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CONTENTS

SLOVO #23

MUSIC 003 DJ Zhao HIP-HOP 006 Sinitus Tempo 009 Zulu Queen Michele 012 Electronic Child of Hip-Hop BELARUS 015 Novaye Neba MOVIE 017 The Repentance ART 020 Sainer PHOTO 029 Hengki Koentjoro SCIENCE 037 Freedom

Editor: Nelson

Website: HTTP://SLOVOMAG.COM Facebook: https://www.facebook.com/pages/Slovo/ 143482145739682 E-mail: slovohiphop@gmail.com

Translators: Nomadum Mantis Marianna Chief

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Ancient traditional and contemporary electronic music. What will happen when these borders of human culture meet? DJ Zhao knows the answer to this question. He is looking for music of different styles and different countries. And plays it in his sets. DJ Zhao’s mixes are the wonderful examples how music destroys borders and stereotypes. DJ Zhao mixes traditional and contemporary music, and all these styles sound harmonic! 003


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"In even the most cliche of Beat Port chart tracks, the most commercial of big-room trance, or most un-funky rigid of hard techno, there is always a vestige of Africa". Tell me, please, how you became interested in music. What attracted you to it from the beginning, and that influenced the formation of your musical tastes? I think generally if people don’t develop an intimately emotional relationship to music during their adolescence, music will remain unimportant to them. My life in music developed from a somewhat unique situation: having grown up in totalitarian China, I was a blank slate when I delved deeply into music during my teenage years in the USA, and this Tabula Rasa perhaps lent a bit of a unique objectivity to my assessment of musical quality, relatively without the biases of people who were brought up with this or that style/sound/scene/subculture. You combine in your sets and mixes modern electronic music and ethnic music from different countries. Tell me how do you see their interaction? There is no East and West divide, the later being a child of the former. Modern Electronic music is only a new version of ancient ritualistic rhythms, having been changed, mutated, hybridized, reduced and rigidified by historical processes such as colonialism, transatlantic slave trade, industrialization, consumerism, etc. Many people believe that there are different worlds of music. And do not often see dancing electronics fan who also loves ethnic music. What do you think - this barrier originated by the differences between the genres, or due to a lack of knowledge about ethnic music in the world of modern Europeans? The illusion of borders and separation, of us and them, of East and West, of "Modern" and "Primitive", in music as it is in politics, is always ideologically motivated, and constructed as part of state propaganda which supports the agenda of those who seek to benefit from antagonism and conflict. The blues come directly from Mali, and Rock Music is as "Ethnic" as any African music. Sure it is altered and mutated, but not nearly as altered and mutated as various forms of African music from their earlier forms. There is more musical variation between African musical styles than between African music and so-called "Western" music. House music came straight out of the Gospel tradition in Chicago, with the hand clapping, foot stomping, and calland-response hollering of Sunday worship. And Gospel is of course "Blues gone to Church", after the great migration of the descendants of Malian/Senegalese

slaves from the Mississippi Delta region to Chicago. So there is much more continuity than separation there, if one looks at the history. How public appreciate these experiments? Because the situation is common when clubbers are not ready to listen to nothing but the hottest tracks in the charts of the month. In even the most cliche of Beat Port chart tracks, the most commercial of big-room trance, or most un-funky rigid of hard techno, there is always a vestige of Africa. Whether it’s an off beat kick, or syncopated hi hat, bass line in 3s, without some kind of essentially African rhythmic ideas, no one would be able to move to the music. Without the simplest of polyrhythms and syncopation, it simply would not work. So in this sense, people already understand the most rudimentary of African musical ideas, but at the same time they are indoctrinated with this illusion of borders and separation: THIS is modern western music, and THAT is strange foreign music. Trying to destroy these illusions and lies of separation is what a big part of my work in music is about – to artfully demonstrate the connection through real experiences on the dance floor. Many African and Asian musicians complain that in the west they are seen as exotic. And hope that they will comply with the exoticism of the image. When these musicians begin to play modern music, not directly related to the traditions of their country, the popularity of such artists in Europe immediately falls. Have you encountered this problem? What do you think of it? I haven’t encountered this because I’ve never made or worked with Chinese music:). Many musicologists say that European and Asian music is based, primarily, on the melody. While in the African and Arabic music the rhythm is in the first place. What for you is the most important in the selection of good music - its melody or rhythm? What catches your ear at the first listening to a new track? Rhythm is the central biological and cultural heritage of our species, which has been sidelined by recent history. All of my current work is focused on rhythm. In your mixes one can hear traditional music from Africa, Latin America and some Asian countries. But your European music sounds mostly contemporary, you do not work with European folk. Why? Maybe one of the reasons for it is that rhythmic specificity is very different from the African? European music has focused on harmonic development rather than rhythm until the last hundred years, having been influenced by Afro-America. I love some of European Classical as well as folk music, but it has not much place in my current work.

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SLOVO #23 Tell me, please, about the team Ngoma Sound System. Ngoma Sound System is me interacting with live percussionists and other musicians, who improvise on top of a rhythmic foundation I provide. This is always great fun, for us and audience both. Our performances always simultaneously sound like a dj set as well as live band, both for listening and dancing. Do appearances with live musicians for the DJ change the perception of music? I love it when people cannot, not even I sometimes, distinguish between the pre-recorded and live elements, and that it all fuse together into one sound. And then I remind everyone by dropping 1 channel out:). Tell me, please, about afropunk and afrohaus. There are very interesting variants of mixing modern western music with African traditions. How did you discover them and what attracts you in them? As far as I’m aware, Afro-Punk doesn’t exist as a genre, if the term means an African style of punk rock, like AfroFunk is an African style of Funk. There are certainly African artists whose work is infused with explosive energy and/or a sense of rebellion, as well as bands that play rock or punk, but they are not related by sound, and do not comprise any coherent scene or sub-culture. There were many amazing Afro-Rock bands of the 70s and 80s, who played rock’n’roll with a distinct African sound, but I have not encountered a similar thing happening with punk. In an article entitled "The Real Roots of Kwaito and South African House": (http://archived.thisisafrica.me/music/detail/19675/thereal-roots-of-kwaito-and-south-african-house-music) I have argued against the often repeated unidirectional migration of House Music from the United States to Africa,

as well as the notion that Afro-House is merely Africans making their version of a North American culture. Instead, I demonstrate that the wealth of musical heritage in South Africa itself is the main source of inspiration, as the defining sound of South African House today does not share much musical common ground, in terms of rhythm patterns and other crucial musical characteristics, with Chicago House at all, like some of it did in the beginning. Travels and performances in different countries blur the boundaries and open up new genres of music for you? Can you say that your development as a DJ without the process of combining different cultures is impossible? Traveling, experiencing new flavors, learning new things about history and culture… meeting people, sharing time with them, and getting their prospective of music, life, and the world – these are some of the best and most precious rewards for what I do. People in the West have an absurdly and extremely false belief that every musical style, culture, sound, on earth can be found on the internet. This is very, very far from the truth. Very often one has to physically travel to various places to discover the incredible and incredibly diverse wealth of musical forms and cultures. In Nairobi alone, where I just was last week, there are hundreds of ethnicities, each with their own music and dance traditions. The different kinds of music found on the continent of Africa is like the number of galaxies in the known universe: impossible for the mind to comprehend.

