge, beyond or below the floor empty and hungry for our being-finished-the-world.
We thought, perhaps, in fact, that if we had "lost" it seemed to us, the Origin first, because she had never, literally, had his place, proper or improper. We always already lost this presence, this one substance, this is supreme, because there was simply nowhere, and that was like the early Heidegger, is our finitude that is first, and the infinite derivative .
Sartre would in other words: our passion to be our own cause, coincidence and merging with nature, the world or the cosmos or the divine, in and of itself, is useless, vain, and that is why our thirst for substance, infinite and, therefrom, that can not be sealed, screwed us, and forge the idea of the infinite, divine or immanent in the thing in itself, a point of view prior to all points of view, absolute. This view was never held, never was and never will, and this no problem, as seems Watzlawick, provoke us into this problem and gave us much concern. So we obsess us, We explained the early Heidegger, the root causes and final causes. We lived like an effect, and as there is no effect without a cause, it was incumbent upon us to find the cause, a reason, a principle reason for everything, and existence of something that asks what is one thing, there being for whom it is in its "étantité" even.
We believed then, with Sartre, that the task ahead rather unjustifiable existences haunting a "per se" unjustifiable within the limits of reason alone (and sometimes exceeds it by presenting himself as the tunes " science, "to compete with religion or brothers Bogdanoff, searching the Big Bang, elementary particles or DNA strand, the "supreme being", the Grund, the principle of principles), was originally to take this away, anyway costs, without seeking to fill in any situation.
Rather than subtracting from this stunning architecture pull-traumatic native forest which is the cause, reason, fantasize and to return, in this primordial forest from which flows the heat of ancient volcanoes and those fucking beads of rain from countries where it does not rain. In sum, assuming, collectively, we lived this earth as a world, that is to say all unconditional "phenomena", things accessible to a finite consciousness, ie receiving, and plural (Kojeve had this beautiful set a formula for world history: "the community of Desire Desire "), which arises essentially focused on what it is not in the grass or under trees, and which is none other than the outside of herself, n is a great wind, which ex-sists. And finally get rid of this myth and haunting tales of poisoning grandmother Memories roots and national identity in the con.
We were not far from believing, perhaps not to assume, this game finished, so endless, zero-sum, which defined our conviction that all our freedom.
But now a massive effort to circumvent this, in a magnificent hocus-pocus, Heidegger dismisses us and we will send a stern letter of dismissal: on humanism.
We were prisoners like slaves, shackled in the cave, taking the shadow for the reality of the "metaphysics of subjectivity". And we could, we needed except to turn nihilists, exit, achieved, for an extraordinary return of theology driven by the door and back out the window at us as a "word" shepherd, watching over what is beyond us and what we were "origin". Because it was being talked about in us and through us that we called and be asked ourselves the question of Being. As in the films of Terrence Malick.
Were we stupid? We thought blandly on the contrary, we are accustomed to call and ask ourselves the question, and that the unanswered question is circumscribed in the intrinsic limits of our finitude, our responsiveness first. We did sing ourselves, and beyond this position of the problem, there was a problem for anyone. So would it be before us, for us and after us, neurotic speech, hole to be arbitrary and whose life do not care much. All this does not prevent, rather, a principle of responsibility towards nature and all our brothers live unless we call neurotics, uneasily, "animals". And all this did not imply in any way, of course, there was, somewhere, at a site originally, a magical, ancient, being in the non-person of himself, of whatever origin, that s 'addressed to us by the sacred voice of Poets, the first of the former, which unveiled before it was obscured, concealed, hidden, repressed by the damn metaphysics of subjectivity.
So were we all new we fader these nonsense, all-frills sailing revealing the unmasked and put us to whisper, mouth bowl, inane cryptic poems to Rene Char, celebrating the whoop behind the wheel or the ringing of the bell to the roof of the church of the village with my two balls to regain shepherds, all meditators and all collected. Reaching, not without sacrifice, a great view Holistic radiating, penetrating to overcome, finally settled, this sad metaphysics of subjectivity which we merely like idiots. But came much later Claude Vorhilon, the Celtic bard, the Elohim. Wilhelm Reich in his rata mayo orgone, Michel Onfray had an attack of hives and wrote a book on Freud, the great offender.
meantime, we had to return to a church without a church, and chanting odes to stun with sunflowers and dandelions campaigns deep and authentic, away from pollution and son electrical disfiguring the landscape, including electromagnetic waves blurred the voice of being that struggled to be heard by us.
As if this were not enough, this rhetoric of authenticity, a new anti-Heideggerian priest, he thought of New Music and the return of the Sacred in Art, we intimated the order not to disseminate in hedonism and mindless jingles alienating other foxtrot stupid and decadent, behind which loom the slaughterhouses of Chicago and the gas chambers at Auschwitz. And return to a pure spring water, unpolluted, equal in tone, pitch, duration, intensity. Schoenberg, however, historical product Nibelungeries humorless (And it is understandable that he did not want to laugh too), was the prophet - but he asked so much zeal? - This new era, frugal, demanding, fun and outlawing tintinabulants xylophones, indexed as much valium tablets to knock us out and make us sheep shorn and consumers retondus by the sirens of modern barbarity nihilist. Ah no, not Advise one was laughing. Throughout the disaster and decadence watching us, visit the ruins of the temple at 7am on the dot, and anthemic program for all: Hölderlin. As zakouski: pure milk cow towed at the worst of Lethe. Scenic animations: JM Straub.
Then came Boulez, who was always already arrived, in fact, the engineer of bridges and roads defrocked, the constipation of absolute pitch, the warder of anti-conformism formalized. In a uni-dimensionality to flee Marcuse in the Rockies, still farther west.
We administering the countless versions of "Cummings ist der Dichter." Now, any serious musician titled his new composition by mentioning either "veil" or "grave" or "Orpheus" or "marriage", per kilometer and pressure. Otherwise, exit grants departmental, and there will not be played at the center double-pump-hou, na. And there may brushing, I passke long arm. Take now your suitcase, you are going to teach counterpoint tamper-the-geese. I will make your life hell, naldiiinac! ceusse And who are reluctant to taste this nectar frugal worthy of critical minds, Pierrot will treat in turn "big pigs stink", "unspeakable calves," "garbage foul, "" swine wallow in their clabaudant "," collaborators "," cadaveric runts "," dwarf atrophied, "etc..
Qualifications authentic scientific descriptions (- Not surreal, surrealism, Pierrot do not like, even if it runs well Pulcinella while also jeering the "collage" neo-classical: it is decadent in the midst of Russian ballet and it puts a mustache to the Mona Lisa, entertainment "bourgeois stink" and other "degenerate aristocrats), the place full of conformist composers of his time, and searchable in musicological literature refined Boulez, who has perfected his devout conceptuality in contact Delikatessen of flooding analyzes Adorno's neo-classicism cons-revolutionary, but more inventive in the bidding. It is true that he took fewer risks Adorno: Rarely in the history of institutions of art, even in Wallachia, a musician cumulative so much power and honors, although he lived continually mocked and scorned by his contemporaries ungrateful and stoppered.
is that the entire series, it plays on mood and bilious spleen, and oxygenate the eardrum must be, otherwise beware of wind-grout in the small intestine. Now, Pierrot is old and tired, you do not like me, I who so loved. So Pierrot tries a big gap: making friend with friends to Busoni. Busoni, who was treated in almost exactly, to "rotten maggot" by his master.
must therefore read the essays by Boulez ("Records of Apprenticeship," in particular): the extreme violence that nearly all reserve which marks a systematic reluctance to use the series to the height , timbre, intensity. Boulez, who has never been a leftist nor a "progressive" despite appearances, perhaps in its infancy when he shared the room of Berio and Stockhausen in Darmstadt. And the works of Stockhausen and Berio, is infinitely more exciting than the work of Boulez. Not to mention Bruno Maderna. No, I'm too mean, too boulézien Pug in the load calves. Flanging hedonism, Pierrot is a sensualist by retention, as any authentic Puritan sanctifying eroticism: Ritual in or his work in progress Repon , he would inject not sensuality and a variety of stamps rhythms (yes) that brought him back somehow to the sources of Debussyism and Messiaen?
should also read the analysis in the '60s, Steve Reich, " music as a gradual process "to understand that opposition to Cage, including serialism and pure, moreover, was also a matter of theory. recommended to consider the musical process as the exhibition" objective " its temporality, which is a progressive differentiation, Reich course thus indicated that this process was neither random nor spontaneous, but both strictly determined by the composer and exceeding its subjectivity. By speaking here Not only the opposition to John Cage, but still unable to identify his critique of serialism with the requisites "Naturalists" of a Levy-Strauss. It was not "recover" from the "natural laws" of listening, but produce active and meta-listening music in the compositional process of the work taking place. This type of music was anything but "minimalist" the melodic and rhythmic proliferating on the contrary as many sub-products psycho-acoustic strictly determined by the process but impossible to exhaust in a unique listening experience, creating a increasing attention and plays constantly renewed. Such works seeking listening the most attentive, not floating, it is thoughtfully read by the pen of a Celestin Deliège guardian of the temple of the "new music" according to Adorno, the absurd accusation of "trance music" provoking a diminution of faculties concentration and hearing a "derealization" harmful material sound. Conversely, the reproach fundamental Reich was that in both types of compositional techniques, random and serial process of composition was not noticeable at the hearing. Graphs, architectures, combinations, ratings, designed on a space-plane Mallarmé, running after the accident and her figure, but as a musical phenomenon (if that music is an experience of time and duration that listen), these structures could not agree nor determine: the listener astray, then recreates "spontaneously" of temporality, the "sequences", by overcompensation subjective sensation of listening to the clusters of sounds atomized, isolated from one another without internal logic, certainly "suggestive" , of "something" ineffable "poetic, perhaps, who knows. Serendipity, lace abolished. The sound of a horn at the bottom of a wood. The dog barks, the caravan passes, the Constellation Constellation. Stimmung to be soaring, as news of a unseen storm around the ringing of the bell of the abandoned church, not far from rooster standing by the wheel in the village of my two c. The magic of the moment genuinely pure, non-reproducible. result, the listener could relate either, depending on his mood indefinite, a fully serial composition of Boulez and Xenakis stochastic composition, mingled happily with each other: two instants separated yet similar in their deep mystery and evanescent soon forgotten once heard, and vanishing in a silent murmuring very evocative. A peak because Xenakis was a fierce opponent of Boulez, Boulez and a fierce hater of Xenakis. Accusing each other of not understanding anything in strictly musical phenomenon.
