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“If you think you are too small to make a difference, try sleeping in a closed room with a mosquito.”

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-African proverb quoted in Michael Albert, Parecon: Life After Capitalism

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These details are reportedly from the translation of an article in a Finnish newspaper named ‘Ammennusatia’.

A geological group who drilled a hole about 14.4 kilometers deep in the crust of the earth are saying that they heard human screams. Screams have been heard from the condemned souls from earth’s deepest hole. Terrified scientists are afraid they have let loose the evil powers of hell up to the earth’s surface.
‘The information we are gathering is so surprising, that we are sincerely afraid of what we might find down there,’ stated Dr Azzacov, the manager of the project in remote Siberia.

‘The second surprise was the high temperature they discovered in the earth’s center. ‘The calculations indicate the given temperature was about 1,100 degrees Celsius, or over 2,000 degrees Fahrenheit,’ Azzacov pointed out. ‘This is far more then we expected. It seems almost like an inferno of fire is brutally going on in the center of the earth.

‘The last discovery was nevertheless the most shocking to our ears, so much so that the scientists are afraid to continue the project. We tried to listen to the earth’s movements at certain intervals with supersensitive microphones, which were let down through the hole. What we heard turned those logically thinking scientists into a trembling ruins. It was a sometimes a weak, but high pitched sound which we thought to be coming from our own equipment,’ explained Dr Azzacov.

‘But after some adjustments we comprehended that indeed the sound came from the earth’s interior. We could hardly believe our own ears. We heard a human voice, screaming in pain. Even though one voice was discernible, we could hear thousands, perhaps millions, in the background, of suffering souls screaming. After this ghastly discovery, about half of the scientists quit because of fear. Hopefully, that which is down there will stay there,’ Dr Azzacov added.

‘What really unnerved the Soviets, apart from the voice recordings, was the appearance that same night of a fountainhead of luminous gas shooting up from the drill site, and out of the midst of this incandescent cloud pillar a brilliant being with bat wings revealed itself with the words (in Russian): ‘I have conquered,’ emblazoned against the dark Siberian sky.

‘The incident was absolutely unreal; the Soviets cried out in terror,’ says Mr. Nummedal. Later that night, he saw ambulance crews circulating in the community. A driver he knew told him that they had been told to sedate everybody with a medication known to erase short term memory. The Soviets use this drug in the treatment of shock victims.

** hellscreams.mp3

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[researchers record the screams of the damned]
[screams from hell]
[voces del infierno siberia geólogos]
[investigating the ‘drilling to hell’ story] < ------

I am tired of renewing the form of music.
- serial or aleatoric, graphic or five lines, instrumental or bellcanto, screaming or action, tape or live …
I hope must renew the ontological form of music.
In the normal concert,
the sounds move, the audience sit down.
in my sosaid action music,
the sounds, etc., move, the audience it attacked by me.
In the “Symphony for 20 rooms”,
the sounds, etc., move, the audience moves also.
In my “Omnibus music No.1″ (1961),
the sounds sit down, the audience visits them.
In the Music Exposition,
the sounds sit, the audience plays or attacks them.
In the “Moving theatre” in the street,
the sounds move in the street, the audience meets Of encounters them “unexpectedly” In the street.
The beauty of moving theatre lies in this “Surprise a a priori”, because almost all of the audience is uninvited,
not knowing what it is, why it is, who is the composer, the player, organizer - or better speaking- organizer,
composer, player.
“Music for the long road” - and without audience,
“Music for the large place” ” - and without audience
me more platonic.
Alison Knowles notifying no one escaped secretly from the hotel and saying nothing unrolled 1000 meter sound tape
in a street of Copenhagen.
There was not one invited “audience”, not one photographer; only the program was due to be printed,
Announcing “Time indeterminate, date indeterminate, place somewhere in Copenhagen and Paris.”
“The music for high tower and without audience” is more platonic. Alison Knowles “ascended” to the top of the
“Eiffel Lower” and cut her beautiful long hair in the winter wind. No one noticed, no programm was printed,
no journalist as there. Sorry, Dick Higgins saw It. It is just the Unavoidable evil. He is her husband.
The most platonic music was xxxxx with ooooo , which no one in the world knows about, except us two.
Precisely speaking, only this xxxxx can be called a “happening”. “Happening is just one thing in this world,
one thing through which you cannot become “famous”, If you make the publicity in advance, invite the critics, sell
tickets to snobs, and buy many copies of newspapers having
written about it, - then it is no more a “happening”.
It is just a concert. I never use therefore this holy word “happening” for my “concerts”, which are equally snobbish
as those of Franz Liszt. I am just more self-conscious or less hypocritical than my anti-artist friends. I am the same
clown as Goethe and Beethoven,
The Post music “The Monthly Review of the University of
Avant-garde Hinduism” comes in succession from my search
for the new ontology of music, and simultaneously is
The first ‘Journalisme pour la Journalisme” in the sense of “l’art pour l’art”, or
“La post pour la post” in the sense of “I’art pour I’art”.

