MUSIC MADE BY OTHER PEOPLE

logical notation is emotion

Music Made by Other People is out on SoundCloud and other platforms today, the 5th August 2022.

It’s impossible to describe the role angelicism played in this album if it played any role at all. Let’s say angelicism was a pure space for the album but then those who made it already were that pure space. There again, the title names that ‘problem’, the musical problem of:

MUSIC MADE BY OTHER PEOPLE

User-0 once said that Bod had said that music doesn’t exist. We can now say that when it comes to ‘music made by other people’ we have a category that not only proves that all music is music made by other people (even my own) but (even more incredibly) that all music made by others is made (through pure rotation) by ‘me’, and that this also proves (mathematics) that ‘music’ doesn’t exist.

Music made by other people is not angelicism music because it is universal music, and it is not universal music because it is angelicism sound. It is not my music because it is made only by other people, and yet since it is only ever made by others there is no ‘artist’ at all. You think that’s just a piece of logic? Instead, logic is pure music itself.

MUSIC MADE BY OTHER PEOPLE

There have been several albums in something like a series:

• Music For Self Esteem

• Music For Self Extinction

• Music Made By Other People

After music (made for) self extinction what else could be listenable or unlistenable? Insofar as pure music is a logic then yes, it has to be (a logic). It has to be logic since music would be nothing without the sensuous progression (a logical and syntactical change) between these titles. Self esteem (the sovereignty of healthy narcissism), self extinction (cognition of and care for the extinction drive), and other people (what comes after musico-formally, content always belonging to the other and not to me).

After self extinction, what? First of all that our content must be so good it (formally, finally) belongs to everyone. If humanity (music) cannot do anything about self extinction (suicidal epistemology of tropes) even when it has knowledge (musical notation) of self extinction and tries to do something about it (making), then it enters into logical (musical) impasses in that what it must do is be of other people. This is no longer an ethics, we can say, but a music. And this music is no longer music (since music does not exist) but formalized time (emptiness).

What does it mean for content to be so good that x or y? Or put this another way, let’s say that content in general becomes so good that it threatens (harrows) human existence itself, then what happens? What does content do about that? What does content do to contain content so beautiful it harrows human continuity? What does content do about that which is now always content by other people, what does it do when content becomes so beautiful and perfect (technic predation) that it threatens the conditions of art themselves?

Content becoming content by anyone (other people) is already part of this. Again, the title ‘music made by other people’ already names the musical (formal) problem. The track titles here are not names in the usual way but ‘artist names’. So what is each track called? The track ‘bloodz boi 血男孩’ is presumably ‘by’ bloodz boi 血男孩 for example, designed ‘by’ bod [包家巷], but then the track isn’t a track on a collaborative album it’s a numerical designation of an artist as concept. ‘bloodz boi 血男孩’ inside the space of MMBOP is more beautiful than bloodz boi 血男孩 because they belong to not-belonging and not-not-belonging. None of the artists on MMBOP belong on the album that only they could have made. Is this the situation called ‘angelicism sound’?

ALWAYS ALREADY MUSIC-AI

What can be called angelicism locates itself at the coincidence of technical perfection and mass omnilapse (artificial stupidity). All content to come, no matter what it is, is unable to not pass through this coincidence. At the same time, content that is always already content made by other people is anonymous enough to at least wrap the impasse masked as coincidence and mastery.

Again, this sounds like a highly logical definition but is simply the designation of what music has to do to cope with its own ability to perfect beauty (beauty accelerationism). As technical perfection peaks (hasn’t it already?), the ability of art to give form becomes more defensive than formal. We now need protection from beauty, and protection from perfection.

Bod’s [包家巷] compositional spaces were already evolving into this space of making music so as to repeat oneself in the present because you know you will be part of the open expanse of AI as the ungivenness of any prior model at all, ‘perpetually open for all design work’, becoming something like resonant-superfluous. This was already said:

My work will be integrated with various aspects of A.I. as I continue to integrate into the mutual non-distinction between what is an artifice and what is natural.

This was a description of Music Made By Other People as a genetic and formal requirement.

EVOLUTION

Since there is music made by other people, there is also only other music made by other people as part of the same fold of composition. In the music of Eliskajah there is already a highly developed musical annotation of evolution (e) of the image of extinction (e). This can be heard not as the content of the music but its formal requirement. That is, emotion.

The pink shape (‘cover’) is a sigil Eliskajah uses to work with the songs, to protect a space. The sigil marks a spell that includes everyone (e) and marks the evolution (e) within the design of all names of extinction (e).

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angelicism01, written 5 August 2022