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| The Hafler Trio |
1. Hello Andrew! Where are you right now and what are you
busy with?
busy with?
At this
very moment, in Paide, a town in Estonia. I normally and nominally live in Pivithuru,
Estonia. I am busy with many things. This is the list of some of them:
very moment, in Paide, a town in Estonia. I normally and nominally live in Pivithuru,
Estonia. I am busy with many things. This is the list of some of them:
– Transcriptions of interviews with noteworthy people first begun with the AAA
series of documentaries, to be published as a book by Trapart, Sweden.
series of documentaries, to be published as a book by Trapart, Sweden.
– Salvaging work from literally thousands of CD’s and DVD’s after a disaster
involving water and a basement in Latvia last year, transferring the contents
of those not completely dead onto hard disks, as well as still (!) rescuing
other damaged archive items.
involving water and a basement in Latvia last year, transferring the contents
of those not completely dead onto hard disks, as well as still (!) rescuing
other damaged archive items.
– Writing texts for the preparation of Conversational Complementation
Counselling, an online service for assisting anyone with creative situations,
one-to-one
Counselling, an online service for assisting anyone with creative situations,
one-to-one
– Organizing the “”””'” workshop and performance in Glasgow,
Scotland this year
Scotland this year
– Organizing “Never Eat Anything Bigger Than Your Own Head”, a 9-day
workshop involving a kitchen, with a performance entitled “Sly
Man’s Pill” in the North of Sweden and in Estonia, both this year.
workshop involving a kitchen, with a performance entitled “Sly
Man’s Pill” in the North of Sweden and in Estonia, both this year.
– Deciphering and typing out many hundreds of pages of early COUM TRansmissions
texts for publication perhaps this year
texts for publication perhaps this year
– Transcribing many hundreds of pages of the notebooks of Val Denham, for
publication this year, hopefully.
publication this year, hopefully.
– Planning a series of books explaining in horrific detail Hafler Trio releases
so that nobody ever asks me about them again.
so that nobody ever asks me about them again.
– Finishing, finally, “Venjulega”, after re-making it 7 times, due to
hard disk failures scarcely to be believed over the last years, packaging them
up and sending them to their rightful owners.
hard disk failures scarcely to be believed over the last years, packaging them
up and sending them to their rightful owners.
That’s all I can think of for now. There are more, to be sure.
2. How is your health doing?
Is there any improvement?
Is there any improvement?
My health
is barely worth the name, really. It continues to disintegrate. I hang on, is
all I can say. There are many, many more bad days than good days, and it
continues to erode my effectiveness in all areas of life.
is barely worth the name, really. It continues to disintegrate. I hang on, is
all I can say. There are many, many more bad days than good days, and it
continues to erode my effectiveness in all areas of life.
3. Where do you find the energy to do so many things at once?
It seems like you really feel like you’re 20 again, do you feel young on the
inside?
It seems like you really feel like you’re 20 again, do you feel young on the
inside?
If I was
not suffering from various chronic diseases, I would be doing a great deal
more, I would say. Someone once suggested I was living life backwards, so at
this stage, I am probably a 54 year old teenager.
not suffering from various chronic diseases, I would be doing a great deal
more, I would say. Someone once suggested I was living life backwards, so at
this stage, I am probably a 54 year old teenager.
4. What do you feel like you really are in reality?
Not much,
really. I think there is a real sense in which I do not exist, and
yet something tells me that this is possible to reach. But is it necessary? For
my part, I wish to help people as much as I possibly can, and so in that sense,
I am simply a servant, and, not a very good one, but I am trying to improve.
really. I think there is a real sense in which I do not exist, and
yet something tells me that this is possible to reach. But is it necessary? For
my part, I wish to help people as much as I possibly can, and so in that sense,
I am simply a servant, and, not a very good one, but I am trying to improve.
5. What esoteric practices have you participated in? Are you
practicing something now?
practicing something now?
