{"id":8420,"date":"2014-02-26T18:21:29","date_gmt":"2014-02-26T17:21:29","guid":{"rendered":"https:\/\/musikunrat.de\/?p=2056"},"modified":"2014-02-26T18:21:29","modified_gmt":"2014-02-26T17:21:29","slug":"die-avantgarde-return-to-sender","status":"publish","type":"post","link":"https:\/\/www.kritische-masse.de\/logbuch\/2014\/02\/die-avantgarde-return-to-sender\/","title":{"rendered":"Die Avantgarde \u2013 Return To Sender"},"content":{"rendered":"<div class=\"shariff shariff-align-flex-start shariff-widget-align-flex-start\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Die%20Avantgarde%20%E2%80%93%20Return%20To%20Sender https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2014%2F02%2Fdie-avantgarde-return-to-sender%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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background-color:#3b5998; color:#3b5998\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#3b5998\"><svg width=\"32px\" height=\"20px\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 18 32\"><path fill=\"#3b5998\" d=\"M17.1 0.2v4.7h-2.8q-1.5 0-2.1 0.6t-0.5 1.9v3.4h5.2l-0.7 5.3h-4.5v13.6h-5.5v-13.6h-4.5v-5.3h4.5v-3.9q0-3.3 1.9-5.2t5-1.8q2.6 0 4.1 0.2z\"\/><\/svg><\/span><span class=\"shariff-text\" style=\"color:#3b5998\">teilen<\/span>&nbsp;<\/a><\/li><li class=\"shariff-button info shariff-nocustomcolor\" style=\"background-color:#a8a8a8\"><a href=\"http:\/\/ct.de\/-2467514\" title=\"Weitere Informationen\" aria-label=\"Weitere Informationen\" role=\"button\" rel=\"noopener \" class=\"shariff-link\" style=\"; background-color:#999; color:#999\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#999\"><svg width=\"32px\" height=\"20px\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewBox=\"0 0 11 32\"><path fill=\"#999\" d=\"M11.4 24v2.3q0 0.5-0.3 0.8t-0.8 0.4h-9.1q-0.5 0-0.8-0.4t-0.4-0.8v-2.3q0-0.5 0.4-0.8t0.8-0.4h1.1v-6.8h-1.1q-0.5 0-0.8-0.4t-0.4-0.8v-2.3q0-0.5 0.4-0.8t0.8-0.4h6.8q0.5 0 0.8 0.4t0.4 0.8v10.3h1.1q0.5 0 0.8 0.4t0.3 0.8zM9.2 3.4v3.4q0 0.5-0.4 0.8t-0.8 0.4h-4.6q-0.4 0-0.8-0.4t-0.4-0.8v-3.4q0-0.4 0.4-0.8t0.8-0.4h4.6q0.5 0 0.8 0.4t0.4 0.8z\"\/><\/svg><\/span><\/a><\/li><\/ul><\/div><p>Heute habe ich einen alten Satz Noten zur\u00fcckerhalten, der bei Reinhard Schulz im Regal stand und jetzt ausgemustert wurde. Return to sender. Ich habe die Einf\u00fchrungstexte nochmal gelesen meines als &#8220;public domain compositions&#8221; genannten Selbstverlages.<\/p>\n<figure id=\"attachment_2057\" aria-describedby=\"caption-attachment-2057\" style=\"width: 897px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.kritische-masse.de\/logbuch\/2014\/02\/26\/die-avantgarde-return-to-sender\/gelbe_blueten\/\" rel=\"attachment wp-att-2057\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-2057\" src=\"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2020\/03\/gelbe_blueten.jpg?resize=897%2C600&#038;ssl=1\" alt=\"Bl\u00fcten. Pflanzung von Avantgarde. Foto: Hufner\" width=\"897\" height=\"600\" \/><\/a><figcaption id=\"caption-attachment-2057\" class=\"wp-caption-text\">Pflanzung von Avantgarde. Foto: Hufner<\/figcaption><\/figure>\n<p>Da stand pl\u00f6tzlich dieser Text von G\u00fcnther Anders:<\/p>\n<blockquote><p>\u201cDa die Avantgarde alle ihre Widerspr\u00fcche zur Welt der Welt selbst verkaufen kann, und da sle von dieser nicht selten verw\u00f6hnt wird, ist sie oft ln Gefahr, da\u00df ihre Werke, selbst wo diese Wahrheit meinen und wahrheitsgetreu pr\u00e4sentiert werden, die Empf\u00e4nger in ausgeblutetem Zustand erreichen. Es ist nicht anders, als wenn Anarchisten darum gebeten w\u00fcrden, ihre Bomben zu verkaufen, und als wenn diese dann f\u00fcr ein Massenfeuerwerk zum Vergn\u00fcgen der Bev\u00f6lkerung verwendet w\u00fcrden.