(I who have died am alive again today,
and this is the sun’s birthday; this is the birth
day life and of love and wings: and of the gay
great happening illimitable earth)
e.e. cummings
dreams of reason produce monsters, they so often say, cliché, common place. dreams of solitude creates raw material, risible and indestructible logic, bric-a-brac of illusions and certainties. just like a diary or biographies, both kind of dreams [or nightmares as it may happen to be as well] are easy, false and fake. as louis kabarrett de nerval often said, too many facts in one’s life is a lie, inventions to camouflage one’s emptiness, a devil’s scissors cut-up. true or false, the above is the product of a blank dream, it’s morning, the fog’s a fog as it happens too often in london, a rock’s a rock, a dream’s a dream, a morning’s a morning and i do invent the fable of this. the morning, the dream i can’t remember, an easy biography, kind of ruin, a sea, again…
a fable against gravity:
i refuse anger, violence, jealousy;
i jump whistling and dancing
on the dilemma of flowers,
i am the minstrel in a chariot
[the fool] pleasant warrior
innocent scarlet king
holy trumpet in my ankles
incense of philosophers
boy incomparable lover of heart’s spirit
uttering silences
sailing carefully threads
and thighs
stroking the trembling arms
sweetly kissing smooth
substantial fireworks;
emphatically protest against dullness
i believe in sweet melancholy
of laughter, i commit myself
to my gestures’ forgotten syntax, [poetry]
i indulge in inexcusable ribbons
splendiferous (auspicious) voices
of angels.
pulsing gently
i drift to ocean’s bottom,
waves of warm
coming from a tree
underneath my soul’s mirror:
steams of anemones
and code morsing plankton
driving me to the end.
simple, i learn:
risky kelps dancing the hula hula
methodically reversing the turbulence
of my past life, I drift
tenderizing my memories
underwater, the painful stinging ones
wave goodbye and hide ashamed.
hypnotic the music
of coral hallucinating
the revelations:
i was i all the time,
mask after mask,
wondrous me,
petite creation de dieux
misbehaving against curtains
of death, lingering,
blissfully mapping
clumsy tenderness
and illusions.
penniless i was the treasure
there was to exist,
the telescope and the metaphor.
enamored of love
at first sight,
lured into stratagems
as if to find signals of destiny,
a jester of all gods, i.
fading light
encourages me to go deeper,
mirror after mirror
imprudent and amoral:
glory expands only
in generosity,
inclined to imperfection:
love’s always asymmetric.
damjan cvetkov-dimitrov
fables against gravity #1
if you want to be a pearl fisher, don't waste your breath!
damjan cvetkov-dimitrov from macedonia is a self-called audiot. he likes sounds and a witty conversation on the multiuniverses of the internet. he likes to laugh and make machines talk to us and to himself. he gives his words, photographs, interactive micro websites and his music away, for free; it is true, just go to http://www.last.fm/music/Audiot.
damjan is not only called svetkov-dimitrov or his alias audiot, he is @defaultusername (sprinkled with 8bits) and simplexity: http://www.last.fm/music/%40defaultusername/; and once he said:I am also an amateur neuro-surgeon with a severe case of extropy.
who is damjan, also known as damjancd? an illustration of a possible single entity of the vastitude of himself, is below (and then ask the question again and say our loud who is damjan-man);
polymath of woundrous worlds, enigmatic christ-like figure, ravenous excentric, dangerous madman frankenstein alike building toasters that produce sounds and old computers spelling the truth about us? none of the above. just listen to his compositions or read his own words:
"it's been really, huh, i have to halt the "it's been really" train of thought because i took a short break to check your profile [catalogue of wonders] on soundcloud because, i must admit, for a moment there i thought the message was generic, please blame ever more intelligent spammers for that :] (i've seen some really broad but personal spam, i'd actually like to meet the people who came up with it), and that thought was brought on more because there isn't really any concrete feedback for my music (my music, i hate aying that) for a while, except random musings with friends. finally, why did i halted, back there at the start of the message, because I read that you quoted an italian futurist, which is a very specific tag :] - i'm talking about pre the end of WW2 futurists, afterward they turned more regular."
that was our first contact on the devious and intriguing mysteries of the internet (2009) and since then we have been a dedicated follower of damjan's obnoxious intoxications his compositions are... simple and complex delicacies of noise and found sounds and hilarious titles (search for him on soundcloud.com and you will laugh and appreciate his sounds, and, possibly, become an afficionado of his dystopic audio world.) these are our words, but we are sure he could write an essay about his music and it would perambulate in between philosophy, alan turing and artificial intelligence and the notions of absurdity, not forgetting the methods of recording surgical operations and using them on his music and wolfes and snow, adding examples of what is to exist in confined open spaces (einstein and stockhausen come to mind) and then, in the very end, what you would have is/would/was the sounds he meticlously composes.