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http://ngomasound.com http://soundcloud.com/djzhao http://www.mixcloud.com/djzhao https://www.facebook.com/zhao.ngoma http://www.youtube.com/watch?v=JpTX52a5E8A http://www.youtube.com/watch?v=Ksm6sm1ghBY


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Melodic beautiful music. Conceptual atmospheric albums. Mixing styles. All this is about Sinitus Tempo’s music. Sinitus Tempo is a producer who has been creating a wonderful music for many years. His work is a special world of fantasy and emotions!

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SLOVO #23 Your biography says that you were engaged in music due to his older brother. Tell me, please, about what you learned from him. And how your brother affects your art today? When I was younger my older brother used to always play a lot of hip-hop. A good amount of stuff like Wu-Tang, Last Emperor, Most Def, Common, Black Moon, so on so on. So I’ve always been a lover of the music. He also used to write and rap so when I got old enough to start making tracks we would work together on some stuff. These days I still let him check out my music even though he doesn’t write anymore, but we always talk about new artists and new music. Electronic music often lacks natural sound of live instruments. In some styles this is not required, in contrast, it is more important to create an unusual dense sound. But your music is very soft and lively. Do you use live instruments? Yes, I actually do use live instruments sometimes, with basslines, from time to time I will definitely play those out and I’m still not great with the guitar, but I will do some of those strange a bit out of tune guitar licks sometimes as well. Also the q-chord is a favorite instrument of mine if used in a lot of tracks. I also sometimes have a few musicians help me out with tracks like Julian Law and Alex Kholer. What music gets from samples, which cannot get from live instruments, and vice versa? Oh that’s easy. Some instruments in samples can’t be played the same way the original artist played it. That’s why when you hear covers and remakes they don’t sound as good as the original. Also you can that dusty sound and those crackles from vinyl which sound great on certain tracks. Your music combines several styles. But all of them are light and quiet. How do you feel about the choice of the mood of the music and did you start working in this direction at once or in the beginning was interested in heavier hip-hop music? When I first started I will say it was much harder I listened to a lot of Jedi Mind Tricks so many know that Stoupe’s project is a lot harder and more gritty. I didn’t start getting into that soulful stuff till I started hearing 9th Wonder and Khrysis. From there was listening to other genres and artists and just building and infusing genres I love and sound.

interesting. How would you describe the "scheme" of the ideal song? What elements make it up? Really all it is for me is to put every last bit of feeling into each track. I release its all on how I’m feeling at the time. I try to let each track capture my feelings, whether I’m happy, sad, depressed, whatever I create so that you can feel the emotions without me having to say one word. Tell me, please, about the concept of your albums. How far are you close to conceptual music, and that is the basis for the concept of your albums? If they aren’t an anime based album they are usually based on what going on in my life atm. They names normally tell it all. "Caged Bird", "Dream State", "The Final Odyssey". So on so on. Can, in your opinion, emotions, not ideas, be conceptual? Do you agree that instrumental music to affect the feelings and emotions is more important than directly affects the mind? Yeah I definitely agree that it is more important to affect the feelings and emotions, something like that can change someones whole attitude towards life, make situations that are not necessarily better seem better. Ultimately that effects the mind as well. Listening to your albums, I come to the conclusion that they are very positive, but it is a complex of vague emotions, and not a primitive positive sound that is loved to be declared from the stage while entertainment shows and clubbing. And how do you see the mood of your music? Well I’m big on the club and party music lol, but like I said I normally make my music based on life situation and normally I’m not always happy. But albums like "Peaceland" and "Journey" were made to keep me more together than anything. Life’s been rough. I wonder how I’m going to eat or pay bills. So I made more peaceful vibe music to keep my head in the right place. Is this a reflection of your own mood or maybe music helps you to fight with their own internal contradictions? Definitely goes both ways.

Many hip-hop beats without mcing often sound monotonous. And beatmakers make very short tracks. Your music is absolutely different. All songs are

What inspires you to create specific tracks? Definitely artwork. Having New art or artwork done actually help the mood of my music. That’s why I always do my own artwork or ask others to send some in for me to check out.

"I definitely agree that it is more important to affect the feelings and emotions, something like that can change someones whole attitude towards life, make situations that are not necessarily better seem better".

Tell me, please, about the impact of anime on you. How this passion is reflected in your music? OH I’m a hardcore nerd when it comes to anime, that’s absolutely one of my favorite pass times just sitting and watch a great anime, playing an anime based fighter or Rpg. Listening to anime soundtracks. Like most people look at it as just some cartoon that kids watch. But I see it as you people like to read good books or watch good series or movies. It’s the same thing what’s the difference?

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SLOVO #23 It’s a good story and some have way better stories than most shows and movies out. Some of the soundtracks are amazing. Along with the art styles. All of it impacts my music greatly it also separated me from what everyone else was doing I think I was the only person to do anime tributes like that on my major scale. I got in good with anime websites and bloggers I took a different approach to getting my music out and heard. By reaching out to an untapped community. Are there any dedication to your friends and other people in your songs or albums? Your new album "Ramona" is such a dedication, isn’t it? Uhm, no real dedications to friends except for one old project I did called "Foreign Nights, Sweet Dreams". Which was dedicated to someone I was dating at the time. "Ramona" though was just based off of Scott Pilgrim. Great movie and Great game.

them lol. But actually maybe the 3 that stood out to me the most were Substantial, MED, and Levi Watson. They make some absolutely great music and it was a pleasure working with them. You’ve been cooperating with Doc Battle for a long time. How two producers get on at the same album? Any difficulties encountered in such cooperation? Not really Doc is like my brother we’ve known each other since we were kids. Kindergarten to be exact. We got into the music at the same time. Really we just agree on working on a project he makes his beats I make mine, he does his remixes I do mine and wallah!!! You got a project.

Tell me, please, more about this album. Wasn’t much to it I got inspired did all the tracks on my Ipad in a day except for the bonus tracks. Then released the project to gain some steam for my album.

Do you have live show with your music or do you do only studio work? How do you see a good performance of beatmaker and how it differs from the DJ’s set? Right now I only do studio work but I would love to start doing live sets this year. I’m no good and finding out how to get booked. I honestly don’t know. I’ve seen producers do live sets like dj’s before I think its whatever works for you. There are so many different ways to go about doing your live set I guess it all goes off comfort.

You have a very large discography. You release several albums a year. The wealth of ideas stimulates your constant work on new albums? Or is it like that active work brings out more and more new ideas? It’s really just when I have new art to look at I get new ideas and I create it’s as simple as that.

What are you working on now? What will be your next album? Well I’m working on a lot haha, but just recently dropped a new album "Ten Wonders" and working on black garden for next year. I have some things to announce and I’m pretty sure some things will pop up so I suggest yall just stay tuned.

