Obsolete Capitalism Sound System •• Chaos Sive Natura •• Pt. X Zabriskie Point (Dancing Colors Variation) •• Rizosfera/The Strong of the Future, SF011.eng, 2017

Obsolete Capitalism Sound System

Chaos Sive Natura

Zabriskie Point (Dancing Colors Variation)

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Whereas D'Andrea marks New Orleans as original fulcrum of jazz and meeting point of polyrhythmic sounds from central and western Africa with the harmonious Atlantic European experience, Obsolete Capitalism moves the focal point of the sound to an imaginative Jamaica, linking it to north-eastern African hypnotic acoustics, which suggest slow and deconstructed lines derived by dubbing practices of masters like King Tubby and Lee Scratch Perry. To the Atlantic Electric Tree, Obsolete Capitalism Sound System offers the electronic diasporic rhizome, thus molecularity of perpetual variations, dancing iridescent morphemes in electronic darkness. Deleuze writes: “Meter is dogmatic, but rhythm is critical.” O.C.S.S. is a"rhythmic dance" in the Nietzschean way of incessant form, of timbre intensity, but its concept of the "rhythm" is Deleuzian.

Obsolete Capitalism Sound System •• Chaos Sive Natura •• Pt. IX Dubmodic (Monodic Variation) •• Rizosfera/The Strong of the Future, SF011.eng, 2017

Obsolete Capitalism Sound System

Chaos Sive Natura

Dubmodic (Monodic Variation)

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Another centre of forces that enter our sonic-ship leaves from a flourishing electronic laboratory of our times called Electric Tree. It is an abstract jazz unit which includes in its free style composition, electronic improvisation. Composed by Franco D'Andrea (piano), Andrea Ayassot (saxophone), Luca Roccatagliati (electronics), the trio is grounded on D'Andrea’s figure, a cultured sensitive musician with a huge intellectual curiosity. He has been an icon of European Jazz since his first experimentation with Perigeo in the 70’s, to reach a more personal and intense style in between free jazz, blues motifs and recalls of Monk's aphoristic phrasing. Ayassot is an imaginative saxophonist led by musical paths which cross European contemporary music, jazz and Indian ragas. Roccatagliati offers breakbeat experimentations that open to chaos forces, paving the way to abstract electronics, thanks to his peculiar rhythmic sensitivity, Latin and Jazz traces and a total dedication to Afro-futuristic bass culture. It is from Electric Tree laboratory that Obsolete Capitalism erratic lines set sail.

Obsolete Capitalism :: Chaos Sive Natura :: Pt. VIII Dubmodic (Monodic Variation) - Rizosfera/The Strong of the Future, SF011.eng, 2017

Obsolete Capitalism Sound System

Chaos Sive Natura

Dubmodic (Monodic Variation)

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To be able to bind the future and therefore the god of rhythm, it is necessary to give some metric form to the poetic and musical discourse. Without verse/rhythm we are nothing and are left at the mercy of the future, on the contrary with verse/rhythm we may be quasi-gods and are able to force our future. This can happen with any verse, bar or passage, because as Nietzsche says "even the wisest of us occasionally becomes a fool for rhythm, if only insofar as he feels a thought to be truer when it has a metric form and presents itself with a divine hop, skip, and jump.”

“Feeling to be truer" through the rhythm, “subverting” the future through a "peculiar, magic cadence" able to alter its essence, is another aspect that links Spinoza, Nietzsche’s incessant transformation, the god of rhythms, with the acephalous project of Chaos Sive Natura.

Obsolete Capitalism Sound System :: Rattling Self-propeller :: Chaos Sive Natura Pt. VII (Rizosfera/The Strong of the Future, SF011.eng, 2017)

Obsolete Capitalism Sound System

Chaos Sive Natura

Rattling Self-Propeller

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Nietzsche does not simply offer the description of the role of coercion of the rhythm. Even before the Pythagoreans built the philosophical theory about the educational contrivance of poetry, the German philosopher writes that “one acknowledged music to have the power to discharge the emotions, to cleanse the soul, to soothe the «ferocia animi» - and indeed precisely  through its rhythmic quality. When one had lost the proper tension and harmony of the soul, one had to dance to the beat of the singer”

Such a therapeutic power of the music was possible when “one began by driving the giddiness and exuberance of their passions to their peak, that is, one drove the madman wild, made the vindictive person drunk with lust for revenge. All orgiastic cults wanted to discharge the ferocia of some deity all at once and turn it into an orgy so that the deity would feel freer and calmer afterwards and leave man in peace.”

Music is a form of taming and pacification both in cult and profane field,  exerting a «magic» force on those who are tired from work. Nietzsche brings the examples of the trireme in 6th and 5th b.c. century, rowing people who followed the rhythm given by the figure of the aulete, a flute player on the Attic war ships. The philosopher says that for each finished action a good reason to sing is always present because "... whenever one acts, one has an occasion to sing - every action is tied to the assistance of spirits: incantation and conjuration seem to be the primordial form of poetry.” When we consider, Nietzsche explains, that the invention of the hexameter has been attributed to the Delphi Oracle tradition, we can easily understand that the intention was to «conquer» the specific God, in this case Apollo: "The way the formula is pronounced, with literal and rhythmic precision, is how it binds the future; the formula, however, is the invention of Apollo, who as god of rhythm can also bind the goddesses of fate.”

