Monty Cantsin X Parniczky Ede X Invisible Illusion – MERSZ Klub PUTSCH

Monty Cantsin X Parniczky Ede X Invisible Illusion – MERSZ Klub PUTSCH

Monty Cantsin X Parniczky Ede X Invisible Illusion


The Necrophile Hummingbird Netlabel presents MERSZ Klub PUTSCH by Monty Cantsin X Parniczky Ede X Invisible Illusion.

“Neoist Music for Fluxus People”

Don’t fear ; enter the neoism !
In many ways, we are all stuck in the matrix. And we are all, echoes, of echoes, like pulsations, along the spine of time, searching for a way out. And we are all echoes, of echoes, like wavelets which propagate through space, in search of a meaning to give to our existence. In the last century, I watched The Matrix under datura, but it had no effect on me. At the dawn of this new millennium my dog was called Neo and a few years later, in 2002, I started my first collective project “Neo Sanguine” by sending 6 CDRs of my samples to 9 composers, in order to study how a single source can be mutated. I could have noticed Neoism, by digging around Fluxus, the Lettrism and the Situationists, but if I remember correctly, I discovered it at that time, at the same time than Plunderphonics and the Sound Outlaws. The songs from the Multiple Personality 3 album that I was developing were frankly transgressive compared to the group’s other songs. I used an acceleration technique which gave them a sound close to that of Neu!, a technique that I had also used for the first two pieces of Neo Sanguine, so I chose to title this album “Neoism”. Especially because I read that Monty Cantsin had said that anyone could use neoism and become Monty Cantsin too and that also echoed the presentation of my solo project CorteX, saying that anyone can call themselves by this name, especially if they keep the spirit of it. And the icing on the cake was that it was completely in line with the ideas promulgated by the obscure C Reaction license, which I had set up in reaction of Creative Commons licenses, even if since then, out of concern to moderate my radicalism, I have abandoned it a little.

A chain of echoes, each echo leaves an imprint in the past as well as in the future… Each time I find an interesting but little-known source I try to integrate it into my creations, to allow others to discover it, to connect to it.

Like many, I am against any “ism”. However, like many, I don’t have just one side. From versatile to subversive, there is only one step that I take with joy. This means that I know that even if we can refuse “isms”, we cannot avoid their creation… Unless we eliminate fanatics of all kinds, through education for example. Moreover, all underground cultures know that they constitute a step towards the new normal: academicism. Like many people, I have a holy horror of labels, so why say it? Long live neoism ! I’m Monty Cantsin through and through. Because unlike those who exclude because of fear of the unknown, I knowingly refuse labels. And this labeling of neoist teaches oneself a lot about “isms”… Experience it and you will understand. In any case, if I analyze myself, even hiding under the mask of a dangerous errorist, I could hardly deny being terribly neoist. Having spent my entire life trying to bring out of the collective unconscious fruits never heard of on earth. In addition to trying to bring into the collective unconscious fruits never heard on earth. It seems to me that as opposed to binary and linear thinking, there is dialectic, which through interaction, without fear of paradoxes, touches another dimension, which neoism cheerfully crosses by inventing multiple responses, for each question… I won’t elaborate, but anyone who has navigated to the edge of madness knows that wisdom is found there and vice versa. The fact is that neoism is not a thought enslaved by reason.
The fact is that neoism is not art, it is not made by an artist or his workers, it is not something created to be a financial investment or to be buried in one of the museums of the ghosts of the necrophagous elite. Neoism is action, it is everything that changes everything inside and outside. Putting everything in motion. This is what I see when I look out my virtual window and watch the amazing life of Istvan Kantor. Likewise, years ago, at my scale, I was on the roof of the people’s house in Saint-Nazaire, playing a concert without any audience with a friend, to say goodbye to the building which housed all the associations before being destroyed to be replaced by a shopping center. By a mayor who wanted to leave a mark on the spirit of his time… Neoism is to be yourself, while never being the same, to remain a singularity in a system just good at cloning ad æternam the worst of humanity.