In my
teens I dabbled in many of the standard ones. I was closely involved with the
Gurdjieff/J.G. Bennett system(s) for about 35 years, and for quite some time,
the practice of Chöd and Tibetan Buddhism in general. However, I am interested
in all systems and I think that all of them have something to offer. Wherever
possible, I sneak these into the workshops, seminars and courses.
teens I dabbled in many of the standard ones. I was closely involved with the
Gurdjieff/J.G. Bennett system(s) for about 35 years, and for quite some time,
the practice of Chöd and Tibetan Buddhism in general. However, I am interested
in all systems and I think that all of them have something to offer. Wherever
possible, I sneak these into the workshops, seminars and courses.
6. Could you explain in detail what your workshops are all
about (workshop and performance in Glasgow, organizing “Never Eat Anything Bigger Than Your Own Head,” a 9-day workshop involving a kitchen with a performance entitled “Sly Man’s Pill” in the North of Sweden and in Estonia)?
about (workshop and performance in Glasgow, organizing “Never Eat Anything Bigger Than Your Own Head,” a 9-day workshop involving a kitchen with a performance entitled “Sly Man’s Pill” in the North of Sweden and in Estonia)?
“”””'” (also known as “seven single quotation marks”)
has been written about in a book of the same name, available from Trapart in
Sweden. there are extensive notes about it on the Simply Superior site. “Never Eat Anything Bigger Than Your Own Head”
is a new, extended version of that, and is 9 days dealing with the basis
metaphor of the kitchen, the way it operates and how people might see that
pattern as applicable to other areas of life.
A book about this is also in
preparation, as well as a web page with many of the details.
has been written about in a book of the same name, available from Trapart in
Sweden. there are extensive notes about it on the Simply Superior site. “Never Eat Anything Bigger Than Your Own Head”
is a new, extended version of that, and is 9 days dealing with the basis
metaphor of the kitchen, the way it operates and how people might see that
pattern as applicable to other areas of life.
A book about this is also in
preparation, as well as a web page with many of the details.
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| Hafler Trio |
7. Are you planning or preparing for release any new albums?
Could it be new collaborations?
Could it be new collaborations?
The only
things that might be released would be old projects that were not completed,
but other than that, nothing.
things that might be released would be old projects that were not completed,
but other than that, nothing.
8. You’ve lived in the Netherlands, Iceland and now you live
in Estonia. Do you prefer small countryside towns or big modern cities?
in Estonia. Do you prefer small countryside towns or big modern cities?
I have
lived in Holland, Denmark, Iceland, Estonia and Latvia with extended stays in
a few more countries. I would say that I prefer small places.
lived in Holland, Denmark, Iceland, Estonia and Latvia with extended stays in
a few more countries. I would say that I prefer small places.
9. As far as we are concerned, you have starred in a few
advertisements in Iceland. Could you tell us about it? Was that a pleasant
experience?
advertisements in Iceland. Could you tell us about it? Was that a pleasant
experience?
It was
very well paid and very interesting. They were
all done on one long day and it was quite exhausting. They were scripted, but
I improvised in the end most of the dialogue to make it seem more natural. My
London accent surprised many people.
very well paid and very interesting. They were
all done on one long day and it was quite exhausting. They were scripted, but
I improvised in the end most of the dialogue to make it seem more natural. My
London accent surprised many people.
10. What is the defining trait of the Scandinavian people in
comparison with other Europeans? Have you noticed anything different?
comparison with other Europeans? Have you noticed anything different?
It
depends what aspect you mean. Physically, of course, Scandinavians are
physically a little different than other Europeans, their standard of living
being quite high, after their financial prosperity came along in the 1960’s or
thereabouts. They have certain attitudes, but within the different countries,
this differs, of course. It’s possible to say (all of these are generalities)
that Danes have a slight German influence; Swedish culture is more
conservative, and Norwegians seem, to me, a little more flexible in their
outlook. But all of this is nonsense, really… My experience is limited to
artists and musicians in Norway and Sweden, business people in Denmark, for
the most part. None of these are representative in any way of the wider
population, and my comments here are purely subjective.
depends what aspect you mean. Physically, of course, Scandinavians are
physically a little different than other Europeans, their standard of living
being quite high, after their financial prosperity came along in the 1960’s or
thereabouts. They have certain attitudes, but within the different countries,
this differs, of course. It’s possible to say (all of these are generalities)
that Danes have a slight German influence; Swedish culture is more
conservative, and Norwegians seem, to me, a little more flexible in their
outlook. But all of this is nonsense, really… My experience is limited to
artists and musicians in Norway and Sweden, business people in Denmark, for
the most part. None of these are representative in any way of the wider
population, and my comments here are purely subjective.
