LAIBACH
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Ko labu varat teikt par shiem sloveenju monstriem? Man taa vien liekas, ka 80ajos ielikt Rammstein un In Slaughter Ntives (pirms veel peedeejie ir vispaar radushies) ir diezgan progresiivi. Un tas manifests... Speeciigi, luuk:
10 ITEMS OF THE COVENANT AND OTHER STATEMENTS*
1.LAIBACH works as a team (the collective spirit), according to the principle of industrial production and totalitarianism, which means that the individual does not speak; the organization does. Our work is industrial, our language political.
2. LAIBACH analyzes the relation between ideology and culture in a late phase, presented through art. LAIBACH sublimates the tension between them and the existing disharmonies (social unrest, individual frustrations, ideological oppositions) and thus eliminates every direct ideological and systemic discursiveness. The very name and the emblem are visible materializations of the idea on the level of a cognitive symbol. The name LAIBACH is a suggestion of the actual possibility of establishing a politicized (system) ideological art because of the influence of politics and ideology.
3. All art is subject to political manipulation (indirectly - consciousness; directly), except for that which speaks the language of this same manipulation. To speak in political terms means to reveal and acknowledge the omnipresence of politics. The role of the most humane form of politics is the bridging of the gap between reality and the mobilizing spirit. Ideology takes the place of authentic forms of social consciousness. The subject in modern society assumes the role of the politicized subject by acknowledging these facts. LAIBACH reveals and expresses the link of politics and ideology with industrial production and the unbridgeable gaps between this link and the spirit.
4. The triumph of anonymity and facelessness has been intensified to the absolute through a technological process. All individual differences of the authors are annulled, every trace of individuality erased. The technological process is a method of programming function. It represents development; i.e., purposeful change. To isolate a particle of this process and form it statically, means to reveal man's negation of any kind of evolution which is foreign to and inadequate for his biological evolution.
LAIBACH adopts the organizational system of industrial production and the identification with the ideology as its work method. In accordance with this, each member personally rejects his individuality, thereby expressing the relationship between the particular form of production system and ideology and the individual.The form of social production appears in the manner of production of LAIBACH music itself and the relations within the group. The group functions operationally according to the principle of rational transformation, and its (hierarchical) structure is coherent.
5. The internal structure functions on the directive principle and symbolizes the relation of ideology towards the individual. The idea is concentrated in one (and the same) person, who is prevented from any kind of deviation. The quadruple principle acts by the same key (EBER-SALIGER-KELLER-DACHA... which - predestined - conceals in itself an arbitrary number of sub-objects (depending on the needs).
The flexibility and anonymity of the members prevents possible individual deviations and allows a permanent revitalization of the internal juices of life. A subject who can identify himself with the extreme position of contemporary industrial production automatically becomes a LAIBACH member (and is simultaneously condemned for his objectivization).
6. The basis of LAIBACH's activity lies in its concept of unity, which expresses itself in each media according to appropriate laws (art, music, film...).
The material of LAIBACH manipulation: Taylorism, bruitism, Nazi Kunst, disco...
The principle of work is totally constructed and the compositional process is a dictated "ready-made:" Industrial production is rationally developmental, but if we extract from this process the element of the moment and emphasize it, we also designate to it the mystical dimension of alienation, which reveals the magical component of the industrial process. Repression of the industrial ritual is transformed into a compositional dictate and the politicization of sound can become absolute tonality.
7. LAIBACH excludes any evolution of the original idea; the original concept is not evolutionary but entelechical, and the presentation is only a link between this static and the changing determinant unit. We take the same stand towards the direct influence of the development of music on the LAIBACH concept; of course, this influence is a material necessity but it is of secondary importance and appears only as a historical musical foundation of the moment which, in its choice is unlimited. LAIBACH expresses its timelessness with the artifacts of the present and it is thus necessary that at the intersection of politics and industrial production (the culture of art, ideology, consciousness) it encounters the elements of both, although it wants to be both. This wide range allows LAIBACH to oscillate, creating the illusion of movement (development).
8. LAIBACH practices provocation on the revolted state of the alienated consciousness (which must necessarily find itself an enemy) and unites warriors and opponents into an expression of a static totalitarian scream.