Tell me, please, about the collaboration with MCs. Who was very interesting and unusual to work with? Who of MCs impresses you with their approach to creativity? Uhm well idk. They all impress me that’s why I reach out to

https://twitter.com/SinitusTempo http://sinitustempo.bandcamp.com https://soundcloud.com/sinitustempo https://www.facebook.com/officialSinitusTempo

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Knowledge is the central element of hip-hop culture. It saves the heritage of all generations of hip-hoppers. Time changes our culture and each of us. And we need the people who will save the knowledge about history and philosophy of hip-hop for new generations. Zulu Queen Michele is one of these important people. She created Hip-Hop Educational Movement in her town and helps children to enter the world of hip-hop. 009


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SLOVO #23 Tell me, please, about yourself and about your view on hip-hop culture. I am Zulu Queen Michele, the First Hip-Hop Educator and Historian in the city of Harrisburg, Pennsylvania. It’s a Hip-Hop Educational Movement that consist of 5 Element which its Graffiti, Bboy, Mc, Dj and Knowledge. Hip-Hop is a Social Awareness that brings all walks of life to unified all walks of life. Tell me, please, about your crew Harrisburg City Breakers. Harrisburg City Breakers is a youth Educational Bboy Movement, that educates youth in the school on the foundation of Breaking and its history. How breaking in USA changed in the last two decades? Bring more elements into the dance culture through moves and style. Teens, who start doing breaking, see the hip-hop culture or more likely just breaking as a acrobatic sport, and their understanding of dance seems to be like in the movie called "Battle Of The Year" - what do you think? Unfortunately I haven’t seen Battle of the Year. However a lot of the teens who are in the Bboy movement is being taught by the OG’s on the History, Foundation and Dance. Respect to the legends Trac 2, Poe One, Aby, Jojo and Crazy Legs. Tell me, please, about hip-hop festivals in USA and about industry of such events as a whole. What are difficulties you can face with in the sphere of organization of concerts and fests? Are people interested enough in the concerts of young unknown MCs or these artists have problems with the quantity of listeners at their concerts? The youth here in the USA had created a way to self promote and build a dedicated fan base who shows major support. Thanks to the Internet and Social Media the youth can share their music and gain an respective audience. A most important project of yours, in my opinion, is HipHop Education. Tell me, please, how do you present knowledge to people? First I will love to thank my Hip-Hop Educators who taught me how to teach Hip-Hop Education. There are Chill Will (Get Fresh Crew), KRS-1, Kool Dj Red Alert, Skazz Digga, Kurtis Blow, who all help me and gave me the knowledge to share with my students. I am the first Hip-Hop Educator and Historian here, in Harrisburg, Pennsylvania, and open doors for a lot of young artists, who gain the knowledge from me. I teach Social Skills through my lessons because one of the problem our youth faces is the lack Communication Skill, Comprehension and Understanding. Are there any differences in perception of hip-hop and knowledge about it in different regions of USA? No.

knowledge about hip-hop, when you tell teens about hiphop culture? Or maybe often you meet people who understand hip-hop as a set of stereotypes of commercial music industry? A lot, LOL I have students from grades 3-12th grade who come to my class to gain the history of Hip-Hop culture and difference between the Culture and Corporation. How do you see the spread of hip-hop in the world? What cultural features you notice when you communicate with hip-hop heads from different countries? Many beautiful People, especially being a Zulu and building with my family all over the world and seeing how they’re teaching to the youth. Hip-hop reflects real life. But the time changed, and hiphop also changed. Today teens don’t see their life without iPhones, instagram and etc. And hip-hop also reacts on this changes – artists are engaged in selfpresentation in internet sometimes more than into work on their albums. And the sound also became "computerelectronic", reflecting the spirit of the time. What do you think about it? And how it will change hip-hop culture in future? We’re in the Computer Generation Era this is all our youth know Hip-Hop Music is all about Downloading and ITunes. However our youth see this as a gateway on getting their music out there. Using their iPhone as away to write their songs, listening to the beat at the same time. Is it influencing on a social element in hip-hop? Maybe instead of conscious spirit of hip-hop we will get just entertainment? Hip-Hop represent from Consciousness, Philosophers to Professors. The 5th Element is the most important element which it represents the Social and Educational of the Culture. We can be entertain at anytime however education is the most importance. How do you think – can we solve real problems of society by means of hip-hop? And how we can do it? YES!!!!!! We have the voice and the tools and it through the Music and the people of Hip-Hop. Outside the USA hip-hop fans know famous names and classics of hip-hop. But in the USA there are many dope young MCs and beatmakers who are unknown outside their cities or states. Tell us, please, about interesting artists, whom you found recently. My Cousin Raz Simone, who is sign to Kevin Lyles and Lyor Cohn new label called 300. Raz brings the Raspy type poetic flow to his music. Also check out a 9 year old Emcee name Dj Glo who is a Bgirl, Producer, Dj and Emcee. She is the daughter of Lord Jazz from the Legendary Lords of the Underground. My nephew Jaymes Ward another young artist from Harrisburg who has a sound that is unique with a lyrical flow.

How often do you meet young people, who have basic

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SLOVO #23 Many people like tell "one love", "peace and respect", "hip-hop culture" and at the same time not all of them are really interested in hip-hop history and culture. They only consume products of mass culture. Don’t you think these people discount hip-hop principles by their behavior? Yes, because it takes away from the Peace and Unity of our culture. As a reflection of real life, hip-hop always absorbed not only positive side of life. For example, gangsta rap, strongly rooted in hip-hop culture of the 1990s. Hip-hop teaches peace and creation. On the other side - a lot of MCs for decades mcing about selling crack and were engaged in shootouts. Disputes about these opposites will probably never stop. How do you feel about this situation? Hip-Hop will always represent peace and unity, however Hip-Hop was always about Self-Expression and share stories about the pass and how it effect and reflect on the artist. Hip-Hop and politics is probably the most controversial topic for discussion, because in hip-hop community there are absolutely apolitical people. Or there are representatives of certain political movements. There are people who study politics on a scientific level. There are people who simply replicate the most popular conspiracy theories, etc. What do you see the relationship between politics and hip-hop, taking into account all the above mentioned? Using Hip-Hop as a tool to deliver the message of what is going on in the world today is powerful. Hip-Hop have always been the Black CNN of our community through Music, Lectures and Educational Event in the Communities through Protest, Block Parks, Parties and Social Events.

Today in the USA legally there is no racial discrimination. At the same time, many African Americans state the fact that their community still lives poorer than others, have limited access to education, etc. In your opinion – to what extend this issue is connected with the existing system, and to what extend – with stereotypes prevailing in the African-American community? African American Males are stereotype as some type of Gangsta type. Thugs who lacks Education, Lazy, and Criminals. However a lot of our African American youth who are Educational Driven and stepping up to become feature Young Youth leaders are creating a movement of wanting change and stepping up to protest against Racisms, Police Brutality and Pushing for a better future for their generation. What do you want to see in the hip-hop culture in future? In the Schools as apart of a curriculum. What is the role of hip-hop in the future society? Economic, Education and Peace. I think that culture distinguishes people from animals. Culture, but not a power or money, create society. And I think that the key to development of humanity is preservation of cultural diversity – national, religious, professional and other cultures, including hip-hop. And this key is also in peace between representatives of different cultures. Do you agree that interaction between these elements of world culture enriches people and help them to solve social conflicts? Yes.