11. Did you enjoy staying in Russia? What can you tell us
about the live show in 16 Tons Club in Moscow, the people that you saw? Are there any good
memories you could bring up?
about the live show in 16 Tons Club in Moscow, the people that you saw? Are there any good
memories you could bring up?
There was
an intensity which explained a lot that history books and viewing from afar
could not tell anyone, which I think I learned something from. As I have lived
in the Baltics for quite some years now, and there is a sizeable ethnic Russian
population here, a lot of what I first saw in Moscow has become very familiar
to me, in terms of attitude, outlook, manners, and so on. I didn’t really come
into contact with very many people at all, when I was there, I would have to
say. I have been trying to get back there for quite some years now, but there
appears to be some sort of roadblock in my way back to Moscow or indeed Russia
in general, and of course, that is a great shame. It is to be hoped that some
sort of organised visit will take place at least once more before I shuffle off
this mortal coil, but I shall not hold my breath.
an intensity which explained a lot that history books and viewing from afar
could not tell anyone, which I think I learned something from. As I have lived
in the Baltics for quite some years now, and there is a sizeable ethnic Russian
population here, a lot of what I first saw in Moscow has become very familiar
to me, in terms of attitude, outlook, manners, and so on. I didn’t really come
into contact with very many people at all, when I was there, I would have to
say. I have been trying to get back there for quite some years now, but there
appears to be some sort of roadblock in my way back to Moscow or indeed Russia
in general, and of course, that is a great shame. It is to be hoped that some
sort of organised visit will take place at least once more before I shuffle off
this mortal coil, but I shall not hold my breath.
12. What elements or representatives of the Russian culture
have had the most influence on you and your art? For instance, have you seen
Andrei Tarkovsky‘s movies? If so, have his movies influenced you in any way?
have had the most influence on you and your art? For instance, have you seen
Andrei Tarkovsky‘s movies? If so, have his movies influenced you in any way?
I’ve seen
most of Andrei Tarkovsky’s films. I also lived for a while about 200 m from where parts of Stalker were filmed in Estonia, so I have a personal resonance. But
I cannot truthfully say that Russian culture has influenced me in any way.
most of Andrei Tarkovsky’s films. I also lived for a while about 200 m from where parts of Stalker were filmed in Estonia, so I have a personal resonance. But
I cannot truthfully say that Russian culture has influenced me in any way.
Many
years ago, I caught the song being sung at the end of a BBC Radio Four Open
University lecture about “art”, the context of which I have
forgotten, and saved it on cassette tape. It was of Tristan Tzara singing the
song like a children’s skipping song, unaccompanied, and towards the end of his
life, in 1963, I think. I had always been more interested in the Dadaists than,
say, the Surrealists, as I appreciated the randomness, the brutality, the
roughness and the aggression, not to mention that Dada was never really
subsumed and appropriated by advertising or mainstream media. At a certain
point, I decided to make a version of, as, basically, nobody would have
expected me to do anything musical, or do something like this. Serious, not a
joke, not ironical, but a real homage to a particular current that I had been
inspired by, thereby putting a full-stop at the end of the sentence. The
settling of an account, if you like. The song is full of violent imagery, and I
made it romantic and sweet, helped ably by Jóhann Jóhannsson. It also became
the sing-along finale to h3o appearances, mainly to destroy the impersonality
of ‘electronic music’ events and get genuine participation from the audience.