It acts as a creative illusion of strict institutionality, as a social theater of popular culture, and communicates only through non-communication.
9. Besides LAIBACH, which concerns itself with the manner of industrial production in totalitarianism, there also exist two other groups in the concept of LAIBACH KUNST aesthetics: GERMANIA studies the emotional side, which is outlined in relations to the general ways of emotional, erotic and family life, lauding the foundations of the state functioning of emotions on the old classicist form of new social ideologies.
DREIHUNDERT TAUSEND VERSCHIEDENE KRAWALLE is a retrospective futuristic negative utopia (The era of peace has ended).
10. LAIBACH is the knowledge of the universality of the moment. It is the revelation of the absence of balance between sex and work, between servitude and activity. It uses all expressions of history to mark this imbalance. This work is without limit; God has one face, the devil infinitely many. LAIBACH is the return of action on behalf of the idea.
Trbovlje, 1982
*First published in Nova revija, No. 13/14, 1983 (a Slovene review for cultural and political issues).
I.
Art and totalitarianism
are not mutually exclusive.
Totalitarian regimes abolish
the illusion of revolutionary
individual artistic
freedom.
LAIBACH KUNST is the principle
of conscious rejection
of personal tastes,
judgments, convictions (...);
free depersonalization,
voluntary acceptance
of the role of ideology,
demasking and
recapitulation of regime,
"ultramodernism"..
II.
He who has material power, has spiritual power, and all art is subject to political manipulation, except for that which speaks the language of this same manipulation.
III.
We reject individuality as absurd in judging a work of art. It is necessary to devote oneself to the artistic work itself and to study it proceeding only from the laws from which it is constructed...
We proclaim that copies have never existed and we recommend painting from pictures painted before our times. We claim that art cannot be judged from the viewpoint of time. We acknowledge the usefulness of all styles for the expression of our art, those past as well as the present...
(from the "Lucizem" Manifesto, 1913)
IV.
LAIBACH KUNST signifies the end of an era of movement, search, the end of stylistic and aesthetic inventions, and is:
- a more mature, critical evaluation of art,
- a choice which will rediscover history, return power to institutions and conventions,
- a remodeling of history as a successful method of violence/oppression of new artistic practices,
- the application of force to the point of complete control over values
- a depersonification of authors,
- self-reproduction,
- the consequence of ideological dictate (Gleichschaltung),
- security for the aesthetic market (Warenasthetik);
LAIBACH KUNST conserves lasting values.
"Monumental retro-avantgarde" AUSSTELLUNG LAIBACH KUNST,
Galerija SKUC, Ljubljana, April 21, 1983 ...
10 ITEMS OF THE COVENANT AND OTHER STATEMENTS*
1.LAIBACH works as a team (the collective spirit), according to the principle of industrial production and totalitarianism, which means that the individual does not speak; the organization does. Our work is industrial, our language political.
2. LAIBACH analyzes the relation between ideology and culture in a late phase, presented through art. LAIBACH sublimates the tension between them and the existing disharmonies (social unrest, individual frustrations, ideological oppositions) and thus eliminates every direct ideological and systemic discursiveness. The very name and the emblem are visible materializations of the idea on the level of a cognitive symbol. The name LAIBACH is a suggestion of the actual possibility of establishing a politicized (system) ideological art because of the influence of politics and ideology.
3. All art is subject to political manipulation (indirectly - consciousness; directly), except for that which speaks the language of this same manipulation. To speak in political terms means to reveal and acknowledge the omnipresence of politics. The role of the most humane form of politics is the bridging of the gap between reality and the mobilizing spirit. Ideology takes the place of authentic forms of social consciousness. The subject in modern society assumes the role of the politicized subject by acknowledging these facts. LAIBACH reveals and expresses the link of politics and ideology with industrial production and the unbridgeable gaps between this link and the spirit.
4. The triumph of anonymity and facelessness has been intensified to the absolute through a technological process. All individual differences of the authors are annulled, every trace of individuality erased. The technological process is a method of programming function. It represents development; i.e., purposeful change. To isolate a particle of this process and form it statically, means to reveal man's negation of any kind of evolution which is foreign to and inadequate for his biological evolution.
