OUR NEXT LIVE EVENT will be a reading Sunday, Feb. 27, 7:30 p.m. at Titlewave Books on lower Queen Anne. It’s part of a free, all-ages group lit-event including, among others, the fantastic Farm Pulp zine editor Gregory Hischack and musician Dennis Rea (see below).
TIRED OF WTO-PROTEST MEMOIRS? Tough. ‘Cause here’s some more.
But these aren’t just police-brutality horror stories or look-at-me boasts.
The Tentacle, Seattle’s own invaluable periodical guide to avant-improv and other “creative” music, has published a group of personal essay on the protests by its co-editors Henry Hughes, Christopher DeLaurenti, and Dennis Rea.
The three pieces, especially Hughes’s, offer up an intriguing premise: that protesting global corporations isn’t enough. The likes of Microsoft and ExxonMobil, according to these guys, are merely the logical result of what Hughes calls a system of “hierarchical power relations” and “centralized… top-heavy organizations.”
Hughes also seems not to mind if the grand anti-WTO coalition of leftists, environmentalists, unions, et al. splits apart, because his own “politics are an order of magnitude more radical than that of organized labor.” He’s also less-than-enthusiastic about any organized, permanent activist group that becomes “an organization with the agenda of self-perpetuation, rather than a loose tool for fomenting revolution.”
According to Hughes, the problem isn’t just business empires but the whole 20th-century structure of organized human relations in which such empires (or even more centralized empires such as the Stalin or Hitler types) take root.
This is similar to the philosophy of the late Marxist/Freudian thinker Wilhelm Reich, who believed the western world needed massive political and economic changes, but those changes were impossible unless individuals learned to change the way they thought and behaved in their personal lives.
So–how do you accomplish that?
Hughes and Rea believe the kind of music they’ve been championing in The Tentacle for over a year now offers a sonic and social glimpse of their preferred alternative society.
Rea believes “experimental music is much closer in its aims and methods to the radical spirit of the demonstrations than any other form of music you can name.
“Like many of the WTO demonstrators,” Rea continues, some “improvising and experimental musicians advocate the abolition of outmoded and restrictive structures of organization, in this case musical structures that have long since outlived their usefulness. As one musician friend put it, improvised music at its best is a demonstration of anarchy in action–self-governance and collective action manifested in musical terms.”
Much as certain advocates of obscurantist political writing believe modern notions of “clarity” depend too much on linear or dumbed-down thought processes, Rea and Hughes believe the very forms and structures of standard western music (not just the major-label system that disseminates it) keep human minds and souls locked into standardized, authoritarian modes.
But much obscurantist writing (such as the writing styles used in certain religious cults) is used to actually encourage authoritarian obedience. Free-improv and experimental musics, on the other hand, stress ingenuity and creativity and personal craft and cooperation and equal collaboration–skills necessary for any real revolution that doesn’t just lead to another power elite running everything.
TOMORROW: Some more of this.
ELSEWHERE:
