You know, most of the books I read on, and I've only read a couple, you know "today the society's control" type of stuff. You know, this grip on society type of stuff, it's just like "oh yeah this generation, they're just a bunch of idiots that sit there and watch TV and smoke dope and the internet is nothing to get excited about, it's just you can see already, it's just people doing Twitter and playing on Facebook and stuff, there's noth..." But no, there's some anticipatory potential in these technologies.
You know, I mean, you think about what it could mean to have a camcorder and follow around Socrates.
[Titles]
I know that
I don't know,
I don't know
I don't know
Interview with John Maus (ft. the wind and the crickets)
[Cut to John]
Yeah no, no I'm John Maus and I'm here talking with, what? What am I talking with?
[You're talking to Smetnjak. We're the non-paid spoiled brats of the world. Enough about us. How do you feel about the way your album We Must Become the Pitiless Censors of Ourselves has been represented in the media?]
Ahhhh ambivalent, of course, do you know what I mean? It was the first time that I was dealing a tiny bit with those, with more kind of dubious mechanisms, that are more wrapped in with making sure the thing is more visible and this kind of, in other words they aren't strictly DIY, so, you know, in the name of punk rock I felt a little ambivalent about that, you know the manufactured hype and things along those lines. But then I always like to make the disclaimer that my vocation isn't politics, right? I don't want to make a medium of politics, I want to make music! But then you've got to think about the bullshit the minute you represent the thing or try to share the thing with the situation and inevitably it involves those political dimensions.
[The dangers of visibility.] (2:06)
You have to concede, you have the outrageous belief that in this case it will be exceptional. Do you understand? Somehow, it will explode, it will mark a redistribution, it will speak to something else than those inhuman mechanisms, when I bring this to bear. But again, I think we have to be really careful here, right? Whether our question is about music, about an artistic procedure, versus a political, do you know what I mean? I'm not saying there isn't certainly an overlap somewhere, but essentially right, they're disparate trajectories.
So yeah, after the fact, bringing it to bear, dealing with these mechanisms, I've said once before, a thing's visibility usually speaks to its untruth, doesn't it? But I also held the caveat that there are of course exceptions to this, in popular music, I think of something like The (Sex) Pistols, the punk rock thing, or even Nirvana, right? Where the thing is omnipresent but there is perhaps an element of something else, an inhumanity, a singularity, or whatever you want to call it, in there.
It's disgusting, of course I feel violated, and I feel complicit, and I feel like I must have been in the midst of a fever dream and Lucifer came to me and I didn't even know it, or something like that, do you know what I mean? But the only thing we can do at this point is try to rip it down, right? I mean I'll go hide, I promised myself I won't let it get to the point where I'm wearing ass-less chaps and just smiling and doing exactly what I'm supposed to.
You know, I mean, you think about what it could mean to have a camcorder and follow around Socrates.
[Titles]
I know that
I don't know,
I don't know
I don't know
Interview with John Maus (ft. the wind and the crickets)
[Cut to John]
Yeah no, no I'm John Maus and I'm here talking with, what? What am I talking with?
[You're talking to Smetnjak. We're the non-paid spoiled brats of the world. Enough about us. How do you feel about the way your album We Must Become the Pitiless Censors of Ourselves has been represented in the media?]
Ahhhh ambivalent, of course, do you know what I mean? It was the first time that I was dealing a tiny bit with those, with more kind of dubious mechanisms, that are more wrapped in with making sure the thing is more visible and this kind of, in other words they aren't strictly DIY, so, you know, in the name of punk rock I felt a little ambivalent about that, you know the manufactured hype and things along those lines. But then I always like to make the disclaimer that my vocation isn't politics, right? I don't want to make a medium of politics, I want to make music! But then you've got to think about the bullshit the minute you represent the thing or try to share the thing with the situation and inevitably it involves those political dimensions.
[The dangers of visibility.] (2:06)
You have to concede, you have the outrageous belief that in this case it will be exceptional. Do you understand? Somehow, it will explode, it will mark a redistribution, it will speak to something else than those inhuman mechanisms, when I bring this to bear. But again, I think we have to be really careful here, right? Whether our question is about music, about an artistic procedure, versus a political, do you know what I mean? I'm not saying there isn't certainly an overlap somewhere, but essentially right, they're disparate trajectories.
So yeah, after the fact, bringing it to bear, dealing with these mechanisms, I've said once before, a thing's visibility usually speaks to its untruth, doesn't it? But I also held the caveat that there are of course exceptions to this, in popular music, I think of something like The (Sex) Pistols, the punk rock thing, or even Nirvana, right? Where the thing is omnipresent but there is perhaps an element of something else, an inhumanity, a singularity, or whatever you want to call it, in there.
It's disgusting, of course I feel violated, and I feel complicit, and I feel like I must have been in the midst of a fever dream and Lucifer came to me and I didn't even know it, or something like that, do you know what I mean? But the only thing we can do at this point is try to rip it down, right? I mean I'll go hide, I promised myself I won't let it get to the point where I'm wearing ass-less chaps and just smiling and doing exactly what I'm supposed to.
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