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www.hiphoped4youth.com


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The influence of hip-hop on the development of many other genres of music appeared later is undeniable. But one of the genre, which is the foundation of old school hip-hop, and at the same time stands out a little from its later stages of development, is particularly interesting today. We are talking about electro or electro-funk, as it is also called. 012


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This musical genre is the clearest example of how curiosity and audiophile’s passion contributes to the development of culture. The fact is that if it were not for the interest of the fathers of hip-hop, Afrika Bambaataa, for different kinds of music, in particular to the new European electronics, synth-pop and new wave, it is unlikely that his own tracks acquired that heavy "computer" sound, not common to the classic funk, which is the beginning of hip-hop. However, we should begin even earlier. Since the late 60s jazz innovators such as Miles Davis and Herbie Hancock, and later funk legend George Clinton began to use various synthesizers in their records. In the 1970s, the era of disco, this trend has become even more vivid. But it was electronic music synthesizers ranked the first place among all the instruments used. One of the main became The Roland TR-808. Funk music also followed this fashion trend. And in a recession of disco fashion picked up an electronic component. So there was a p-funk – a genre the godfather of which is considered to be George Clinton, and one of the key artists is Zapp. Listening to them can’t be unnoticed the close relation of this team with a colder and even more electronic music of Kraftwerk and Yellow Magic Orchestra – fathers of

electronic. The last ones created track "Riot in Lagos", which is considered one of the first examples of "clean" electro. But more famous tracks were made by Afrika Bambaataa and Mantronix, who brought this style to the level of a new musical trend of the early 80s. The popularity of electro in those years is quite logical. Hip-hop developed in full, and therefore breaking, the technique is becoming more and more complex and require more and more heavy and fast dance music. In this case, the music had to preserve the funky groove and rhythm. Electro was just such a continuation of early funky breakbeat. When in 1982 Afrika Bambaataa recorded his track "Planet Rock", sampled Kraftwerk’s "Trans-Europe Express" and "Numbers", the music was changed forever. And hip-hop in particular. That's when it became clear that the development of its sound will go on the way of hardening. Although there is another version of the origin of this track. Producer John Robie says that he is the author of "Planet Rock", and Soul Sonic Force and Afrika Bambaataa were responsible for the vocals and DJing. Whether it’s true or not, the track has become one of the key issues in the history of electro.

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SLOVO #23 Among the main representatives of the genre should be called John Robie, Egyptian Lover, Latin Rascals, Arthur Baker, Pretty Tony and Man Parrish. It is these producers who have formed a classical electro sound. Also not left behind were Break Machine, Rock Steady Crew, Planet Patrol, Warp 9, George Clinton (Computer Games), Grandmaster Flash and the Furious Five, Tyrone Brunson, Newcleus, The Jonzun Crew, Davy DMX, Jackal & Hyde, Mr. Magic, World Class Wreckin' Cru and Whodini. This list includes representatives of funk and hip-hop artists. And it can continue for a long time, since the era of flourishing electro gave us many bright names. Electro often remained instrumental or used the vocoder as a substitute for vocals. But also electro-funk played a significant role as a beats for rap. The sound of the legendary Run-DMC put an end to the era of sampling ready-made funk breaks, over which rapped the first MCs. For Run-DMC they began to create instrumentals with reliance on synthesizers and samplers. Influence of "Planet Rock" this process, as they say, is evident. Among the most important tracks of early electro-funk is worth noticing "Al-Naafiysh (The Soul)", which in 1983 released Hashim, and "Rockit" by Herbie Hancock and Grand Mixer D.ST. "Rockit" does not need an introduction, because this song has become a hallmark of Herbie Hancock, who returned with it to the top of the American music of the new generation.

Electro-funk gave a powerful impetus to the development of an entire galaxy of electronic music genres – ghettotech, breakbeat, drum and bass and electroclash. In Europe, the electro-funk has created a separate subgenre - scandinavian funk (or skweee). And although by the end of the 80s popularity of this music began to decline, b-boys’ interest in electro never disappeared. This is understandable, because the old school breaking without this style of music is unimaginable. In search of a new sound the electro is used again and again. In the late 90's and in the late 2000s were "flashes" of its popularity, and now extremely popular trap is a direct descendant of electro, because at its core it uses the accumulations of pioneers of the genre. Among contemporary labels, producing records of various subgenres of electro-funk are Clone Records, Breakin' Records, Dominance Electricity, Citinite, Bass Frequency Productions and Nu Illusion Music. Someone who works with a classic electro, and someone with nu electro and retro wave - styles that have become the reincarnation of electro today. It seems that further generations will refer to this music. In the end, for those who like to dance – it is irreplaceable. For lovers of old-school hip-hop – is steeped in history. A modern experimenters from the world of electronics sip there the inspiration for his work.

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SLOVO #23 The first thing I always want to say about Novae Neba: all their songs are smashing. It is difficult to distinguish among them better or best. All albums of Novae Neba are beautiful. They are the images of the era. Like albums of Ulis from the early and mid 90s. In addition, recognizable and unique voice of Kasya Kamotskaya, who became one of the symbols of the Belarusian rock. But apart from the sublime words, there is also the essence of this unique era and unique music, which is worth-saying. The time - from the beginning of perestroika in the USSR to the mid-90s in Belarus – is a special era, which is unlikely to happen again. After all, if they will be, and they will be for sure - the turning points, they have to be different. Quite different. But it was the crack of multi-year dictatorship in culture and, if we go deeper, in thought. And that's when the youth culture breathed the western air, filling it with a sense of local sense and perception of the world. So that’s how a unique Belarusian rock was born. It was then that he was so, and that those groups are amazing and their sound, and of course, their lyrics. Now, there are technical possibilities, which then could not even be dreamed of. We have access to a lot of music, new trends in the development of music and its stylistic identity. And with all this, we got a lot of well-made, but lacking ideas, and what is much worse – emotions – rock. Good music, but it do not encourage. Period.

Novae Neba affected with its authenticity, a special relationship with the time in which they have to live and write songs. Their songs for me has always been the best illustration of the Belarusian cities 90s. Even probably the first half of the 90s, when I was a little kid, but my memories of that time emotionally were reflected in music of Novae Neba, when I listen to their old albums - "Children of a black city", "NN", "Dreaming in the tram" , "Go home" and "My Country". "We were standing in the queue for bread", "Children of a black city", "He who stands behind me", "Waiting for Christmas", "Letter to his sister," and of course, "My Country" - that is, these unique mirrors in which the time has stopped, and of which looks at me something elusive and old, is the legacy of the gray city in which lived the hope for the future. Hope lost at the same time as the city became pink and clean. Clean vomitably with stability. Creativity of Novae Neba is in a special compound of sharp and natural sketches from the life and deep lyrical songs that fit the style of the last century. And in fact, at both Novae Neba made a unique contribution. Unique contribution to our culture. And I would like to see now the same phenomenal musicians that could reflect our reality so emotionally, brightly and unique.