<\/p>\n<p>Da dem so ist, mu\u00df sich das wirklich Avantgardistische heute in die Unscheinbarkeit der Alltagssprache verkriechen. &#8220;Von den alten Antennen&#8221;. hei\u00dft es bei Brecht, &#8220;kamen die alten Dummheiten. Die Weisheiten wurden von Mund zu Mund weitergetragen.&#8221; Und selbst neue Weisheiten k\u00f6nnen dadurch, da\u00df sie wie alte Dummheiten von neuen Antennen ausgestrahlt werden, zu alten Dummheiten werden.\u201c (G\u00fcnther Anders)<\/p><\/blockquote>\n<p>Ich finde, der Kommentar von Anders hat nicht viel an Bezug verloren, ist vielleicht eher noch sch\u00e4rfer zu interpretieren.<\/p>\n<p>&nbsp;<\/p>\n<div class=\"shariff shariff-align-flex-start shariff-widget-align-flex-start\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Die%20Avantgarde%20%E2%80%93%20Return%20To%20Sender https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2014%2F02%2Fdie-avantgarde-return-to-sender%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; 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Return to sender. Ich habe die Einf\u00fchrungstexte nochmal gelesen meines als &#8220;public domain compositions&#8221; genannten Selbstverlages. Da stand pl\u00f6tzlich dieser Text von G\u00fcnther Anders: \u201cDa die Avantgarde alle ihre Widerspr\u00fcche zur Welt der Welt selbst verkaufen [&hellip;]<\/p>\n<div class=\"shariff shariff-align-flex-start shariff-widget-align-flex-start\"><ul class=\"shariff-buttons theme-white orientation-horizontal buttonsize-small\"><li class=\"shariff-button mastodon shariff-nocustomcolor\" style=\"background-color:#563ACC\"><a href=\"https:\/\/s2f.kytta.dev\/?text=Die%20Avantgarde%20%E2%80%93%20Return%20To%20Sender https%3A%2F%2Fwww.kritische-masse.de%2Flogbuch%2F2014%2F02%2Fdie-avantgarde-return-to-sender%2F\" title=\"Bei Mastodon teilen\" aria-label=\"Bei Mastodon teilen\" role=\"button\" rel=\"noopener nofollow\" class=\"shariff-link\" style=\"; background-color:#6364FF; color:#6364FF\" target=\"_blank\"><span class=\"shariff-icon\" style=\"fill:#6364FF\"><svg width=\"75\" height=\"79\" viewBox=\"0 0 75 79\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"><path 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Mai 2017","format":false,"excerpt":"Man nehme ein bekanntes Gedicht und f\u00fchre ein paar automatisierbare Operationen daran durch. So in etwa l\u00e4sst sich das H\u00f6rspiel mit dem Titel \"Die Maschine\" von Georges Perec ganz kurz zusammenfassen. Gesendet wurde es vom Saarl\u00e4ndischen Rundfunk am 13. November 1968. Wanderers Nachschicht Als Grundlage diente Perec \"Wanderers Nachtlied\" von\u2026","rel":"","context":"In &quot;die Kunst&quot;","block_context":{"text":"die Kunst","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/die-kunst\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/img.youtube.com\/vi\/pu6TACgAdTI\/0.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":8684,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2017\/05\/jeder-kann-kuenstler-sein-krakau-20-april-1921\/","url_meta":{"origin":8420,"position":2},"title":"\u201eJeder kann K\u00fcnstler sein\u201c (Krakau, 20. April 1921)","author":"der huflaikhan","date":"4. Mai 2017","format":false,"excerpt":"\u201eJeder kann K\u00fcnstler sein\u201c, so steht es mitten in einem Text aus dem Jahr 1921 von Bruno Jasienski mit dem Titel \"An das polnische Volk. Manifest in Sachen der sofortigen Futurisierung des Lebens\u201c. Das Beuys zugeschriebene Wort: \"Jeder Mensch ist ein K\u00fcnstler\" ist die sp\u00e4tere Konsequenz, die aus der M\u00f6glichkeit\u2026","rel":"","context":"In &quot;die Kunst&quot;","block_context":{"text":"die Kunst","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/die-kunst\/"},"img":{"alt_text":"Neue Welt. Foto: Hufner","src":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2017\/05\/opertanz_s_4_04-1024x684.