the strange think is that we exist in this paralell universe and we never met perswonally. so we have left our inocuous oppinion and some palimpsests of messages exchanged on several spaces on the web. that first message on soundcloud finished like this: "after a lot of text, i have to ask you, as being completely unrelated, unbiased and you've never known me in person, why do you think my sounds/music isn't like the teeming masses of pointless repetitions out there?"
the answer could, again, take a form of an essay, if we were academic troglodites, but because we are amateurs, we keep things as they are for us. his music is modern poetry (and, we know, as jack spicer wrote, "white and aimless signals, no one listens to poetry.") maybe we exacerbate, we tend to do that when we like something, thy cataloguists, because, as monsieur gusbet said, nothing but nothing can take the place of a poem, do not be enchanted by those pagans (which call themselves revolutionaries), no, nothing can replace a poem, that's what he said while sitting on a marcel duchamp chair. in one way this small talk is about the cataloguists also, because we would like to think of damjan as one cataloguist of wonders, and we are not consistent in our words. but then, this is getting on our nerves, the worst thing in the world is consistency, we think it is deadly! (who said this? maderna? don't know!!!!) we said it.
but then, here we are in damjan's territory. we replied to him with what we felt and thought (but thoughts are not very safe, are they? what did we say? as follows: "we must consider works of art as structures of a new inner reality, which the elements of external reality are helping to build up into a system of plastic analogy, which was almost unknown before us. it is through this kind of analogy, which is the very essence of poetry, that we shall achieve the plastic state of mind.' (umberto boccioni, the plastic foundations of futurist sculpture and painting, 15 march 1913.) > i believe this got everything to do with your sound work, your wicked sense of humour (dadaesque, and that's excellent) and your exploring of ideas and sounds from the real world, of your real life (readymade, found sounds, etc...) > that, and a sense of construction and at the same time of de-construction, makes your work very interesting, and i am not even trying to analyse it. just ideas. you have your own world, and you don't accomodate. i like that a lot. a work of art is a work of art, whatever its value. your tracks have lots of moments when they are not noise/music but art.
said that, he, savant and wise replied: "technology today is much more subtly flamboyant than tech back when the futurists were around. i was thinking about the actual psychological impact of a steam locomotive entering a provincial village for the first time, contrasted with an electric one entering the village. the first is loud, scratchy, big, noisy, steamy, a festival of happening, the other is efficient, quiet, pleasant, compatible. i very much appreciate the subtlety of new technology, i'm actually just saying that today, to really be taken aback by new accomplishment, you need to dig deeper into and under the surface, the marvel it's not obvious, imagine nano machines, working diligently towards their purpose with great results, but they are usually barely visible. i guess it's a random rant this, i just wanted to comment on this issue. and say that the music i'm synthesizing is in a way connected with such things and other :] i'm not certain I've showed you a micro website i made a few weeks ago (at least one), it's a bit glitchy and erroneous also seizure causing www.faultyweb.blogspot.com , it's supposed to be a promotional website for an album i made, and looking for a label into intellectual masochism :] there are samples of the songs at the end of interaction."
poly metric and phonic under-ambitious sincerity springs from damjan’s structures, glimmering with osseous swords: a rhythmic battle of ideas in sounds, lucidity and wit in a musical context that overflows with tiny microscopical melodies and tunes. ‘ewish esus’, for instance, has an animalesque beginning that glitches with percurssive precision, just to be altered into a delicious cacophony of (radio) frequencies, and then, (crumbling sound of metal wire or a crumbling bridge?) even more unexpected an old-sounding synth line – i can find here a progression, an adulteration of forces colliding into a possible narrative of contrasts. the bleeping repeats itself as in glass’s first works, just to be swallowed by apparently disorganised beats, elephantine growls and saws and ringing metal. sounds weird. it is weird. it is very beautifully negociated from the beginning. the end is unexpected, as if i have to complete it, because the composition stays inside the brain, circling, looping, enchanting.