Yes, wicked, unjust, outrageous, all that I know. And surely next to the gold watch. And if it is, maybe I confuse with Maurice René Char Lent. Not too serious, come on. It took the whole clan for the poor. But what do you I "response", echolalia and drunk this wine ever drank that does not exist for some injustice, excommunications, the composers of today, who refused to die, like everyone else. Returned without a return ticket to deserts, to the realm of god Tapio. John fucking fire its eighth basting stillage. Oh, not because of Schoenberg - he admired - not because of Adorno, of course: because he had "told all", really. But still! Let's be bad faith to the end. Bled white, headless chickens as common on the town square of my two c. Because Pierrot wanted all for himself, infinite turbulent, rushing on the teat to nag plastic hammers her little playmates Park trinket sound of inanity.
Good. Otherwise. Reich. Focusing on the most basic processes of tonality: repetition and phase shift, he performed in his best works ("Music for 18 Musicians") on paradoxical intention cherished by many music based on the indeterminacy of action, stamps and durations : a work written at once completely and totally open. In this, he has his place in history of the "new music", whatever think grumpy offering wonderful musical moments in "blind, deaf and guarded by, waiting for a sign," as said Michaux.
also remember that after his "clash" with Zappa, who did not appreciate his leadership of the famous band "The Perfect Stranger . plays Zappa Boulez " Boulez never stopped to denigrate, and long after his death, when he had done such a good effort as a serious composer, a composer to look "not serious", which proved very respectful of label befitting his majesty.
On the "database" of IRCAM ("Pompidou Center"), you can continue to see this leaflet, unchanged since 1999 (Zappa died in 93, and then a bet is day is announced since 2002), absolutely charming and very "sport", does not hesitate to submit Zappa as a kind of big redneck Southern decerebrate, about how a cartoon zztop which would have been amused, but also gérontophobe & homophobic (we still wonder why. Possible confusion with Jimmy Swaggart).
Included are flights to the edicts gépéou Boulez: " a speech taking over the anarchic than any formal organization . The same type of rhetoric that was using already Adorno about Sibelius, jazz, Stravinsky, etc..
Challenging the "established order" (in quotes), really? No, challenging the "established chaos." "Lifestyles anarchist" really? Rarely have enjoyed life more disciplined and hard worker too. In terms of "musical analysis", pass, since the author of this infamous squib or hear the guitar or the orchestra, but was surprised, even stunned, imitated a semblance of "conceptual continuity "with the word incongruous Varese as a source of influence-such Wazoo Wazoo. And Conlon Nancarrow, it smells like pie?
As for "scatology, sex and violence" is still looking into what they would constitute the "content" of speech zappien since, far from the mythology of the sacred "sex, drugs and rock'n'roll" Zappa offered by social commentator caustic and uncompromising, decoding criticism, pointing a finger minimalist moralialiste regressive forms of culture and American politics.
Ah, it was well worth it to escape, finally, to the rhetoric of authenticity. Under threat of being nihilistic, decadent, irresponsible child deafening tunes of Jerk, the massive overreaction of high industrial batteries.
(Fasciiiiiiste !)
Etudes for piano (Nancarrow)
"G Spot Tornado" for Synclavier (Zappa. Transcription for piano by Jimmy Stith)
G-Spot Tornado (orch version., Frankfurt 1992, all modern, dir. Zappa)
One more time. My favorite :
G-Spot Tornado by the fanfare of Koenigsberg, no, Krohnengen (Norway)
And FINALLY, an old classic New Year's Eve : "Dog Breath / Uncle Meat" (Modern together, Frankfurt 1992)
In 2017, the Pic Ardie will see one of its oldest institutions close prisons: the prison in Compiègne, opened in 1867. Its capacity is 82 seats. Specify the imm- ediately: there are almost no sources addressing the history of this institution on the Internet. However, many online articles have different reactions surrounding the closure of that institution. The assembly could establish the 'story of a rescue that was never envisaged. " The conversion of the site even appears to be already found. A document available online e is a reference sure to present this property: the inspection report of the Comptroller General of places of deprivation of liberty. 
(Gateway to the prison at Compiègne) 
The entrance to the prison (source: 
Pavilion Central (source: 
A cell (source: 
The Dungeon Cravant (source: 
Plaque commemorating the Battle of the dungeon near Cravant (source: 
