DADA: MUSIC. SPACE.

By Jesenko Tesan

DaDa

her heavy dose of non-sense,

its humorism,

acts as dispositional actor,

remove full-stop,

par excellence

kinesis.

DaDa in literature, music and art,

the mover.

Its dynamo expresses ? the very reality.

Its spirit bolds cybernetic consciousness.

DaDa an actor against monotonous episteme.

It forwards unexplored vista.

An actor-technology DaDa subverts the very technology that lies behind its own essence.

To DaDa is to not DaDa.

A priori it crafts.

The aim? — to appear in an unorganised, chaotic and shocking way.

It attacks standardizsed and hypnotic genres of the pseudo world.

Forms cognitive reframing processes.

The performance and installation of DADA: Music. Space.

An act of visible transformative experience.

It presents entanglement – art music space – a transition from analogue into

synthetic a priori.

Cybernetic mindset?

? namuH-tsoP

Kiss

The sound of deep bass mimics, or is, the sound of human heart. The sound is a synthetic a priori Kiss that wakes up the spirit. The positive surplus that springs from art as the grand mover creates the symbiosis of body and technology. The movement is emerging within space via synthetic a priori music and dance. Art crafts an anti-time/space position. Vibrations pass through the spirt stiffened and suspended in time and space. Spirit is demanding transcendental – post-human – subject. Exit time and space. Enter: Weak up!

Background

DADA: Music. Space.: under the forces of technology the performance depicts the evacuation of spirit. Technology is represented via piles of cables. They represent organic nerve cells and blood vessels. The conclusion: technology-art is inevitable and resistance is futile?

Spirit is asleep or is about to fall asleep in a space (spirit = artists = Boris Vidakovic on the photos). The spirit is covered with soft electrical cables mimicking the soft and warm blanket. Spirit is in a dreamland—motionless in a familiar retreat of electrical cables. The Word asks: Is the spirit dreaming electrical cables or is the spirit the very dream? Are the wires part of spirit’s very nature? Something is strange: Akira Kurosawa’s orchid flowers are replaced with the cables though warm and soft just like cherry blossom, they appear. Spirt is at home. A Dream? —from the great distance spirit’s head and body rolls and twitches in the space. Spirit follows deep bass sound. The magic of music and deep bass is spirit’s captivating solo moment: Organic material meets technology in an almost nihon-bujo—Japanese classical dance. Spirit is awake?

Accent lies on the very human flesh as the spirit. The body is suspended in time and space. Artist who feels the calling (Boris Vidakovic) depicts the calling. How? – the cause is the music; the artist designs the space through the dance and within it the very time thence human can design s/he time/space. Yet, it re-designs itself. Art as the mover architectures the positive potential which springs like a fountain of energy through the spirit. The very performance is the kinesis of awakening in which new synthetic-spirit is part of entanglement with the surrounding. The transcendental subject unlearns the language. It incarnates the potential of synthetic sound. In an act of dance space and time it appears as synthetic a priori. The language is absolute. It is replaced with the action: art-sound. Sound as action toward transcendence is the incarnate action of art rather than the solo Word.

What language?

DaDa acts.

It is a non-static bridge.

It is everything but the universe one knows.

It is potential and entanglement into the synthesis of intuitions, to borrow from Adrian Piper’s vocabular. Solo science and its reason cannot depict and/or define the phenomena that are placed in the universe we passively accept. Art is necessary to understand the relationships between those things within which we live together. Piper is correct that the synthesis between art and science is necessary in order to understand the myriad of relationships. DaDa as an actor represents in the distorted form the things. Unpacking distorted or scared Platonic forms is the very act of DaDa thence the performance towards synthetic a priori. The key lies in art’s ability to point at the inverted reality. The analogue, digital and binary universe is replaced with cybernetic entanglement.

Everything is and is not.

The relationship at once.

In the very dance the argument consists of a series of interdisciplinary topic relations working in unison. The formulates a conceptual framework how peace is fragile and may not necessarily lead to “complete” self hence society. In contrary, it may transcend into schism and deeply divided self and society in which “double-bind,” to borrow from Gregory Bateson concept, ensues ad infinitum.

By exploring DaDa within the nature one can begin to glimpse into the silent and living potential of art in transformative processes in which double-bind is replaced with a creative imperative: potential. The very act presents the transition or bridge from the language of science into the invisible or unverbalized action of art and design (design in the form of technology). Considering the academic and scientific “reason,” DaDa performance is the medium. It chases the visible transformation period in the spirit where human language – objects or forms – no longer seems to operate on the level of analogue – mimetic – but are turning digital – inventive – thence productive, active, transformative, dialogical, cybernetic, relational and above all: cybernetic potential. Thus, the exhibition shows the transformative act of the Will as the cybernetic and as such pregnant with inventive an a priori potential.

DaDa as the positive exposition of the transcendental self

First, there is reading/word and explanation of the title “DADA: Music. Space.”, in which rave and psytrance is understood as Art-language and is discussed from scientific or socio-philosophical “eternal return” point of view. It also introduces that which is obvious yet invisible to the naked eye. It follows the notion of the “synthesis of intuitions” though in the context of this performance and the concrete installation the science and art in unison via synthetic music (music as timeless and spaceless instrument) act as solo-one dynamo: synthetic a priori.

Second, the language dies. The artist is in entanglement with modern dance installation though ending into a pose of synthetic Rodin’s The thinker. The spirit is forced to abandon discursive existence thence the Word presented in “humanity” replaces the sound. The spirit is/exists but is no longer described via Word. Finally, the installation challenges the power of the words and discourse thus asks the question: What does it mean to think Word, or how we think the Word human in 21st century? What does it mean when we say how do we think and arrange the space and things about ‘us’? What does it mean to be ‘human’ or is human non-existent form without the language human is nil thence enter Immanuel Kant and present transcendental synthetic a priori spirit, epoch?

This unique presentation and artist’s performance’s goal is to read into the invisible and entangle it into visible exploring the movement of post-human potential. The extension of the form – human body (flesh) – is only possible due to the (a priori) inventive thought.

The designed new form is visibly exposed as an infinitive oscillatory dispositif.

The infinitive potential (reason) is not time/space bound.

(A thought or pure thinking seems music.)

Oscillatory as it transgresses the limits of time and space.

Dispositive, a product of infinitive and oscillatory forces.

Perpetually endless relationships between living things and non-living matter.

Harvest-ing?

Open stage, one is part of transformative experience. Performance harvests the thing and shows the process of how it dispositions itself into the living technology. It crafts the space via sound. The puzzle emerges in the process of awakening the spirit that still revolts against artificial technology. Whilst in the new form as a phenomenological extension of that which is invisible to human senses. D-art begins to respond to the new form (technology) as the act of dance unverbalized speech breaking the spinning wheel of the limits of mimesis whilst inventing. “Pneumopathology?”— none.

Different point of view.

The spirit creates and harvests the space to guard the invisible. Yet from within it, it enchants itself (music/art) as the perpetual decanting (kenosis) and the cause rather than consequence of the space/time. When connected with music and art human body along the senses it purely (reason) becomes the extension thereof thus the re-growth and an exposition of his/her own invention or construct: living cybernetic art. An awaken entangled synthetic a priori spirit.

© 2021 Jesenko Tesan