The Exchange is a periodic in-depth look at the artistic motivations of musicians and collectives. We try to approach this from a more cultural and societal perspective, aside from the necessary musical one, because we cannot deny the influence of modern age bringing ideas from all over the world which broaden our horizons. It is a fact that we can learn a lot from movements that are foreign to us.
An increasing amount of people is witnessing an alienation from society and a weakening relationship with their ability to create and act in public. The implementation of technological solutions as answers to our newfound angsts could increase a fragmentation of community and decrease autonomy in “creating symbolic forms”.Critique on society is often directed to no specific agent resembling a Don Quixote-style, in our common confusion on who is to blame for this perceived societal decline. Dadaisme’s new release on the Russian Get Busy recordings attempts to specify a critique on an increasingly technology reliant reality to the loss of creativity while using “software for symbolic forms production”.
“Sample packs allow implementing cultural production with minimal expenses including temporal which causes questioning cultural value of such artworks due to ambivalent condition of the author of the final artwork. The latter acts more like a compiler than a producer. This leads us to a phenomenon of collective authorship or the fact that a concrete artwork has more than one author. These might be sound-designers, producers and sound-engineers who worked on a sample pack. In this way, some artwork made of one sample might be potentially created by any human having minimal skills in audio editing and an access to a sample pack. Moreover, user’s contribution to the final piece of music will be restricted to an especially curatorial gesture – to choosing a concrete sample and its duration.” – dadaisme-Techno [GB022]
It is interesting how dadaisme tackles the problem of current musical authorship, not by reverting back to analogical production methods, but to an ironic extension of sample from a well-known kit to full track duration. This method is indeed completely in style with the artform inspiring the artists’ name and is refreshing in a turbulent time where the people seemingly have lost their sense of bitter humor. It is thus quite understandable that we would like to know the complete thought behind the creation of this album.
Z – As referred to earlier, you attempt to make quite a statement of the anonymity of contemporary cultural exchange. With its root in globalization, do you think we should revert to neolocalism, also in producing music or other art?
We might go for it, but there is high probability that it will degrade into cultural neocolonialism instead, because as soon as these neolocalist realities produce differences and there is a unified system of evaluation which is Eurocentric to the core, this system does not “see” these diversities and collapse them into stereotypical and flat categories which are digestible for the most people. One of possible solutions to me is to create as much differences (in a broad sense) as we can at all in order to break the Eurocentric system of diversity.
Z- Dadaism is partly rooted in nihilism, would you say that the constant repeating of the same tonality in your newest release is also an expression of nihilism?
Indeed, Dadaism is informed with some portion of nihilism, but what it tried to do was to provoke the seriousness and rigidity of Modernity, to “transpose the scenario” of socially prescripted models of an artist’s social role. To me this intention leads to the idea of what I call “infra-sociality” which means, in its weak form, that every problem or conflict in social relations is solvable and, in its strong form, that social reality is not problematic at all, it is smooth and flat. “Techno” is partly informed with nihilism in its bitter and ironic form. It is because music development or, better, movement is extensive, not intensive. Technological emancipation makes all the conditions for it – everyone could create something. You can call me modernist, but I think that this kind of situation is quite boring. We have reached the ceiling of musical minimality and broken it to atoms. Now we might rethink it and build upon it. So it is not destructive nihilism.
Z- To be honest, I have enjoyed quite some tracks on this release, yet also questioned myself if they were made for enjoyment. What is your opinion on this? Was this exactly the confusion you wanted to create?
Yes, confusion as well as contradiction and allegory is aesthetical. It helps to capture the world in its dialectics. And these loops also are for some reasons. First, you are listening to the music that made some sound designer, not me. To me this is a bit strange. And second, because it seems to be growing and constantly changing from the beginning to the end but it’s not. While listening to it, you are in the middle of illusionary becoming. So, yes, confusion is the right word.