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MOVIES

SLOVO #23

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SLOVO #23 The juxtaposition of Soviet and American "Hollywood" cinema has long crammed mouth. Personally, such a "virtual" war causes in me nothing but disgust. There are good movies. Criteria for a good film - each has his or her own. But certainly they should not depend on the country and the conditions in which the movie was produced. Another thing is that in Soviet conditions, under the total control and prohibitions, ideological brainwashing, it was more difficult to release a good movie than in the west. This explains the dominance of movies about the "red directors" and "war heroes". Nevertheless, there were directors who did not want to adapt to the standards of ideological boobs. Directors who had something to say and knew how to do it. Directors, which were really tormented by creativity, because they were not artisans but artists. But enough of pathos. Let's move on to the personalities and important facts. Many will recall Andrei Tarkovsky, the man who became a symbol of intellectual cinema in the USSR. But there was no less important for this cinema person - Tengiz Abuladze. We have not really known Georgian cinema in Soviet times, let alone nowadays. However - in this country was one of the best cinema school in the USSR. And movies by Tengiz Abuladze are a striking confirmation to this! Tengiz Abuladze cinema is dramatic and imaginative. It is steeped in centuries-old wisdom of the national epic. Tengiz Abuladze repeatedly turned

to the works of the Georgian poets and writers, as well as folk tales and Dagestan people. He started making movies in the mid 50s. Era was far from iberal. And then to philosophize was not particularly necessary. However, his first film "Lurdzha Magdany" immediately turned to the topic of morality and the human conscience. They will become the central topics in all his films. For several decades, Tengiz Abuladze made seven feature films and five documentaries. And all of them, anyway, are turning to the human soul, his conscience and culture, which should be built on the soul itself and morality. Movies by Tengiz lead the viewer to this thought. Among the seven of his pictures it is necessary to mark a trilogy of "The Prayer" - "The Wishing Tree" - "The Repentance". The first of these Tengiz Abuladze considered to be his main movie. But the audience most likely remember the last one. Tengiz Abuladze produced "The Prayer" in 1967, and "Repentance" in 1984. Agree between these dates is a great epoch in the life of Soviet society. The era of stagnation. And "Repentance", which after reaching the screen was forbidden by the censor, was the first sign of perestroika. Many then rank Tengiz Abuladze to its vanguard. But the significance of this film is much more - this is a picture of a clash of cultures and dictatorship. Culture, which is inconceivable without conscience and morality. And the dictatorship, which is not conceivable with them, and is kept on fear.

"Prayer" asked a simple question - is it worth blindly kill in the name of tradition, religion, or something else? Is it worth to take all the people united by some formal sign for a single gray mass? "Prayer" in the current circumstances of war and hatred is a must for. But the majority will never see it.

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SLOVO #23 Tengiz Abuladze showed how dangerous not only a cult of personality of dictator, but next to him the era of stagnation, which this cult enters into everyday dullness, making it common. As a result, it is seen as quite normal and not even questioned. Tengiz Abuladze questioned the spirit of the era in which the film was shot. And when the movie still was released, it has generated a wave of discussion at the dawn of perestroika. To break the wall someone has to break the first brick in it. This is what such films as "The Repentance" do. And they are a monument to those honest and conscientious representatives of mankind, whom bloody dictatorship milled with its millstones. But not only the "The Repentance" is important for us today, when the dictatorship and the cult leaders are still the foundation of the social structure of the most post-soviet countries. "Prayer" asked a simple question - is it worth blindly kill in the name of tradition, religion, or something else? Is it worth to take all the people united by some formal sign for a single gray mass? "Prayer" in the current circumstances of war and hatred is a must for. But the majority will never see it, it is not going to be on your favorite TV. But thinking people in need of food for thought will watch it again and again. Movies by Tengiz Abuladze is the call of

conscience. As its "Wishing Tree", contrasting the material interest and love of the guy and the girl. It would seem that the choice is easy, but in reality we often choose not love and conscience... Or "Aliens Children" - a drama, to the very end holding the viewer in suspense for a long time and thought-provoking about its plot. And about the question of the movie - whether there are "not our" children? Even comedies by Tengiz Abuladze not only amuse the audience, but in such an unobtrusive way push to reflection on the serious issues. And it is also an example of excellence in cinema. Skills and meaningful content. Cinema is a great art, deeply rooted in our lives. It entertains and distracts from the reality and causes of this fact to argue. And perhaps the latter is one of the most important goals of the movie. Not always pleasant for the viewer. Often painful for the author. But important for mankind. Forming its culture that distinguishes man from beast. Place for movies by Tengiz Abuladze in a planetary culture has already been found. And they should not be lost and forgotten!

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ART

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Sainer’a art is mesmerizing. Banal phrase, you might say. Then just look at any of his paintings. Seeing them, you begin to look at it slowly, savoring the details. Details in the Sainer’s works are paid a lot of attention. One gets the impression, and probably it’s the way it is, that the author thinks out carefully each element and its place in the composition of the picture. Or, perhaps, Sainer simply has so developed imaginative perception that feels intuitive composition in the process of creating a sketch. Anyway - his paintings are tremendous! 021


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No wonder, so many articles about street art contain at least a couple of his most famous works. Like the work of his team ETAM Crew, which also includes Bezt. About works of this artist, too, a lot could and should be said. ETAM Crew combines two distinctive artists. They are very close to each other in terms of style, but in the work of each of them unique features are retained. About Bezt’s works we will talk another time, and now back to Sainer’s works. They really are an excellent illustration of the concept of street art. 022


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More because of the Sainer’s works unite. You see - among street artists there are many who create paintings of narrow focus. They are perceived by a small number of people who understand what in these works "encoded". The average person, far from contemporary art, just do not understand their ideas, and does not see the beauty in them.

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In the Sainer’s works it is impossible not to see it. And the man in the street, and the tempted specialist in art will not pass by his works. In addition to the already mentioned elaboration of composition in Sainer’s paintings, you will also find a unique play of colors and beautiful images.

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Sainer’s creativity refers to the individual. That is, his paintings are personal. Portraits, in each of which the unique personality can be seen. In any - a young girl, a jazz musician or a grandmother.

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Sainer’s paintings are dimensioned. Not only because many of them are of the size of a house wall. But also in their relation to the surrounding urban space. Sainer superbly enter their art in the urban reality. This is monumental art. Of course, he writes not only on the walls, but also on the canvas. And he works in the field of design. Every work has its own atmosphere, different from the Sainer’s street art pictures. But they all share original and lively ideas, combined with excellent technique of transition them into reality!

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Enjoy the creativity of the artist. Who knows, maybe Sainer’s paintings will give you the very inspiration that will push you to your own creativity! 027


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http://www.etamcru.com http://pblejzyk.blogspot.com https://www.behance.net/sainer

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Contrast. That's always attracted me in black-and-white photos. Nothing more. Nothing distracting. And the whole world, smoothly flowing in millions of shades from crystal white to black consuming. 029


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Exactly these shades make monochrome photos unique and imaginative. Atmospheric, if you want. In the sense in which music called atmospheric.