years ago, I caught the song being sung at the end of a BBC Radio Four Open
University lecture about “art”, the context of which I have
forgotten, and saved it on cassette tape. It was of Tristan Tzara singing the
song like a children’s skipping song, unaccompanied, and towards the end of his
life, in 1963, I think. I had always been more interested in the Dadaists than,
say, the Surrealists, as I appreciated the randomness, the brutality, the
roughness and the aggression, not to mention that Dada was never really
subsumed and appropriated by advertising or mainstream media. At a certain
point, I decided to make a version of, as, basically, nobody would have
expected me to do anything musical, or do something like this. Serious, not a
joke, not ironical, but a real homage to a particular current that I had been
inspired by, thereby putting a full-stop at the end of the sentence. The
settling of an account, if you like. The song is full of violent imagery, and I
made it romantic and sweet, helped ably by Jóhann Jóhannsson. It also became
the sing-along finale to h3o appearances, mainly to destroy the impersonality
of ‘electronic music’ events and get genuine participation from the audience.
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| The Hafler Trio |
14. Could you tell us if the following information is true:
At the age of twelve, you were already teaching the classic guitar, and at the
age of fifteen you and your band Flesh played together with THE CLASH and THE
FALL. If this is true, why did you quit the guitar music and created The Hafler Trio? What motivated you to do so?
At the age of twelve, you were already teaching the classic guitar, and at the
age of fifteen you and your band Flesh played together with THE CLASH and THE
FALL. If this is true, why did you quit the guitar music and created The Hafler Trio? What motivated you to do so?
Mostly
true, except I was a bit older when I was a teacher. Flash did support both The Fall, Cabaret Voltaire (which is when I met Chris Watson), and The Clash. I
decided to stop playing the classical guitar as much as I did (sometimes 12
hours a day) because I realised I would never be very good and I wanted to do
something nobody else did. That was my thinking at the time, at least, and it
seemed possible at that moment.
true, except I was a bit older when I was a teacher. Flash did support both The Fall, Cabaret Voltaire (which is when I met Chris Watson), and The Clash. I
decided to stop playing the classical guitar as much as I did (sometimes 12
hours a day) because I realised I would never be very good and I wanted to do
something nobody else did. That was my thinking at the time, at least, and it
seemed possible at that moment.
15. How could you describe your own art? Is it scientific
research of the unknown sound space or something else? What do you do in the
sphere of sound? What is the main idea of The Hafler Trio?
research of the unknown sound space or something else? What do you do in the
sphere of sound? What is the main idea of The Hafler Trio?
I don’t
think of it as art. It’s not scientific, as I have little respect for modern
science.
think of it as art. It’s not scientific, as I have little respect for modern
science.
I have used sound for many reasons, however, almost never for entertainment
purposes.
The main idea is not really very easy to explain in short terms; it is,
rather, an attitude towards being, learning and exploring – that’s really the
best I could do within this format.
rather, an attitude towards being, learning and exploring – that’s really the
best I could do within this format.
16. The albums by The Hafler Trio are expensive books, true
limited editions. This is a very high level of aestheticism. Many people
believe it’s too expensive (but we think it’s reasonable) and don’t want to pay
money for your releases. In your opinion, who is your music for? Who is your
target audience?
limited editions. This is a very high level of aestheticism. Many people
believe it’s too expensive (but we think it’s reasonable) and don’t want to pay
money for your releases. In your opinion, who is your music for? Who is your
target audience?
Not all
of them are limited editions, by a long way. There is, in my mind, no target
audience – what has been done under the Hafler Trio name will find its way to
where it needs to be, and some of it will expire like a carton of milk in a
supermarket. This is how it should be.
of them are limited editions, by a long way. There is, in my mind, no target
audience – what has been done under the Hafler Trio name will find its way to
where it needs to be, and some of it will expire like a carton of milk in a
supermarket. This is how it should be.
17. What idea serves as the basis for issuing a limited
amount of copies of releases?
amount of copies of releases?
It allows
a degree of personalization. It allows a real sense of the finiteness of the
edition, and this can increase the quality of attention given to the artefact. These
are the main reasons for me. Although I am not engaged in producing such things
any longer, except to finish off and supply Venjulega, which I
really hope will be very soon.
a degree of personalization. It allows a real sense of the finiteness of the
edition, and this can increase the quality of attention given to the artefact. These
are the main reasons for me. Although I am not engaged in producing such things
any longer, except to finish off and supply Venjulega, which I
really hope will be very soon.