Every revolution of musical form was due to, or had something to do with the new ontological form of music.
for example In the gregorian chant the time when it was to be played was of main importance.
Imagine how matin services in the early mornings sound completely different from vesper services in the evenings,
although melody is almost same for the outsider.
This WHEN (time of day and day of year, a very interesting measure, which shall be intensely developped & exploited
in my post music “The Monthly Review of the University of Avant-garde Hinduism”) disappeared in 18th century
when that music escaped from the church.
Pre-classical symphony (mood music a la MANTOVANI) came into life to entertain the half-intellectual nobles
in their dining rooms, grew up to the Ninth Symphony to satisfy the heroism of romantic free-bourgeois And then
fell down to the Schubertlieder, to be sung in a Vienna “gasse”.
Bach’s Goldberg Variations should be so long as to make the “lord” fall asleep.
KARJAN’s show business and
CALLAS’ idiotology are
unthinkable without the record industry.
New American style boring music is probably a reaction and resistance against the too thrilling Hollywood movies.
Post music is as calm, as cold. as dry, as non-expressionistic as my television experiments-
You get something in a year.
When you are about to forget the last one you received you get something again,
This has a fixed form, and this is like the large ocean.
calm sunny calm calm
rainy calm windy calm sunny
calm sunny sunny sunny calm
stormy calm stormy stormy
stormy calm stormy rainy calm calm calm etc.

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New ontology of music (PAIK)

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Can we talk about the music we sent you? It was very good of you to listen to it. I wonder if you could give some advice to these musicians.

I wish those musicians would not allow themselves any repetitions, and would go faster in developing their ideas or their findings, because I don’t appreciate at all this permanent repetitive language. It is like someone who is stuttering all the time, and can’t get words out of his mouth. I think musicians should have very concise figures and not rely on this fashionable psychology. I don’t like psychology whatsoever: using music like a drug is stupid. One shouldn’t do that : music is the product of the highest human intelligence, and of the best senses, the listening senses and of imagination and intuition. And as soon as it becomes just a means for ambiance, as we say, environment, or for being used for certain purposes, then music becomes a whore, and one should not allow that really; one should not serve any existing demands or in particular not commercial values. That would be terrible: that is selling out the music.

I heard the piece Aphex Twin of Richard James carefully: I think it would be very helpful if he listens to my work Song Of The Youth, which is electronic music, and a young boy’s voice singing with himself. Because he would then immediately stop with all these post-African repetitions, and he would look for changing tempi and changing rhythms, and he would not allow to repeat any rhythm if it were varied to some extent and if it did not have a direction in its sequence of variations.

And the other composer - musician, I don’t know if they call themselves composers…

They’re sometimes called ’sound artists’…

No, ‘Technocrats’, you called them. He’s called Plastikman, and in public, Richie Hawtin. It starts with 30 or 40 - I don’t know, I haven’t counted them - fifths in parallel, always the same perfect fifths, you see, changing from one to the next, and then comes in hundreds of repetitions of one small section of an African rhythm: duh-duh-dum, etc, and I think it would be helpful if he listened to Cycle for percussion, which is only a 15-minute long piece of mine for a percussionist, but there he will have a hell to understand the rhythms, and I think he will get a taste for very interesting non-metric and non-periodic rhythms. I know that he wants to have a special effect in dancing bars, or wherever it is, on the public who like to dream away with such repetitions, but he should be very careful, because the public will sell him out immediately for something else, if a new kind of musical drug is on the market. So he should be very careful and separate as soon as possible from the belief in this kind of public.

Then there’s another one: Daniel Pemberton. His work which I heard has noise loops: he likes loops, a loop effect, like in musique concrete, where I worked in 1952, and Pierre Henry and Schaeffer himself, they found some sounds, like say the sounds of a casserole, they made a loop, and then they transposed this loop. So I think he should give up this loop; it is too oldfashioned. Really. He likes train rhythms, and I think when he comes to a soft spot, a quiet, his harmony sounds to my ears like ice cream harmony. It is so kitchy; he should stay away from these ninths and sevenths and tenths in parallel: so, look for a harmony that sounds new and sounds like Pemberton and not like anything else. He should listen to Kontakte, which has among my works the largest scale of harmonic, unusual and very demanding harmonic relationships. I like to tell the musicians that they should learn from works which already gone through a lot of temptations and have refused to give in to these stylistic or to these fashionable temptations…

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Karlheinz Stockhausen
Advice to clever children…
(Article from “The Wire”, November 1995)

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