LAIBACH adopts the organizational system of industrial production and the identification with the ideology as its work method. In accordance with this, each member personally rejects his individuality, thereby expressing the relationship between the particular form of production system and ideology and the individual.The form of social production appears in the manner of production of LAIBACH music itself and the relations within the group. The group functions operationally according to the principle of rational transformation, and its (hierarchical) structure is coherent.
5. The internal structure functions on the directive principle and symbolizes the relation of ideology towards the individual. The idea is concentrated in one (and the same) person, who is prevented from any kind of deviation. The quadruple principle acts by the same key (EBER-SALIGER-KELLER-DACHA... which - predestined - conceals in itself an arbitrary number of sub-objects (depending on the needs).
The flexibility and anonymity of the members prevents possible individual deviations and allows a permanent revitalization of the internal juices of life. A subject who can identify himself with the extreme position of contemporary industrial production automatically becomes a LAIBACH member (and is simultaneously condemned for his objectivization).
6. The basis of LAIBACH's activity lies in its concept of unity, which expresses itself in each media according to appropriate laws (art, music, film...).
The material of LAIBACH manipulation: Taylorism, bruitism, Nazi Kunst, disco...
The principle of work is totally constructed and the compositional process is a dictated "ready-made:" Industrial production is rationally developmental, but if we extract from this process the element of the moment and emphasize it, we also designate to it the mystical dimension of alienation, which reveals the magical component of the industrial process. Repression of the industrial ritual is transformed into a compositional dictate and the politicization of sound can become absolute tonality.
7. LAIBACH excludes any evolution of the original idea; the original concept is not evolutionary but entelechical, and the presentation is only a link between this static and the changing determinant unit. We take the same stand towards the direct influence of the development of music on the LAIBACH concept; of course, this influence is a material necessity but it is of secondary importance and appears only as a historical musical foundation of the moment which, in its choice is unlimited. LAIBACH expresses its timelessness with the artifacts of the present and it is thus necessary that at the intersection of politics and industrial production (the culture of art, ideology, consciousness) it encounters the elements of both, although it wants to be both. This wide range allows LAIBACH to oscillate, creating the illusion of movement (development).
8. LAIBACH practices provocation on the revolted state of the alienated consciousness (which must necessarily find itself an enemy) and unites warriors and opponents into an expression of a static totalitarian scream.
It acts as a creative illusion of strict institutionality, as a social theater of popular culture, and communicates only through non-communication.
9. Besides LAIBACH, which concerns itself with the manner of industrial production in totalitarianism, there also exist two other groups in the concept of LAIBACH KUNST aesthetics: GERMANIA studies the emotional side, which is outlined in relations to the general ways of emotional, erotic and family life, lauding the foundations of the state functioning of emotions on the old classicist form of new social ideologies.
DREIHUNDERT TAUSEND VERSCHIEDENE KRAWALLE is a retrospective futuristic negative utopia (The era of peace has ended).
10. LAIBACH is the knowledge of the universality of the moment. It is the revelation of the absence of balance between sex and work, between servitude and activity. It uses all expressions of history to mark this imbalance. This work is without limit; God has one face, the devil infinitely many. LAIBACH is the return of action on behalf of the idea.
Trbovlje, 1982
*First published in Nova revija, No. 13/14, 1983 (a Slovene review for cultural and political issues).
I.
Art and totalitarianism
are not mutually exclusive.
Totalitarian regimes abolish
the illusion of revolutionary
individual artistic
freedom.
LAIBACH KUNST is the principle
of conscious rejection
of personal tastes,
judgments, convictions (...);
free depersonalization,
voluntary acceptance
of the role of ideology,
demasking and
recapitulation of regime,
"ultramodernism"..
II.
He who has material power, has spiritual power, and all art is subject to political manipulation, except for that which speaks the language of this same manipulation.
III.
We reject individuality as absurd in judging a work of art. It is necessary to devote oneself to the artistic work itself and to study it proceeding only from the laws from which it is constructed...
We proclaim that copies have never existed and we recommend painting from pictures painted before our times. We claim that art cannot be judged from the viewpoint of time. We acknowledge the usefulness of all styles for the expression of our art, those past as well as the present...
(from the "Lucizem" Manifesto, 1913)
IV.