damjan’s compositions brings the tonal/atonal/electronic/noise palette into a rare timbral range, it resonates, it is ferocious, they do not follow any specific law, they actually subverts expectations and orgasinational parameters, one is caught by surprise with the difficulty of a composition that on second hearing makes complete sense, there are unknown voices, prodigious colours, radiates unlimited creation and liberty. you just have to listen to ‘glass stick experiment’ to be caught in damjan’s metrical simultaneity of bleeps and glitches and repetitions that renders spectres and dials a new range of sub-frequences (as in welcome exactly), affects the listening experience, and that what makes his compositions more than just tracks or tunes or songs. there is no intention of pleasing the listener: melody, harmony, rhythm are contradictory arcs of edginess, a brittle beat dance music (as in ‘fuck vynil 118 times’), wheezing reveries, hazes at the confines of the composition’s length (as in ‘sharpened square’.)
peeing can be performed in more than 400.000 well documented ways. one of which, is not even remotely connected with peeing, and according to recent research the repulsion of recursive recurrences are reinventing reality repeatedly not. whilst this is being written, some form of urea saturated liquid is being transfered AKA donated in to the communal basin we all like to go to in summer. whales seem not to mind, then why should you?
the main point i wanted to make was a very important one, hereafter it would appear as such:
"in the works of tarantino, a predominant concept is the distinction between opening and closing. however, baudrillard uses the term ’subcultural narrative’ to denote the role of the artist as observer. bataille suggests the use of precapitalist theory to read and analyse class.
but if subicapitalist libertarianism holds, we have to choose between precapitalist theory and patriarchial dematerialism. the main theme of buxton’s model of the dialectic paradigm of expression is the common ground between society and consciousness. therefore, precapitalist theory suggests that sexual identity has objective value. the subject is contextualised into a neocultural paradigm of consensus that includes culture as a paradox."
to conclude, peeing IS NOT NATURAL!
"it's been really, huh, i have to halt the "it's been really" train of thought because i took a short break to check your profile [catalogue of wonders] on soundcloud because, i must admit, for a moment there i thought the message was generic, please blame ever more intelligent spammers for that :] (i've seen some really broad but personal spam, i'd actually like to meet the people who came up with it), and that thought was brought on more because there isn't really any concrete feedback for my music (my music, i hate aying that) for a while, except random musings with friends. finally, why did i halted, back there at the start of the message, because I read that you quoted an italian futurist, which is a very specific tag :] - i'm talking about pre the end of WW2 futurists, afterward they turned more regular."
that was our first contact on the devious and intriguing mysteries of the internet (2009) and since then we have been a dedicated follower of damjan's obnoxious intoxications his compositions are... simple and complex delicacies of noise and found sounds and hilarious titles (search for him on soundcloud.com and you will laugh and appreciate his sounds, and, possibly, become an afficionado of his dystopic audio world.) these are our words, but we are sure he could write an essay about his music and it would perambulate in between philosophy, alan turing and artificial intelligence and the notions of absurdity, not forgetting the methods of recording surgical operations and using them on his music and wolfes and snow, adding examples of what is to exist in confined open spaces (einstein and stockhausen come to mind) and then, in the very end, what you would have is/would/was the sounds he meticlously composes.
the strange think is that we exist in this paralell universe and we never met perswonally. so we have left our inocuous oppinion and some palimpsests of messages exchanged on several spaces on the web. that first message on soundcloud finished like this: "after a lot of text, i have to ask you, as being completely unrelated, unbiased and you've never known me in person, why do you think my sounds/music isn't like the teeming masses of pointless repetitions out there?"
the answer could, again, take a form of an essay, if we were academic troglodites, but because we are amateurs, we keep things as they are for us. his music is modern poetry (and, we know, as jack spicer wrote, "white and aimless signals, no one listens to poetry.") maybe we exacerbate, we tend to do that when we like something, thy cataloguists, because, as monsieur gusbet said, nothing but nothing can take the place of a poem, do not be enchanted by those pagans (which call themselves revolutionaries), no, nothing can replace a poem, that's what he said while sitting on a marcel duchamp chair. in one way this small talk is about the cataloguists also, because we would like to think of damjan as one cataloguist of wonders, and we are not consistent in our words. but then, this is getting on our nerves, the worst thing in the world is consistency, we think it is deadly! (who said this? maderna? don't know!!!!) we said it.
but then, here we are in damjan's territory. we replied to him with what we felt and thought (but thoughts are not very safe, are they? what did we say? as follows: "we must consider works of art as structures of a new inner reality, which the elements of external reality are helping to build up into a system of plastic analogy, which was almost unknown before us. it is through this kind of analogy, which is the very essence of poetry, that we shall achieve the plastic state of mind.' (umberto boccioni, the plastic foundations of futurist sculpture and painting, 15 march 1913.) > i believe this got everything to do with your sound work, your wicked sense of humour (dadaesque, and that's excellent) and your exploring of ideas and sounds from the real world, of your real life (readymade, found sounds, etc...) > that, and a sense of construction and at the same time of de-construction, makes your work very interesting, and i am not even trying to analyse it. just ideas. you have your own world, and you don't accomodate. i like that a lot. a work of art is a work of art, whatever its value. your tracks have lots of moments when they are not noise/music but art.
said that, he, savant and wise replied: "technology today is much more subtly flamboyant than tech back when the futurists were around. i was thinking about the actual psychological impact of a steam locomotive entering a provincial village for the first time, contrasted with an electric one entering the village. the first is loud, scratchy, big, noisy, steamy, a festival of happening, the other is efficient, quiet, pleasant, compatible. i very much appreciate the subtlety of new technology, i'm actually just saying that today, to really be taken aback by new accomplishment, you need to dig deeper into and under the surface, the marvel it's not obvious, imagine nano machines, working diligently towards their purpose with great results, but they are usually barely visible. i guess it's a random rant this, i just wanted to comment on this issue. and say that the music i'm synthesizing is in a way connected with such things and other :] i'm not certain I've showed you a micro website i made a few weeks ago (at least one), it's a bit glitchy and erroneous also seizure causing www.faultyweb.blogspot.com , it's supposed to be a promotional website for an album i made, and looking for a label into intellectual masochism :] there are samples of the songs at the end of interaction."
poly metric and phonic under-ambitious sincerity springs from damjan’s structures, glimmering with osseous swords: a rhythmic battle of ideas in sounds, lucidity and wit in a musical context that overflows with tiny microscopical melodies and tunes. ‘ewish esus’, for instance, has an animalesque beginning that glitches with percurssive precision, just to be altered into a delicious cacophony of (radio) frequencies, and then, (crumbling sound of metal wire or a crumbling bridge?) even more unexpected an old-sounding synth line – i can find here a progression, an adulteration of forces colliding into a possible narrative of contrasts. the bleeping repeats itself as in glass’s first works, just to be swallowed by apparently disorganised beats, elephantine growls and saws and ringing metal. sounds weird. it is weird. it is very beautifully negociated from the beginning. the end is unexpected, as if i have to complete it, because the composition stays inside the brain, circling, looping, enchanting.
damjan’s compositions brings the tonal/atonal/electronic/noise palette into a rare timbral range, it resonates, it is ferocious, they do not follow any specific law, they actually subverts expectations and orgasinational parameters, one is caught by surprise with the difficulty of a composition that on second hearing makes complete sense, there are unknown voices, prodigious colours, radiates unlimited creation and liberty. you just have to listen to ‘glass stick experiment’ to be caught in damjan’s metrical simultaneity of bleeps and glitches and repetitions that renders spectres and dials a new range of sub-frequences (as in welcome exactly), affects the listening experience, and that what makes his compositions more than just tracks or tunes or songs. there is no intention of pleasing the listener: melody, harmony, rhythm are contradictory arcs of edginess, a brittle beat dance music (as in ‘fuck vynil 118 times’), wheezing reveries, hazes at the confines of the composition’s length (as in ‘sharpened square’.)
PEEING WHILST TYPING WHILST PEEING
damjan's dada text
peeing can be performed in more than 400.000 well documented ways. one of which, is not even remotely connected with peeing, and according to recent research the repulsion of recursive recurrences are reinventing reality repeatedly not. whilst this is being written, some form of urea saturated liquid is being transfered AKA donated in to the communal basin we all like to go to in summer. whales seem not to mind, then why should you?
the main point i wanted to make was a very important one, hereafter it would appear as such:
"in the works of tarantino, a predominant concept is the distinction between opening and closing. however, baudrillard uses the term ’subcultural narrative’ to denote the role of the artist as observer. bataille suggests the use of precapitalist theory to read and analyse class.
but if subicapitalist libertarianism holds, we have to choose between precapitalist theory and patriarchial dematerialism. the main theme of buxton’s model of the dialectic paradigm of expression is the common ground between society and consciousness. therefore, precapitalist theory suggests that sexual identity has objective value. the subject is contextualised into a neocultural paradigm of consensus that includes culture as a paradox."
to conclude, peeing IS NOT NATURAL!
original introduction text and poem 'fables against gravity' written and (c) benjamin silva-pereira. 'if you want to be a pearl fisher, don't waste your breath!', article about damjan cvetkov-dimitrov was co-written by b. s-pereira and gyorgi telemann. damjan original composition 'welcome exactly' appears in the catalogue of wonders' first compilation release 'fables against gravity. damjan's photos (c) damjan cvetkov-dimitrov 2010.
catalogue of wonders 4 eva the best!!!
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