Gone to Croatan – Live 2007

The title of the live solo music piece “Gone to Croatan” took from the essay “Temporary Autonomous Zone” by Hakim Bey. This piece is a part of Zsolt Sőrés aka Ahad’s new psychedelic/noise/rock/improv double album “Ahad’s Masters Garden III. (2007-2009): The Harmonian Blues – Music for Film, Theatre and Dance” comprised his compositions for the hungarian group Desert Chaos trio (Zsolt Hammer, Ádám Jávorka and Zsolt Varga). “The Harmonian Blues” will be out in next months at Zeromoon label (http://www.zeromoon.com); the cover of the album will creating by the visual artist András Juhász in Budapest based on the selection of the production stills by Andrey Iskanov (Khabarovsk, Russian Far-East) from his upcoming films “The Tourist” (working title) and “The Cry of Angels”. The hungarian contemporary dance group Tánceánia („Danceania”) was formed in eight years ago as the result of the therapeutic workshops continued with cumulatively injured young persons, “the artists in wheelchair” for long years – and „Gone to Croatan” was a part of the music for their dance performance in 2006 and 2007 entitled „Fényárnyak” („Lightshadows”). Ahad plays on viola, electronics and voice on this stereo recording.
***
”The disappearance of the audience in Fourier’s opera reminds us of nothing so much as the Situationalist program for the »Suppression and Realization of Art.« Harmonian opera suppresses itself as a separate category of artistic production, with all the consequent commodification and consumption, only to realize itself precisely as »everyday life.« But it is an everyday life transformed and systematically informed by the »marvelous« (as the Surrealists put it). It is a communal and individual desiring machine. It is the field of pleasure. It is a luxury – a form of »excess« (as Bataille put it). It is the generosity of the social to itself – like a festival, only more formal, celebration as ritual rather than as orgy. (Of course the orgy is the other great organizing principle of phalansterian life!) The opera in this sense includes us. From our point of view we can now say that the music is ours – not someone else’s – not the musician’s, not the record company’s, not the radio station’s, not the shopkeeper’s, not the MUZAK company’s, not the devil’s – but ours.” (Hakim Bey: The Utopian Blues. In: Sounding Off! Music as Subversion / Resistance / Revolution. Eds. Ron Sakolsky and Fred Wei-han Ho. NY: Autonomedia, 1995, p. 37. http://www.gyw.com/hakimbey/utoBlues.html)

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