LAIBACH KUNST signifies the end of an era of movement, search, the end of stylistic and aesthetic inventions, and is:
- a more mature, critical evaluation of art,
- a choice which will rediscover history, return power to institutions and conventions,
- a remodeling of history as a successful method of violence/oppression of new artistic practices,
- the application of force to the point of complete control over values
- a depersonification of authors,
- self-reproduction,
- the consequence of ideological dictate (Gleichschaltung),
- security for the aesthetic market (Warenasthetik);
LAIBACH KUNST conserves lasting values.
"Monumental retro-avantgarde" AUSSTELLUNG LAIBACH KUNST,
Galerija SKUC, Ljubljana, April 21, 1983 ...
Komentāri sakārtoti pēc to ievadīšanas datuma
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MONUMENTAL RETRO AVANTGARDE :)
7. LAIBACH excludes any evolution of the original idea; the original concept is not evolutionary but entelechical, and the presentation is only a link between this static and the changing determinant unit. We take the same stand towards the direct influence of the development of music on the LAIBACH concept; of course, this influence is a material necessity but it is of secondary importance and appears only as a historical musical foundation of the moment which, in its choice is unlimited. LAIBACH expresses its timelessness with the artifacts of the present and it is thus necessary that at the intersection of politics and industrial production (the culture of art, ideology, consciousness) it encounters the elements of both, although it wants to be both. This wide range allows LAIBACH to oscillate, creating the illusion of movement (development).
8. LAIBACH practices provocation on the revolted state of the alienated consciousness (which must necessarily find itself an enemy) and unites warriors and opponents into an expression of a static totalitarian scream.
It acts as a creative illusion of strict institutionality, as a social theater of popular culture, and communicates only through non-communication.
9. Besides LAIBACH, which concerns itself with the manner of industrial production in totalitarianism, there also exist two other groups in the concept of LAIBACH KUNST aesthetics: GERMANIA studies the emotional side, which is outlined in relations to the general ways of emotional, erotic and family life, lauding the foundations of the state functioning of emotions on the old classicist form of new social ideologies.
DREIHUNDERT TAUSEND VERSCHIEDENE KRAWALLE is a retrospective futuristic negative utopia (The era of peace has ended).
10. LAIBACH is the knowledge of the universality of the moment. It is the revelation of the absence of balance between sex and work, between servitude and activity. It uses all expressions of history to mark this imbalance. This work is without limit; God has one face, the devil infinitely many. LAIBACH is the return of action on behalf of the idea.
Trbovlje, 1982
*First published in Nova revija, No. 13/14, 1983 (a Slovene review for cultural and political issues).
I.
Art and totalitarianism
are not mutually exclusive.
Totalitarian regimes abolish
the illusion of revolutionary
individual artistic
freedom.
LAIBACH KUNST is the principle
of conscious rejection
of personal tastes,
judgments, convictions (...);
free depersonalization,
voluntary acceptance
of the role of ideology,
demasking and
recapitulation of regime,
"ultramodernism"..
II.
He who has material power, has spiritual power, and all art is subject to political manipulation, except for that which speaks the language of this same manipulation.
III.
We reject individuality as absurd in judging a work of art. It is necessary to devote oneself to the artistic work itself and to study it proceeding only from the laws from which it is constructed...
We proclaim that copies have never existed and we recommend painting from pictures painted before our times. We claim that art cannot be judged from the viewpoint of time. We acknowledge the usefulness of all styles for the expression of our art, those past as well as the present...
(from the "Lucizem" Manifesto, 1913)
IV.
LAIBACH KUNST signifies the end of an era of movement, search, the end of stylistic and aesthetic inventions, and is:
- a more mature, critical evaluation of art,
- a choice which will rediscover history, return power to institutions and conventions,
- a remodeling of history as a successful method of violence/oppression of new artistic practices,
- the application of force to the point of complete control over values
- a depersonification of authors,
- self-reproduction,
- the consequence of ideological dictate (Gleichschaltung),
- security for the aesthetic market (Warenasthetik);
LAIBACH KUNST conserves lasting values.