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Photoart of Hengki Koentjoro reflects all of the above. You never want to write a lot about the art of photography. You want to see it. Think about it. Feel it. Photos of Hengki Koentjoro are filled with feelings.

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The nature, rich world of our planet, gives these feelings to his works. Clouds, sea, calm or raging, people enjoying this world - all this is reflected in the photos of Hengki Koentjoro, in perfect harmony.

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Appeasement. This will be the most accurate definition of his images. Images that he not only catches in the lens of your camera, but also creates them. After all no matter what they say there are photographers-journalists, who preserve the images of real world. And there are photographers-artists, who create reality in their works.

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Hengki Koentjoro, of course, among the last. And among the best representatives of photography. I would not say that time stops in his photos. Not exactly. It just stops to pressure us. Stops to pressure our understanding of our lifes.

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What is it, if not confirmation of the finest harmony of Hengki Koentjoro's photos? And do you need to write something about them after all? Just immerse in the picture, in which nothing is superfluous shown in two colors - black and white.

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http://www.koentjoro.com https://500px.com/hengki24 https://www.behance.net/hengki24 https://www.facebook.com/koentjoro24 https://www.flickr.com/photos/21290636@N06

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SLOVO #23

Freedom is a word that flashes in advertising slogans, movies, songs and other products of mass culture. But what is freedom? This concept is unlikely to be reduced to a set of advertising stereotypes. What does philosophy say about freedom? And how do scientific theories relate to a stereotype? About this we talked with Gleb Kolomijets - technical editor of the literary and art magazine "Slova" and the author of the dissertation in philosophy. 037


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SLOVO #23 Freedom, how does this concept exist in the everyday consciousness and popular culture, and how is it defined in philosophy? What are the limits of freedom and real opportunities to use it? I'm certainly not an expert in popular culture, but I think that the freedom is represented as an infinite vacation (five-star hotel, swimming pool, ocean waves, palm trees) or school holiday (idleness, summer, sun, young hot babes). I.e. mass culture refers to an experience that everyone experienced, simply extends to the limits of one’s entire life. Ultimately, freedom in this case comes to a lack of responsibility. If we talk about the philosophical definitions of freedom, it is best, I think, to say that freedom - is when you have a choice (no matter what). If there is no choice, there is no freedom. This also applies to person and to society. So, do you think that in popular culture freedom is a limitless consumption of pleasures? In this case, it becomes simply a continuation of consumption. And because it was made an idol, freedom is one of the stereotypes that manipulate mass consciousness, pushing it to strive for eternal pleasures? The second important question - if freedom is understood by many people as a lack of re s p o n s i b i l i t y, i t t u r n s o u t t h a t i n t h e i r understanding it has nothing to do with responsibility for their own actions? Popular culture gives people what they want. Culture needs some positive image, which can be associated with any commodity, and through that motivate a person to buy. In this respect, it is not important, if the freedom is a question or anything else. We like this way of freedom, and we offer it. Demand creates supply. If the popular culture manipulates us, only in the sense that it connects our desires with products that cannot meet these goals. Philosophers believe that moral responsibility is possible only where there is freedom, there is a choice, people in general, of course, instinctively try to avoid suffering the negative feelings. And so the image of freedom which is associated with the responsibility

"I'm not sure that mass culture can create desires in a man. Rather, it offers us objects to the desires that we can accept and reject. I think there is a desire before he gets a particular object (like the iPhone)".

would be repulsive for them. With this image you won’t sell a lot of goods. I agree with the fact that popular culture plays on human desires. This is its basics. But there is another side - mass culture creates desire. Basically, it is certainly a special case of the general projection requirements for specific products. Yet the creation of some new products quite significantly changes the set of needs (and values) of the individual. For example, the same iPhone. In fact, it does not give the person anything new compared to other phones of this type, but in the eyes of a man, "thinking" by advertising cliches, the possession of the toy significantly improves the quality of his life. And thus extends his freedom (in the sense of the word within mass culture). But at the same time, this toy is becoming a new human need. It runs his life, to strive to buy an iPhone in any way. And gets a paradox - in the pursuit of freedom, a person becomes dependent, but it continues to be considered a new cage freedom. Do you agree that these paradoxes are also the basis of mass culture and allow it to be successful in business? And why these paradoxes are not recognized by most people they just do not think about them? Or the problem is deeper? Desire - this is not an area in which a person has a lot of power. We can resist the desires, but to stop to wish something is rather difficult, if not impossible. There is a pretty old tradition of philosophy (it lasts at least to Freud, but you can if you want to count it against Plato and even before), according to which we have either very little or do not have our own desires; they all come from somewhere else. Maybe it is our animal nature, instinct, maybe God or the devil which wish for us, or capitalism produces in us the desire, maybe the world itself - a desire, and we will only reflect... It is important that it cannot be limited only by mass culture.

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SLOVO #23 And iPhone - this is a special case - it is a vivid manifestation of cargo cult. Some African tribes believe that Western goods, like Coca-Cola is a gift from the gods. And so, white people commit special rituals, turning to the gods, and call on the ground steel bird (Aircraft), which brings the sky cargo, gifts of the gods. And these Africans build simulation runways, reproduce motion controllers and clothes, military, hoping thus to call from heaven the steel bird... That's almost the same with the iPhone. This "toy" reveals in us the most ancient layers of the unconsciousness. We believe that the iPhone is a magical device of extraordinary power that can change our lives, we believe that a person with an iPhone is endowed with exceptional divine authority, that he was in good terms with essences of the highest order; he is a great shaman, and ordinary people have to honour him, to worship him. In this sense, a desire to buy an iPhone is as old as the world. It has always been in us, just before it was sent to other objects - cars, for example. Perhaps if we analyze all the objects of prestigious consumption, we find out that the desire associated with it, has the same old story. I mean, ultimately, that these desires stimulated by mass culture, do not have a very strong influence on our freedom or unfreedom. Rather, all of this suggests that we are not free by nature from the very beginning. It is not clear though- to what extent? Regarding the fact that our desires only are the influence of mass culture cannot be written off, it's clear. However, in the first place, to what extent can be determined instinctive desires dictated by our nature, if not our own? You can certainly say that nature imposes them on us. But it is quite abstract reasoning, because without nature we simply cannot be, as without our instincts. But without mass culture creatures may live well. I mean that the "natural" (instinctive) desire are natural. At that time, the desires, generated by pop culture - is an add-on instincts. And the attempt (usually successful one) to direct the energy of the instincts in a completely different direction.