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2017\/05\/opertanz_s_4_04-1024x684.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2017\/05\/opertanz_s_4_04-1024x684.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.kritische-masse.de\/logbuch\/wp-content\/uploads\/2017\/05\/opertanz_s_4_04-1024x684.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":1057,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2005\/02\/die-technik-ist-schneller-und-schoener\/","url_meta":{"origin":8420,"position":3},"title":"Die Technik ist schneller und sch\u00f6ner","author":"huflaikhan","date":"13. Februar 2005","format":false,"excerpt":"Noch ein bisschen Nacharbeit. Taktlos aus dem ZKMax, \u00fcber die Umst\u00e4nde habe ich schon berichtet. Nun mein zarter Vorwurf \u2014 in der Funktion des Maschinenst\u00fcrmers. Musik: Charles Coleman: Restless, Anfang [Track 6] Autor: Es ist dies das letzte Zeichen der ver\u00f6denden Kunstszene: Man richtet f\u00fcr die so genannte Avantgarde kleine\u2026","rel":"","context":"\u00c4hnlicher Beitrag","block_context":{"text":"\u00c4hnlicher Beitrag","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":8699,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2017\/05\/aufhoeren-der-trennung-von-kuenstler-und-mensch-de-stijl-1922\/","url_meta":{"origin":8420,"position":4},"title":"\u201eAufh\u00f6ren der Trennung von K\u00fcnstler und Mensch\u201c [De Stijl, 1922]","author":"der huflaikhan","date":"21. Mai 2017","format":false,"excerpt":"\"De Stijl\" hatte in D\u00fcsseldorf im Jahr 1922 seine \"sch\u00f6pferischen Forderungen\" in f\u00fcnf Punkten zusammengefasst. Auch hier (wie beim polnischen Manifest von Bruno Jasienski), unter Punkt 5 wird ein Zusammenfallen von K\u00fcnstler und Mensch gefordert, positiv gedeutet (\"Aufh\u00f6ren der Trennung\"). Bei Punkt 4 findet sich ebenfalls eine nicht unbekannte Forderung:\u2026","rel":"","context":"In &quot;die Kunst&quot;","block_context":{"text":"die Kunst","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/angriffauf\/die-kunst\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/img.youtube.com\/vi\/Bw-DukkgAmk\/0.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":60,"url":"https:\/\/www.kritische-masse.de\/logbuch\/2004\/09\/dr-hufner-analysiert-hanns-eisler-deutsche-sinfonie\/","url_meta":{"origin":8420,"position":5},"title":"Dr. Hufner analysiert: Hanns Eisler, Deutsche Sinfonie","author":"huflaikhan","date":"19. September 2004","format":false,"excerpt":"Hanns Eisler: Deutsche Sinfonie Hanns Eisler: Deutsche Sinfonie Volksfront und AvantgardeIm Gegensatz zu den Werken von Wagner und Beethoven hat die \u0084Deutsche Sinfonie\u0093 von Hanns Eisler die Popularit\u00e4t ihres Sch\u00f6pfers nicht gesteigert. Dabei hat Eisler gerade hier den Versuch unternommen, avancierte musikalische Techniken mit politischen Interessen zu verbinden, was bei\u2026","rel":"","context":"In &quot;Programmhefte&quot;","block_context":{"text":"Programmhefte","link":"https:\/\/www.kritische-masse.de\/logbuch\/category\/texte\/programmhefte\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/8420","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/comments?post=8420"}],"version-history":[{"count":0,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/8420\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/posts\/2057"}],"wp:attachment":[{"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/media?parent=8420"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/categories?post=8420"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.kritische-masse.de\/logbuch\/wp-json\/wp\/v2\/tags?post=8420"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}