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| Hafler Trio |
18. Has your relationship with the labels Staalplaat and Touch come to an end? If so, what is the reason?
Both
ended many, many years ago. Staalplaat went through some changes, relocating to
Germany from Holland and developing other interests, and contact just faded
away, over time. Touch owe me a substantial amount of money which undoubtedly
will never be paid, and they have all but written me out of their history (as
has Chris Watson), not even mentioning my founding contribution (and all the
rest) in their 30th birthday celebrations.
19. Are you a man of principles? If so, what are the principles that you follow?
Both
ended many, many years ago. Staalplaat went through some changes, relocating to
Germany from Holland and developing other interests, and contact just faded
away, over time. Touch owe me a substantial amount of money which undoubtedly
will never be paid, and they have all but written me out of their history (as
has Chris Watson), not even mentioning my founding contribution (and all the
rest) in their 30th birthday celebrations.
19. Are you a man of principles? If so, what are the principles that you follow?
These have changed over the years, as I have learned that I know less and less and not more and more. It would be a very long list. I learn in order to server, perhaps.
20. You fight the illegal distribution of your music which takes a lot of strength and energy. Do you think it can be changed? The internet and distributing your music as is, is it not acceptable for you?
“Fight” is a bit of a strong word, I think. I simply seek to have versions of the Hafler Trio material removed when it is in a form which destroys the content. As we now have had an announcement from the inventors that mp3 is dead, and was wrongly implemented in the first place, there is even less reason to try to convince me that such formats are viable. I don’t say that it is “wrong” but that it destroys what I have done by separating artwork from sound, construction from physicality, and most certainly the alteration of the sound itself. It may be totally suited to others and with that, I have no issue whatsoever. I think the situation could be changed, and probably will be, but I really couldn’t predict what form that will or might take. The effects I would wish to create, and wished to create in the past, are pretty much impossible with the situation the way it is at present, and so I prefer not to take part in it.
The workshops and one-to-one counselling I do has far greater effect, as far as I’m concerned.
“Fight” is a bit of a strong word, I think. I simply seek to have versions of the Hafler Trio material removed when it is in a form which destroys the content. As we now have had an announcement from the inventors that mp3 is dead, and was wrongly implemented in the first place, there is even less reason to try to convince me that such formats are viable. I don’t say that it is “wrong” but that it destroys what I have done by separating artwork from sound, construction from physicality, and most certainly the alteration of the sound itself. It may be totally suited to others and with that, I have no issue whatsoever. I think the situation could be changed, and probably will be, but I really couldn’t predict what form that will or might take. The effects I would wish to create, and wished to create in the past, are pretty much impossible with the situation the way it is at present, and so I prefer not to take part in it.
The workshops and one-to-one counselling I do has far greater effect, as far as I’m concerned.
21. Do you have a system of values and ideals that you defend
and back up? What is unacceptable for you? What can you not afford to do as an
artist and a human?
and back up? What is unacceptable for you? What can you not afford to do as an
artist and a human?
There is
nothing fixed about it. There is what is called “appropriate action,”
and this depends heavily (if not entirely) on the situation at hand, and how it
actually is. This is no easy option, and I dare say that if I {did} have a
fixed set of readily identifiable values and ideals, that I would have reached
a far wider audience before now, indeed.
nothing fixed about it. There is what is called “appropriate action,”
and this depends heavily (if not entirely) on the situation at hand, and how it
actually is. This is no easy option, and I dare say that if I {did} have a
fixed set of readily identifiable values and ideals, that I would have reached
a far wider audience before now, indeed.
22. Could you explain the collaboration Autechre & The Hafler Trio? Could you tell us about how this project was realized? What are
your thoughts on it?
your thoughts on it?