Of course, both of them, limit us to certain extent. On the other hand, if it is considered as a possibility of freedom of choice, desires often create a situation of choice. But just how often is this situation artificial? Isn’t the “choice without choice� with the already established result realized in it? I agree that the iPhone, as well as cars, is the projection of the instincts of the modern material world. That's just when it comes to cargo cult, there is one question. Primitive tribes consider magic as real actions that entail a specific result. That is their understanding of any cult is similar to our understanding of the use of certain technologies. For them, the magic is a substitute for science. More about this B. Malinowski wrote in his studies of ancient beliefs and rituals. But the modern man, in spite of its irrationality and thirst for a miracle, understands that the phone itself or the car is not a miracle. So is it possible to equalize so uniquely thirst of their income from cargo cult? It seems to me that an important role is played by the desire to be the best, which in turn is based on instincts. Owning a "prestigious" object is an indicator of financial success. And this success in our society is the equivalent of physical strength of the male in the pack, or the magnitude and beauty of the tail of the male peacock. To what extent, in your opinion, is this analogy relevant to the animal world? And what is the difference of the human society? Again the possibility of a conscious choice, and hence the existence of freedom, is the hallmark of a totally instinctive animal world? In general, it is necessary to mention that not all scientists and philosophers are willing to accept the fact that a person has instincts. It all depends on whether to consider the human representative of the animal world in general. In the Western tradition superiority on the side of those who believe that a man is a social animal. We have, in particular, after the collapse of the Soviet Union, more and more scientists assure that the man is not an animal, but... maybe, God's creation. So let's assume that we call instinct a certain fundamental human desire. For simplicity I equate the "I" with the consciousness (which is likely, may do this very free choice from time to time), and I think everything that does not belong to the mind, external to this "I". Because if you expand beyond the "I" that is substantially complicate matters and eventually stop the movement of our conversation. I'm not sure that mass culture can create desires in a man. Rather, it offers us objects to the desires that we can accept and reject. To talk to the contrary, you need to have one hundred percent confident that the desire to buy an iPhone and a desire to buy a car are different desires.

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SLOVO #23

"If we talk about social freedom, but n o w, i n g e n e r a l , d o m i n a t e d b y democratic reading of this idea: freedom - is when the society itself selects the rules that will be subject to - here again emerges the topic of choice. There is one nuance although: the society should act as a single organism, and its single choice must take into account the views of all members of society". But I'm just not sure about this: when we want to eat, no matter what kind of food we eat as a result (and if we really want to eat, we can even eat something inedible). That is, I think there is a desire before he gets a particular object (like the iPhone). Moreover, if for each object we had individual desire, we would not get into a situation where we do not know what we want. But such situations occur quite often. About the cargo cult. Look here. Suppose I have a coin that gave me late grandmother, and I believe that it brings me good luck. I know that this coin is no different from any other of the same coin, I know it's just a piece of metal. However, I cannot replace this coin with some other or spend it, or throw it away. Because I believe that this coin brings me good luck. Similarly, with an iPhone. I cannot know everything about its structure and operation. But it still does not prevent me to believe that it is, for example, a special iPhone, which brings me good luck. Analogy with the animal world is relevant only to the extent we accept the idea that a man - part of the animal world, and on this point the opinions of scholars, as they say, is divided. If you talk about me, I believe that such an analogy is quite appropriate, but it is rather the result of generalizing experience than any real, true knowledge. I honestly do not really see a contradiction between the theory of man as a social animal and creationist theory. Actually, even if the man is a creature of God, does it prevent him from being an animal? They are also in the framework of this theory are also God's creation. But this is actually a different topic, the question of freedom is not directly affected. About differentiation of consciousness and instincts, as well as about the fact that popular culture offers a variety of objects to one desire. With both your statements I agree. And I think that these

are important moments. Firstly, in the end it turns out that popular culture, imitating the freedom of choice, is strictly limited to the specific instinctual needs. And the imitation of freedom itself is the creation of a "frame" for these needs, and the game of choice of these frames. But let’s go directly to the philosophical understanding of freedom. If we consider it as a conscious choice, it turns out that making selection, the person is in the center of the process, not being manipulated as in the case with a choice of consumer goods offered by mass culture? And this immediately raises the question of the ambiguity of the situation. I.e. to what extent can people avoid external influence in the selection process? In fact it is a question of borders of liberty, and even more the limits of consciousness. Or maybe is it the same thing? How do different currents of philosophy look at it? Indeed, there is no contradiction at all between the creationism and the theory of evolution. But there is a contradiction, for example, between the Bible and the theory of evolution. The Christian belief system which is fully in line with the official religion, has no moral right to even admit the truth of the situation that a person belongs to the animal world. I find really pretty the idea of Deleuze and Guattari that desires have actually no objects. They believed that the idea of the direction of desire itself is the result of the suppression of our unconscious. And I think it is worth paying attention. Many vital mistakes are made when we build the strategy of behavior, based on the fact that the desire can be satisfied by acquiring some object. And in fact, the desire simply wants. This is a kind of energy flow, which passes through us, it is not directed anywhere, and it has no specific goal.

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SLOVO #23 On the subject of free will, free choice is written very much. If desired, any number of positions in detail the different trends and tendencies in the same direction, but in the end, there are two extremes - either completely there is have no free will, and there is always an external cause, which determines all our choices (such as Martin Luther - God has thought of everything for us, everything that is happening and will happen, was predetermined), or, on the contrary, we are condemned to freedom, as Sartre said. The desire in the "abstract state" may be the energy flow itself. But, don’t you think that it is rather a scientific abstract model? In real life we do not perceive the desire as something unified globally and realize it to satisfy our specific needs - drinking, eating, etc. That is, the desire is realized only through objects that satisfy these needs. Yes, it does not disappear, and with time the need arises again. And in fact, it is the process of life. In this regard, one can speak of the desire, as an endless stream of energy. But his very understanding in this form is the result of rational thinking and integration in a one single system all of our individual needs. In general, here again there is still a global contradiction with the theory of Deleuze and Guattari, but the question is if the perception of the flow of desire in real life is possible only through the prism of meeting the specific needs using different objects? Concerning theories of predestination - everything is clear. They deny human freedom as such. But when it comes to freedom of theories of doom, there is a question of the relationship of individual liberty and freedom in the society. There are also different interpretations of this relation in philosophy. What do you think about this? Can the inner freedom, the freedom of the human mind be regarded as absolute and unlimited? In particular, a fantasy - it's a manifestation of freedom. Does it have boundaries? Freedom in society is always limited manifestation of freedom of other people. How would you describe these boundaries? And if any of them is a contradiction in terms of philosophy?

And another aspect - the Marxist interpretation of freedom as a perceived need. Is freedom always necessary? Because the selection itself- with what we began discussing this topic, can not always be necessary. A person can be indifferent to any particular situation of choice. Of course, it will be commited anyway in this situation. But it is doubtful whether it can be considered in this case, conscious, and therefore from the point of view of Marx - it is not a manifestation of freedom? The connection between a certain object and desire is a kind of reflex. Behind it there is a simple logic, a kind of message from society: you have the desire - so you have a lack of; use the objects that we offer you. And in fact, the logic is the following: you have the desire, then you need to move. If you carefully consider the desire, we do not find in it anything that would point to a particular object or group of objects, it's just a signal of our body go and do something. Hunger does not tell us that we need food, it simply presents in our minds. So, in my opinion, there is nothing metaphysical, all of this can be seen on their own experience. If we talk about social freedom, but now, in general, dominated by democratic reading of this idea: freedom is when the society itself selects the rules that will be subject to (this idea appears already in Kant in his article "The answer to the question: What is Enlightenment?") - here again emerges the topic of choice. There is one nuance although: the society should act as a single organism, and its single choice must take into account the views of all members of society. As one of the fundamental values of many modern societies - they are human rights, it is believed that we are free to act only in the event that does not violate the innate rights of another person. And this is one of the rules that a democratic society is supposed to be free to choose. But it is clear that, in practice, the choice in a democratic society is often carried out by non-citizens but their representatives, the public does not make a choice, as a single organism, so emerged the movements for direct democracy, like the American "The Occupy", which tried to find a way to give everyone the opportunity affect the overall choice. And there is the contradiction.