Obsolete Capitalism Sound System :: Rattling Self-propeller :: Chaos Sive Natura Pt. VI (Rizosfera/The Strong of the Future, SF011.eng, 2017)

Obsolete Capitalism Sound System

Chaos Sive Natura

Rattling Self-Propeller

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An important question for the relationship between music and chaos is the one that Nietzsche poses in his fragment n°84 in The Gay Science:

In short: was there anything more useful than rhythm to the old superstitious type of human being?

In fragment 84 Nietzsche lists the reasons why ancient people, in particular the Greeks, invented and used «rhythm» in poetry, music, dance, assembling the various artistic expressions in only one act. The German philosopher talks of «superstitious utility» because the integration of the rhythm in the speech “reorganizes all the atoms of a sentence, bids one to select one's words and gives thoughts a new colour and makes them darker, stranger, more distant.” Hence the paradox: what is today considered «useless», we mean poetry, was at those ancient times of a great importance, because the verse was better remembered than ordinary, practical and straightforward speech, especially for anthropomorphic gods of ancient times. “The rhythmic discourse was supposed to make a human request impress the gods more deeply.” This suggests the superstitious nature Nietzsche confers to the utility of poetry in its origin. The philosopher adds: “one wanted to take advantage of that elemental overpowering force that humans experience in themselves when listening to music: rhythm is a compulsion it engenders an unconquerable desire to yield, to join in; not only the stride of the feet but also the soul itself gives in to the beat - probably also, one inferred, the souls of the gods! By means of rhythm one thus tried to compel them and to exercise a power over them: one cast poetry around them like a magical snare.”

Obsolete Capitalism Sound System :: Notes for a Quasi-living Theory Pt. V (Chaos Sive Natura, Rizosfera/The Strong of the Future, SF011.eng, 2017)

Notes for a Quasi-living Theory :::
Chaos Sive Natura ::: CLICK HERE TO FREE DOWNLOAD «CHAOS SIVE NATURA»
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The fact that Nietzsche’s chaotic spatialization is similar to Beethoven’s, clearly shows up when we ask ourselves What is Chaos for Nietzsche? It is an abyssal continuum which moves per motu proprio and that has been freed from divinity, order and aims: an inscrutable «ring» spinning around without a centre and where all dynamic peripheries represent lines of energy in a never ending metamorphosis. Pure blurry nature. In the first movement there is a chaotic incipit represented by the imitation of the tuning of the musical instruments in the interval of the initial chord. This «technique» enables Allegro ma non troppo to express a sonic undetermined which recalls the chaotic, primordial, indistinct limbo of Nature.

Nietzsche’s topological and ontological indetermination of his idea of a chaotic continuum may be compared to the feeling of uncertainty that Beethoven conveys through the wild blurry and dissonant musical outcomes of his first movement. The «head» of the musical theme of the first movement has melted in a plurality of combined sonic plans. With relevance Nietzsche will write in his aphorism n°109, inspired to the concept of Chaos sive Natura, that the chaos “must never be called an [anthropic] melody” because as Messiaen says, “music is not the privilege of human beings: the universe and the cosmos are made by refrains”. The sonic theme of Chaos, far from being solely a harmonious link to human realm, passes through Nature as an escaping force from the nets men have arranged for it. The problem will be then how to make an alliance with the powerful chaos forces, disputing men’s «false privilege» and reaching the place where the «big universal noise» - in opposition to Boethius’ musica mundana - clashes with the micro-noise singularities of the contemporary and future machines of men.

Notes for a Quasi-living Theory By Obsolete Capitalism Sound System (Pt. IV, Chaos Sive Natura, Rizosfera/Nukfm, SF011.eng, 2017)

:: Chaos Sive Natura (SF.011.eng)

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Pt. IV :: (...) Spinoza deified «Natura», substantia aeterna, attributing it a «celestial» status where God represents its most secret principle. On the contrary Nietzsche’s will is to de-deify and de-humanize it, freeing it from our «world» and making it a shapeless, aimless and ever-becoming Nature. He affirms in his The Gay Science: ”The total character of the world, by contrast, is for all eternity chaos, not in the sense of a lack of necessity but of a lack of order, organization, form, beauty, wisdom, and whatever else our aesthetic anthropomorphisms are called.” Both Spinoza and Nietzsche are «affirmative philosophers» of life as well as deniers of the moral order of the world, of the personality of God and of that «final aim», resulting from a time and divine-paced progressive action.

Speaking of an indifferent and immoral God, as a result of his own and Spinoza’s theories (respectively Eternal Recurrence and radical pantheism), Nietzsche asks himself:

“Does it make sense to conceive of a God 'beyond good and evil'? Would a pantheism in this sense be possible? If we remove the idea of purpose from the process do we nevertheless affirm the process? - This would be the case if something within that process were achieved at every moment of it - and always the same thing. Spinoza attained an affirmative stance like this insofar as every moment has a logical necessity: and with his fundamental instinct for logic he felt a sense of triumph about the world's being constituted thus”. (Fr. 7[71]) (2003: 118)

Denying the final aim of the «process» or beheading it, is the first post that associates Spinoza, Nietzsche, Deleuze and Guattari’s Anti-Oedipus with the work Chaos Sive Natura, metaphorically defined  as an «acephalic» project. (...)