"Monumental retro-avantgarde" AUSSTELLUNG LAIBACH KUNST,
Galerija SKUC, Ljubljana, April 21, 1983
7. LAIBACH excludes any evolution of the original idea; the original concept is not evolutionary but entelechical, and the presentation is only a link between this static and the changing determinant unit. We take the same stand towards the direct influence of the development of music on the LAIBACH concept; of course, this influence is a material necessity but it is of secondary importance and appears only as a historical musical foundation of the moment which, in its choice is unlimited. LAIBACH expresses its timelessness with the artifacts of the present and it is thus necessary that at the intersection of politics and industrial production (the culture of art, ideology, consciousness) it encounters the elements of both, although it wants to be both. This wide range allows LAIBACH to oscillate, creating the illusion of movement (development).
8. LAIBACH practices provocation on the revolted state of the alienated consciousness (which must necessarily find itself an enemy) and unites warriors and opponents into an expression of a static totalitarian scream.
It acts as a creative illusion of strict institutionality, as a social theater of popular culture, and communicates only through non-communication.
9. Besides LAIBACH, which concerns itself with the manner of industrial production in totalitarianism, there also exist two other groups in the concept of LAIBACH KUNST aesthetics: GERMANIA studies the emotional side, which is outlined in relations to the general ways of emotional, erotic and family life, lauding the foundations of the state functioning of emotions on the old classicist form of new social ideologies.
DREIHUNDERT TAUSEND VERSCHIEDENE KRAWALLE is a retrospective futuristic negative utopia (The era of peace has ended).
10. LAIBACH is the knowledge of the universality of the moment. It is the revelation of the absence of balance between sex and work, between servitude and activity. It uses all expressions of history to mark this imbalance. This work is without limit; God has one face, the devil infinitely many. LAIBACH is the return of action on behalf of the idea.
Trbovlje, 1982
*First published in Nova revija, No. 13/14, 1983 (a Slovene review for cultural and political issues).
I.
Art and totalitarianism
are not mutually exclusive.
Totalitarian regimes abolish
the illusion of revolutionary
individual artistic
freedom.
LAIBACH KUNST is the principle
of conscious rejection
of personal tastes,
judgments, convictions (...);
free depersonalization,
voluntary acceptance
of the role of ideology,
demasking and
recapitulation of regime,
"ultramodernism"..
II.
He who has material power, has spiritual power, and all art is subject to political manipulation, except for that which speaks the language of this same manipulation.
III.
We reject individuality as absurd in judging a work of art. It is necessary to devote oneself to the artistic work itself and to study it proceeding only from the laws from which it is constructed...
We proclaim that copies have never existed and we recommend painting from pictures painted before our times. We claim that art cannot be judged from the viewpoint of time. We acknowledge the usefulness of all styles for the expression of our art, those past as well as the present...
(from the "Lucizem" Manifesto, 1913)
IV.
LAIBACH KUNST signifies the end of an era of movement, search, the end of stylistic and aesthetic inventions, and is:
- a more mature, critical evaluation of art,
- a choice which will rediscover history, return power to institutions and conventions,
- a remodeling of history as a successful method of violence/oppression of new artistic practices,
- the application of force to the point of complete control over values
- a depersonification of authors,
- self-reproduction,
- the consequence of ideological dictate (Gleichschaltung),
- security for the aesthetic market (Warenasthetik);
LAIBACH KUNST conserves lasting values.
"Monumental retro-avantgarde" AUSSTELLUNG LAIBACH KUNST,
Galerija SKUC, Ljubljana, April 21, 1983
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Par Laibach varu teikt tikai to labāko...
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Viniem bija taada viena himniska dziesma ko pa SWH Rock dzirdeeju baigi sen. man likaas ka vaacu valodaa bet laikam kluudos. Un nez kaapeec atceros ka varbuut tas bija Laibach
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Jā, baigi labā grupa. Viņu disks ar mūziku teātra izrādei "Makbets" ir vienkārsi ģeniāls. Tik to disku sen atpakaļ kaut kur pakāsu. Vajadzētu tā kā nopirkt jaunu, bet baigais slinkums meklēt, kur tādu varētu nopirkt.
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jā jā, "express the unexpressable expression"
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Diezgan laba gupa. Viņiem bija Viens baigi labs gabals laikam God is God saucās nu tas bij baigi labs.
