AutopsiA Video - Night Landscapes

Autopsia & Achtar
RADICAL MACHINES NIGHT LANDSCAPES CD
ILLUMINATING TECHNOLOGIES IT0010, 2008

AUTOPSIA & ACHTAR - NIGHT LANDSCAPES

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AUTOPSIA - THE BERLIN REQUIEM

AutopsiA - The Berlin requiem
Old Europa Cafe CD, 2006

Kada Mary Shelley bira mjesto gdje će doktor Frankenstein, konačno, našoj memoriji predati biće koje je stvorio, ona nalazi ledenu pustoš. Mjesto koje izgleda kao savršeni opis vječnosti, gdje je sve nepomično, izvan osjetila, kao zamrznuta slika u kojoj se još samo vjetar sluti - dah smrti, nešto što preostaje na samom kraju, pa ipak svjedoči da smo još tu, s ovu stranu života.
The Berlin Requiem kao da se bavi onim što se još jedva čulno može razabrati, čuti u području same konačnosti - ledenog ništavila. Kao da su registrirani jedva čujni zvuci promjena kristala i smrznutih tijela. Trajanje zvuka širi se do granica artikulacije. Čujno je samo tiho titranje bijele svjetlosti i hladnih pomicanja. Zvuk se proteže prostorom koji nema niti horizonta, niti formi niti granica. Možda je to ono mjesto gdje je promjena najveća - neizreciva. Toliko velika da se ne može niti registrirati niti pojmiti.
Pa ipak, kao da requiem pripada određenom mjestu i vremenu. Pripadnost je naznačena pjesmom Bertolda Brechta i Berlinom - imenom svijeta gdje se smrt uistinu zbiva. Pjesma slavi prolaznost - trenutak kada se stvarno odvajamo od stvari koje nam više ništa ne znače, trenutak kad možemo bezbrižno otići. Međutim, o toj ne možemo reći skoro ništa, možda samo da je lagana, hladna - skoro bezosjetilna. Ono što ovdje spaja grad i ledenu pustinju jeste neizrecivo. Da bi se to primijetilo ne mora se putovati daleko na kraj svijeta niti penjati visoko na vrhove planina.
Frankensteinovo biće je nestalo u bijeloj pustoši. Nikada nećemo znati je li prešlo granicu smrti ili je još s nama. Requiem kao da iznova obnavlja tu nedoumicu, kao da je zvuk to što je još ostalo - ono što spaja riječ s neizrecivim.

Vladimir Mattioni

19.02.2007.


THE BERLIN REQUIEM

Give praise to the night and darkness that close in around you.
Crowd together and look up at the sky,
and see that the days has already slipped away from you.

Give praise from the bottom of your heart that heaven has a bad memory
and no longer knows either your names or your faces,
and that nobody knows that you are still around

Praise the grass and the beasts that live and die beside you.
See how they, too live and, like you, must also die.

Give praise for the cold, the darkness and corruption.
Look up: you do not matter and you can die without worrying about a
thing.

|B. Btrecht|

AUTOPSIA THE BERLIN REQUIEM CD:

1. FUNERAL MUSIC I
2. RETORTEN GENESE
3. FUNERAL MUSIC II
4. RADICAL MACHINE 3.0
5. FUNERAL MUSIC III
6. SOUNDS FOR REMEMBERING DEATH

Engineered and mastered at Mustakillah Studio.

Old Europa Cafe OECD084, 2006

Plamen

Što svetleti hoće, mora goreti
A mi svi moramo nestati,
Koga imenom ne nazivamo,
Naše će srce prepoznati,
Kada u svetlosti stojimo.
Mnogo je tame na Zemlji,
Mnogo surove, slepe nesreće-
Treba li to sve da bude jasnije,
Pomaže samo jedna zapovest:
Mi sami moramo goreti
I svetleći tiho nestati.
Oni koji svetlost tako povećavaju,
Uvek nalaze saputnike,
One koji stoje uz njih.

AutopsiA

AutopsiA - The Berlin Requiem

Sounds For Remembering Death video

The Berlin Requiem

When Mary Shelley makes a choice regarding the place on which Doctor Frankenstein will finally render to our memory the creature which he procreated, she opts for an icy wasteland. The place that looks like a perfect description of eternity, where everything is motionless, out of the senses, like a frozen image in which only a wind might be giving a promise of itself - a breath of death, something which remains at the very end, yet testifying that we are still here, on this side of the life. It is as if The Berlin Requiem deals with what can scarcely be discerned by the senses, be heard, in the realm of the gelid nothingness. As if there faintly audible sounds of the alterations of crystals and frozen bodies are recorded. Duration of the sound is expanding to the very limits of articulation. Only the silent quiver of white light and cold motions is audible. The sound extends through the space that has neither the horizon, nor forms, nor boundaries. Perhaps it is the place where the change is the largest - one that cannot be uttered, such a large one that it cannot be recorded or comprehended. And yet it is as if The Requiem belongs to a certain place and a certain time. This belonging is indicated through Berthold Brecht s poem and through Berlin itself - it is designated by the name of the world in which the death really occurs. The poem itself praises the transience - the moment when we actually separate ourselves from the things that do not mean anything to us, the moment when we can depart placidly. However, we almost cannot tell anything about this placidity , maybe only that it is almost light, cold - almost non-sensorial. What links the city and the frosty desert here is the unutterable itself. In order to perceive this, one needs not travel afar to the end of the world nor to climb high to mountain peaks. Frankenstein s creature vanished in the white wasteland. We shall never learn if it crossed the frontier of death or is it still with us. It is as if The Requiem restores this ambiguity over and again, as if the sound is that which is still there - that which joins together the word and the unutterable.

Vladimir Mattioni
19. 02. 2007.

Listen The Berlin Requiem
The Berlin Requiem review

SILENTLY THE WOLVES ARE WATCHING

AutopsiA

We share the same enemies & our means of triumphant escape

are also the same: a delirious & obsessive play,
powered by the spectral brilliance
of the wolves & their children.

A. SILENTLY THE WOLVES ARE WATCHING
B. PORCILE

Art necessarily produces:
The Unexpected,
The Unrecognizable,
And the Unacceptable


7" single on Illuminating Technologies

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