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Laibach |
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Rekapitulacija 1980-84 |
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Perspektive |
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(Perspektiven / Perspectives) |
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[Spoken in English:] |
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Laibach takes over an organisational system of work, after the model of |
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industrial production and totalitarism, collective spirit, identification |
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with ideology, which means: not the individual, but the organisation |
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speaks. Our work is industrial, our language political. Laibach is a |
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recognition of time universality. Its organisational activity is an |
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intense agitation and a constant systematic propagating, ideological |
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offensive. Any social activity affects the mass. Laibach functions as a |
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creative allusion of strict institutionality, identification with |
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institution, as stock theatre, or popular culture with a centralized |
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programme. One transmitter and a multitude of receivers, and with a |
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communication through uncommunication. Laibach's musical approach is a |
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move to the area of pure politization of sounds as a means of manipulating |
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the masses. When, in politically and economically complicated situations, |
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the antagonism in society is becoming strained, only force remains as the |
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ultima ratio of social integration. The force must adopt the form of |
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systematic, physical and psychic terror, organized in accordance with |
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social relations. Terror is obtaining a function of productional power, |
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which extorts discipline and an adaptation of the mass, to the existing |
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productional relations, and the existing productional apparatus. For the |
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totalitarian form of government, the systematic terror becomes a |
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constitutional instrument of authority. Through the mystic, |
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erotic-mythological sound, constitution of an ambivalence between fear and |
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fascination, which rudimentarily affects the consciousness of people, |
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through stage performances of ritualized demonstration of political power, |
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and through other manipulative means of an individual, Laibach practises a |
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sound force, in a form of systematic, psycho-physical terror as social |
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organisational principle, in order to effectively discipline and raise a |
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feeling of total adherence bond of a certain, revolted and alienated |
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audience, which results in a state of collective [athasia?], which is the |
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principle of social organisation. In this sense, the function of Laibach, |
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sound constructions, and of rock concerts is to challenge collective |
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emotions and automatic associations, and as such it serves as the means of |
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working stimulation. By darkening the consumer's mind, it drives him into |
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a state of humble contrition and total obedience, self-sacrifice, by |
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destroying every trait of individuality, it melts the individuals into a |
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mass, and mass into a humble, collective body. The dualism of Laibach's |
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message, perception and receiver's structure uncovers the social neurosis. |
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Laibach unites the biters and antagonistics into an expression of static, |
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totalitarism cry. Our basic inspiration, ideals which are not ideals to |
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their form, but the material of Laibach, manipulation of self, remains an |
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industrial production: art of the Third Reich, totalitarism, taylorism, |
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bruitism, disco. Disco rhythm, as a regular repetition, is the purest, the |
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most radical form of the militantly organised rhythmicity of technicist |
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production, and as such the most appropriate means of media manipulation. |
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As an archetypal structural basis of the collective unconscious in a |
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worker mass, it stimulates automatic mechanism, and shapes |
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industrialisation of consciousness, which is necessary in the logic of |
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massive, totalitarian, industrial production. |
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[I had to write this one down by ear... Took me hours.] |