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Uhh, tieši manas domas - jau astoņdesmitajos taisīt Ramšteinu un citu industriāļu/EBM stilu (ja nu ne tieši "ielikt") ir tiešām progresīvi. Un ar humoru un pārliecību/idejām arī viņiem viss ir kārtībā. Tās viņu koverversijas līdz malām piesmej oriģinālus un tajā pašā laikā lieliski tos izmanto sava vēstījuma nodošanai. Turklāt gan muzikāli, gan tekstos - tas totalitārisma gars un viss, kas rakstīts tajā manifestā tur tiešām parādās. "The Final Countdown" "In the Army Now" "Life is Life" "One World"... meistardarbi!
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Un KĀ es smējos, kad pirmoreiz dzirdēju to "Life is Life", kā tur beigās tas teksts atrisinās. oi oi oi!
"And we're all glad it's over
We thought it would last
Every minute of the future
Is a memory of the past
Coz' we gave all the power
We gave all the best
And everyone lost everything
And perished with the rest.
Life is life!"
Nē, nu pilnīgi... Šis te kopā ar tām apokaliptiski maršējošām taurēm. na nā nā na nā! Man pat vairs nevajag nekādas grāmatas, kas smalki atmasko totalitāros režīmus. Te principā viss ir pateikts skaidri un īsi.
"And we're all glad it's over
We thought it would last
Every minute of the future
Is a memory of the past
Coz' we gave all the power
We gave all the best
And everyone lost everything
And perished with the rest.
Life is life!"
Nē, nu pilnīgi... Šis te kopā ar tām apokaliptiski maršējošām taurēm. na nā nā na nā! Man pat vairs nevajag nekādas grāmatas, kas smalki atmasko totalitāros režīmus. Te principā viss ir pateikts skaidri un īsi.
0
Life is Life, God is God, mja LAIBACH jau tāda koveru grupa sanāk, jo 80-o hītu dēmoniskās versijas viņiem manuprāt labāk padodās par to barbarisko balkānu disko, ko viņi pēc tam mēģināja raut vaļā.
Katrā ziņā JESUS CHRIST SUPERSTARS (1996) ir obligātā viela katram sevi cienošam megamelomānam (ausīm un sirdij), tur starp citu neviens vārds nav mainīts no oriģinālās A.L. Vēbera rokoperas, bet tā skaņa un patoss, nu, novelciet paši dzirdēsiet, tekstus tikai jālasa līdzi, vērtīgi pavadīts laiks garantēts
Katrā ziņā JESUS CHRIST SUPERSTARS (1996) ir obligātā viela katram sevi cienošam megamelomānam (ausīm un sirdij), tur starp citu neviens vārds nav mainīts no oriģinālās A.L. Vēbera rokoperas, bet tā skaņa un patoss, nu, novelciet paši dzirdēsiet, tekstus tikai jālasa līdzi, vērtīgi pavadīts laiks garantēts
0
A un vel iesaku "Schlecht und Ironish" (1999) - a tribute to Laibach
God Is God - Angels/Agony
Declaration Of Freedom - Manipulation
War Poem - Andrew King
Final Countdown Laibach - Kirlian Camera
Agnus Dei - Discordance
Message From The Dark Sta - Prager Handcriff
Brother Of Mine - Chaos/Order
Nova Akropola - Northgate
Great Seal - Runes Order
Dogs Of War - Knifeladder
God Is God - Die Larm
Geburt Einer Nation - Manipulation
Mars - Paolo F Bragaglia
Also Spratch Walter - Blenheim
God Is God - Angels/Agony
Declaration Of Freedom - Manipulation
War Poem - Andrew King
Final Countdown Laibach - Kirlian Camera
Agnus Dei - Discordance
Message From The Dark Sta - Prager Handcriff
Brother Of Mine - Chaos/Order
Nova Akropola - Northgate
Great Seal - Runes Order
Dogs Of War - Knifeladder
God Is God - Die Larm
Geburt Einer Nation - Manipulation
Mars - Paolo F Bragaglia
Also Spratch Walter - Blenheim
0
Tīri neko. Tie koveri baigi labie un pēdējā plate ar tāda savdabīga.
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