friends and enemies

 

 

(stockhausen’s childhood)
the french were our enemies
and the english were our enemies
and the italians were our friends
and the spanish were the friends
and the japanese were the friends
and the russians were the friends
(but that changed a year later;
then the russians were enemies as well)
and the finnish were friends, etc.
I did not know what to do with this.

 

 

 

(childhood friends)
the russians were our enemies
and the americans were our friends
and the french were our friends
and the italians were our friends
and the british were our friends
and the communists were our enemies
and the capitalists were our friends
and we did not know what to do about it.

 

 

 

(adult enemies)
the americans are no longer our friends
and the russians are no longer our enemies
but the muslims are our enemies
and the immigrants are our enemies
and the terrorists are our enemies
and the gypsies are our enemies
and we do not know where it all will lead.

 

 

 

•

 

composition militaire

komm, position!

         ||

 

 

•

 

composition traumatique

ballon
pfff
et: rien.

 

 

•

 

composition post-traumatique

1) ballon
2) ex(ballon)nation
         |
     exbl()tion

ça suffit.

 

 

•

 

 

it is only getting better/
it is only getting worse/
it is only getting better/
it is only getting worse/
it is only getting
i                          bet

 

 

•

 

 

human involution
(évolution
eh, vos solutions?)
human beings are not the same
human beings are not insane
human beings are not to blame

continue.

 

 

//

 

 

In an email to VerySmallKitchen 08/01/12, Cia Rinne writes:

 

I think that working with visual poetry and conceptual pieces is often like an escape, a sphere where you can neglect rules, concentrate on such – seen in a wider perspective – ridiculous things as language, meaning, and sound, so maybe they are not explicit. I feel that if I want to say something important I should rather do it in a text; although there are many pieces reflecting my other practice, working with the Roma for instance, I would not want conceptual writing to become a mere means for an agenda. It can feel like mere luxury to be working with such pieces when you have knowledge of what is happening in the world however, so I guess a balance is good and necessary both ways.

 
 
 
 

For more about Cia Rinne see the online work archives zaroum at Afsnit P. An interview with SJ Fowler as part of the Maintenant project is here.

See also sounds for soloists and Ubuweb’s edition of zaroum and notes for soloists here. The two books were released as a single volume in France last year by Le clou dans le fer.