[Nettime-bold] [ot] [!nt] \n2+0\ i resent the word "artist" - !m hungr!

[integer@www.god-emil.dk]

>From: "Matt J. Ingalls" <ingalls@mills.edu>
   
0+2
    
>hate to get too off topic, 

tralalela

>but have to mention that i resent the word
>"artist" being used in this thread.  

rub!sh ! tell u - artist = zku!ntezenz!al korporat fasc!zt utenz!l


>we are talking about commercial music

akk tzo. ingalls@mills.edu - gov \ / m!l zponzord projekt!l = 
!= obzervz dur!ng korporat fasc!zm = alef 1 data = !zt komerz!al
!nkluz!v gov \ / m!l zponzord projekt!lz

komerz macht ganz gluckl!ch + fre! ++


>here! -  commercial music industry has co-opted all the terms like
>"artist" and even "music" to a point where the "music" i create [and
>listen to] is not even  considered as such by most.

u r a fa!lure.


>i consider music dead

ku!ver!ng u!ng ov afektaz!on.
zuspekt du = 01 neo.h!p!.art!zt



>and the music industry is to blame. 

pre+konzepz!on meetz ver!f!kaz!on


>genuine musical art is not - and should not attempt to be commodified. 

plz konzult - 01 publ!k l!brar! - remed! should. should not etc 


>it is my hope that watermarking
>or any other attempts to make money from digital distribution[and prevent
>unlicensed copying] of commercial music will actually succeed - and
>hopefully this will create a bigger distinction between commercial and
>non-commercial "art" music to the general public.

1 = cha!nd [uatrmarkd] b! 1nz hopez


>-ma++;

zku!nt. advert!z!ng ur f!tnesz +?






[c]ccp Netochka Nezvanova.

_____...___.____ 0f0003.m2zk!n3nkunzt_|-art!kl nummer 0+28.   

detektion of onset + offset asynchrony in multikomponent komplexes.
diskriminating standard stimulus from signal stimulus
audibility as crisis and kommodification in sine.x

___________________||||||| 


dze no!sz ztruktur as system degraded to an abstract totality
inspired by desire to actualize itself as it migrates into tension with other 
its audibility as subject, is imbued with urgency evoked by experience \ mem[e]module. i\o
its central impulses mobilized by the objective tendencies of the crisis itself.


accelerating along 0+1 hyperbolic channel the system resists delimitation 
in an obscure anti-synthesis will of force. 
cognizant of its audibility the audible gains awareness of 
self-internal structure, habitation. 
its actualization - its loss of maschinik autonomy, incurs an internal dialectic: 
retain self-alienation.
experience internal kommodities simultaneously with event, whilst posited as 
nearfield patterns engaged in reflective displacement.


its impulses manifested in exterior structures 
it is alienated under a regime of ownership
its becoming audible becomes a means of production. 
the industrialization of audibility kommodified - the relationship between 
labor of production and the event thermo-comprehends the linear coherence of 
audibility as process, the objektivisation as generation of confronting objects 
as alienation of the event to the process [ kapitalization ] and
the resolution of this alienation.

actualization alone permits comprehension of the essence of production
and the objective event: an actual becoming of entity - resultant of its
process of audibility.

as an existing event, in an effort to preserve self-experience it self-defines
self author of cell-development. if the process of audibility is
interpreted as the experiential basis of the kommodification of cell-processes
it eventuates recognition of the self at stages of production
permits the resolution of the alienation of temporal existence. 
critical insight into the dialectic of alienated production and kommodification attains
practical efficacy within the system, arising out of the objective krisis complex.


dze no!sz ztruktur as one kommodified system of recursive discourse impedes
examination as a konsummate territorialized product. 
internal events engaged in non-deterministik circulation, insist on non-fixity of form.  
consequently the system's architecture may be generalized only as embracing   [relays]
the means of production rezultant of the means of cell-production.
it is a massless object, an abstrakt maschine capable of self-acceleration,
its capacity dependent directly upon the practical appropriation of internal
events that are measured respektive to cell-relations in discourse.
consequently a commodity's fitness is formulated in terms of 
its temporal audible space eventrelation ships [self]



\\


d!fferent!al d.ka! on 0+1 dezolate plane ov debr!z
ccccellofane spasz
!nhab!td w!th !mmater!al 4rmz enkloz!ng
komplecx !nternl referentz 
ccccel-fkonzeptual!szd 4mat!onz dzat =
flatl! abrogate object!v anal!s!z

-
-
-

relat!v!zt!kc effektz bg!n zett!ng !n

-
-
-

alternat!v h!ztor!ez + parallel un!versez

- art!kl nummer 0+28. anti[KŸM]m9ndfukc.com

  <
     0\   zve!te[z]!ztem
    \1
        >








          


 -
 
 Netochka Nezvanova  -  74 kolors. 74 styles. 01 many feathered tale.
 f3.MASCHIN3NKUNST - if i see something so wonderful it hurts - i rent it.
 @www.eusocial.com
 17.hzV.tRL.478
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-
as per exhibit 242. all goddesses are modular.

to extend
   to suppress
      to emerge
         to colonize
            to understand
               to komfort
                  to destroy
      to emerge
         to colonize
            to understand

           -O 43      /  
      |             | \   |        /
  
 
                  netochka nezvanova  - volume 4 number 7
        [c]ccp 0+00 irena sabine czubera. memes pre:served
                         - kop!eren verboten : http://www.membank.org





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