"For that concept of freedom, which is connected with the choice is not as important as we relate to this choice, as long as it was with us. If we do not want to make a choice, then we delegate this choice to someone or something else (a coin, for example) or putting it off until later".

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SLOVO #23

"If we talk about alienation, Marx, for example, believed that the collapse of capitalism was there originally. The only question is when that moment of the impossibility of capitalism comes. Perhaps it will never come".

There is a point of view of "the left": social freedom – is, above all, a freedom of labor. It is believed that the suppression of freedom in society through the alienation of man from the products of his labor - that is, make it impossible for us to control what we produce, thereby compromising our natural right. And from there follow other restrictions. And, accordingly, removing it gives social freedom. The idea of "perceived need" is, in fact, found not only in works of Marx but also in the ones of Spinoza, Hegel, and even Aristotle, I do not know who actually owns the phrase. But, in any case, it is possible with a high degree of certainty claim that somewhere in the works of Marx and/or Engels it occurs. For that concept of freedom, which is connected with the choice is not as important as we relate to this choice, as long as it was with us. If we do not want to make a choice, then we delegate this choice to someone or something else (a coin, for example) or putting it off until later. And here, too, we are making a free choice, we select one of two alternatives - either to make a choice on our own, or give it to someone else. Another thing, when we have this option selected. And the idea of perceived need, probably is built in quite a formal way. There is an old concept: every thing contains its opposite. And, therefore, if there is freedom, then there must be something from the necessity. The opposite is also true. And one, in theory, should, under certain conditions, to move to another. Although, frankly speaking, I wasn’t seriously engaged in this issue, so I can explain something not very correctly. Hunger indeed connects us with the object (food) instinctively. Another thing is that we are able to choose what kind of food to consume. But the animals make the choice largely by instinct. That is, it turns out that a certain orientation on the object in some situations exists in a desire, though not in all. Based on the concepts of freedom described by you and their limitations in reality: how do you see the solution of the following problems 1) that the society has delegated the choice to the caste of officials and 2) the alienation of man from the products of labor. Indeed, the very fact of refusal of freedom of choice

is often voluntary. And it becomes the basis not only for representative democracy instead of a straight line, but also for outright dictatorship, which is supported by the masses. As in the case of labor, when a person does not want to take risks, and only wants to do the work for a salary. Of course in this case, the process led by the one who organized it, i.e. used his own freedom of enterprise. Of course, in reality there are lots of reservations about this process, but you don’t want to write off the enterprise and passivity. Is there a solution to this problem? In most cases, using the imagination we combine what was already in the perception. A man with a horse, a lion - with an eagle, rooster – with a toad. Everything that we represent, based on the fact that has come to us from the outside, without permission. It seems that the resources of consciousness to create something truly new, not like the fact that it was already in the perception, is limited. But here it is difficult to say for sure, I dealt with this issue a little. As to freedom of thought, then it probably has its limits. Here, even if we take Kant. For the thinking only images of things are available, but not the things themselves, thinking cannot do without space and time. Overall are the constraints that cannot be overcome. Secondly, regarding hunger and etc. I have no confidence that hunger still binds us to the object. We suppress this feeling with the help of food and we do it consciously realizing this social practice, which we used to implement. But a rumbling stomach does not tell us about the need for something to put there. In my opinion, these problems have no solution. Here I am again, judging on the basis of generalization of the experience and not any prerequisites or logical reasoning. I just think that people really like depression, like when they are humiliated, harassed, when they take away what rightfully theirs, they love to power, to violence. It never stops. "Occupiers" saw the solution to the first problem in finding a consensus - that is, a principle which is accepted by all parties to the discussion. That is, they continued to discuss the issue as long as the solution does not suit everyone.

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SCIENCE

SLOVO #23 If we talk about alienation, Marx, for example, believed that the collapse of capitalism was there originally. In capitalism, as in other imperfect forms of social organization, there are contradictions (for example, class conflict or the same alienation), and these differences will be exacerbated by the development of capitalism. And at some point the system will destroy itself from within by the revolution. I.e the solution is to wait for the collapse of the system, and the communist society itself will inevitably create from the wreckage of the capitalist, simply by virtue of the fact that the laws of development cannot be canceled, and the company just did it in development. The only question is when that moment of the impossibility of capitalism comes. Perhaps it will never come. Free entrepreneurs is also not to be envied. These people represent a certain appendage of capital. They do not have their own thoughts, their own "I". It's kind of monks who constantly commit ritual of sale. They, too, are not free to dispose of the products of labor, robbed of the proletarians. And here I cannot even imagine how you can delegate your life choices even to some bad and worthless person, but simply an abstract law of economy. I say this to the fact that the passivity of the proletariat and the capitalist activity are relative. Strictly speaking, only capital, which is constantly moving, growing, stretched (as it was written the same Deleuze and Guattari) to the borders of the universe is active.

essentially an abstraction with many limitations and illusions. Its "pure" direct component - just endless and no matter what the undirected desire that motivates and acs. That is, try to realize that freedom. But in the process of implementation, we are forced to endlessly run across the barriers of economic laws, the boundaries of thought and imagination, and even ready-made patterns of behavior that we cultivate in ourselves and their children, and thus reproduce (themselves or under the influence of other people), "looping" their lack of freedom. And to what do we finally arrive? To that fact that the pursuit of freedom is a Sisyphean task? Or is it that it is quite possible, but at a certain level and in certain situations, but not in a global sense? Freedom is real. I think, even in everyday life there are many situations where we have a choice. Simply, we are accustomed to understand freedom as permissiveness or the same endless vacation, we started with a discussion of this topic. Therefore, when we try to think a little about freedom, there is a conflict of expectations, the conflict between independent thinking and the socalled "common sense", an intuitive understanding of freedom. In general, of course, freedom (if we understand it as having the choice) – is the true value, and for the true values we must fight, to make sacrifices. Regain the choices that you have taken away is difficult and therefore, perhaps, freedom seems such a rare and inaccessible thing.

Based on the above, it appears that freedom remains

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Slovo 23 (english language)  

New issue of Slovo magazine. Interview with DJ Zhao, producer Sinitus Tempo, hip-hop educator Zulu Queen Michele. Articles about director Te...

Slovo 23 (english language)  

New issue of Slovo magazine. Interview with DJ Zhao, producer Sinitus Tempo, hip-hop educator Zulu Queen Michele. Articles about director Te...

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