The disruption of Artificial Intelligence pushes us to seek the meaning of creation. The intention seems laudable, but it’s hilarious* when we see that at the beginning of October 2023 a collective is calling to refuse any use of A.I. in literature, cinema or video games, while A.I. Adobe Firefly has just been integrated into Photoshop this summer. In this case, it would have been necessary to refuse digital tools at the time when the norm became for the majority of photos that they be digitally retouched. This makes no sense, because these are tools. As a reminder, the photos were already retouched during development. It’s just like in the painting example. More than any other form of creation, I love painting, but I do it much less often, because it would take me hours to create what takes me a few dozen minutes with software like Photoshop. And now we can create it in a few minutes with the help of AI. The problem is more time, and particularly what capitalist productivist society has done with it. The way his madness rubbed off on us and made us his slaves. It is not surprising that we must move away from the logic of production to fight against climate cataclysm. And get away from the logic of production to avoid the destruction of culture. Since what is most problematic is that the breakthrough of AI is what most resembles the beast of the apocalypse! For the reason that we should be concerned above all with limiting our use of energy, degrowth and sobriety, while AIs are energy sinks. In addition to learning, each request costs electricity and water, without counting for image and sound the transfer and storage of new data generated… For example, it would be appropriate to only use them in the case where less energy-consuming means, such as the use of a traditional search engine, are not enough. And where we see to what extent they are developed without the slightest human consciousness is that when we analyze for 5 minutes the use we make of chat AI, it is absolutely insane that there is no not, like 3 buttons, short, medium or complete answer, to avoid that for each short answer there are two requests, one long and one specifying to be more concise! On the scale of millions of requests it is unthinkable that their creators would miss something so fundamental, and this is just one example. This problem was already foreshadowed with the development of the quality of audio and video sensors and the creation of exponential quantities of data which always required more storage capacity and in this case for the circulation of images during internet browsing instead of be at too high resolutions to do well the terminal which transmits it should convert it upstream (A bit like the way YouTube adapts the video quality to the user’s bandwidth). To make this realization more explicit, in a time not so long ago, when I was participating in a compilation, I didn’t care about the size of the piece. Now, I often try to keep it not too long or even offer a shorter version, to leave room for others. It is this logic of adapting to live in a world with finite resources. Some followers of transhumanism imagine that headlong flight would make it possible to evolve in an infinite system, this can be defended, but for that it would already be necessary to be able to move billions of inhabitants or otherwise, to say it from the start, to act that this “infinite” system would only exist by exterminating a large part of the population. It is also similar to the basic lie of politicians who flatter their public, without ever trying to find solutions that take into account the entire population. They operate as if the part of this population that thinks differently from them must be eliminated, whether it does it systematically as in the case of the gaping technological divide, where they leave no human alternatives to access services. of the state and further marginalizes technophobes instead of being in a logic of inclusion as for physical and psychological disabilities. My god, pulling on the thread, I lost my way again.

We can understand that the artists remained at the stage of showing their shit to their parents, or any person playing the role of authority. Let them want to drape themselves in their laurel wreath and hang their little medal which is of no use. But for those who are outside of commercial mainstream art, what about their motivations? What does this have to teach us about the meaning of life? Anyway, I’m not here to teach you something that you can guess by yourself. The lyrics of this album therefore come from the “Book of Neoism” by Istvan Kantor (2018) and were performed by him at the Mersz Club accompanied on the violin by Parnitzky Ede, during the Putsch performance, on October 23, 2019 in Budapest, Hungary. I mutated the original session a bit and created some tracks in between.

Dedicated to all lovers of neoism, who will continue to act truly, instead of simulating… art.

*They would have much better time to be offended by the terrible trick that the companies which develop AI have carried out by launching the public use of image generation from deep learning plundered without authorization from the works artists present on the internet. Because their strategy was to acquire massive quantities of data without any legal constraints (to avoid astronomical additional costs) and from now on the works generated from the stolen data will be able to serve as “non-copyrighted” sources for deep learning. If the strategy is so obvious to me, it is because for sound, for years, I used a strategy very close of this flooding, by releasing copyrighted music played at different frequencies or transformed to a point or they are unrecognizable, to then offer them under Creative Commons, so that other works can come from them. The main interest of this cultural hacking maneuver is to refuse, in the manner of plunderphonic, laws which would deny the fundamental right to respond to everything that is injected into the public sphere. Did I really do it? No matter, my twisted humor will ruin me, the point is that we can say that I am innocent, in the same way as the user who asks an AI in his prompt to create a work for him in the style of Enki Bilal . If there were culprits it would be the designers of the software or more precisely the firm which employs them and knows very well what their product will be used for. Moreover, if I did it, in a certain way, it was like deep learning in order to study sound materials, to allow that today I no longer use samples, in any case digital . And above all, I never made a profit from it unlike these companies.

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