Well, I
don’t think there is a lot to be “explained”, but I do hope that it
perplexes and challenges people for a long time to come. Some of the reactions
towards the whole series of collaborations have been extreme, as expectations
have not been met even slightly for so many, as it should be. Sean and Rob have
always been a joy to interact with.
don’t think there is a lot to be “explained”, but I do hope that it
perplexes and challenges people for a long time to come. Some of the reactions
towards the whole series of collaborations have been extreme, as expectations
have not been met even slightly for so many, as it should be. Sean and Rob have
always been a joy to interact with.
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| Hafler Trio |
23. Of all the records you’ve released, which album has been
the most successful one? Which ones are you 100% satisfied with?
the most successful one? Which ones are you 100% satisfied with?
Quite honestly, I haven’t listened to any of them for a very long time, and so
I can’t really answer the question. I would be {greatly} surprised if I was
100% satisfied with any of them.
I can’t really answer the question. I would be {greatly} surprised if I was
100% satisfied with any of them.
24. What is the weirdest and unusual musical instrument
you’ve ever worked with and used in producing music? Besides your own mind, of
course.
you’ve ever worked with and used in producing music? Besides your own mind, of
course.
Well, I don’t use musical instruments, so….
25. You refuse to use computers, digital technologies and
software for sound recording, don’t you? Do you consider technology to be a
trap? Or should we use all that just for communication?
software for sound recording, don’t you? Do you consider technology to be a
trap? Or should we use all that just for communication?
I do, and
have, used computers for many things, including sound processing and editing. But
probably a great deal less than might be imagined. Technology is equated, by
many, it seems to me, with ‘human progress’ and I simply
do not see that these
go together at all. There is always a price to be paid for any technological
development,
and in our haste to grasp hold of the new, shiny things made
available to us, we fail to consider the consequences, until, basically, it is
too late. As many commentators have outlined far better than I, technology is
an environment, not a “tool,” and as such, shapes the way we
encounter and experience the world. This has happened with every
new
technology, and not just computers: the telegraph, radio, television, the
printing press… the list is long.
have, used computers for many things, including sound processing and editing. But
probably a great deal less than might be imagined. Technology is equated, by
many, it seems to me, with ‘human progress’ and I simply
do not see that these
go together at all. There is always a price to be paid for any technological
development,
and in our haste to grasp hold of the new, shiny things made
available to us, we fail to consider the consequences, until, basically, it is
too late. As many commentators have outlined far better than I, technology is
an environment, not a “tool,” and as such, shapes the way we
encounter and experience the world. This has happened with every
new
technology, and not just computers: the telegraph, radio, television, the
printing press… the list is long.
26. Could you tell us a little secret: what did you use or
apply in making The Hafler Trio‘s albums? Or is that information classified?
apply in making The Hafler Trio‘s albums? Or is that information classified?
No, it’s
not classified, but it is not something that can be explained or outlined in
just a few sentences. I am in the process of writing detailed notes about
certain records, detailing exhaustively what went into their making, and this
will, I am fairly sure, be surprising to many people, as to just how involved
their construction was, and how many layers of meaning and references are packed
into (most of) them. At present, I’m not sure what outlet these writings will
find.
not classified, but it is not something that can be explained or outlined in
just a few sentences. I am in the process of writing detailed notes about
certain records, detailing exhaustively what went into their making, and this
will, I am fairly sure, be surprising to many people, as to just how involved
their construction was, and how many layers of meaning and references are packed
into (most of) them. At present, I’m not sure what outlet these writings will
find.
27. Could you tell us about your favorite writers and books?
If you have those, of course. What pertains to the areas of your interests in
general? Photography, painting, radio, TV, psychology, occultism, science – do
any of those intrigue you?
If you have those, of course. What pertains to the areas of your interests in
general? Photography, painting, radio, TV, psychology, occultism, science – do
any of those intrigue you?
I think
that everything, if looked at with the right attitude, can be a pivotal point
in the expansion of awareness. Although in practice one has preferences which
come from all sorts of influences, but I do strive every day to encounter what
arises with what I hope, earnestly, to be equanimity. It is, of course, a
never-ending practice, and I certainly would not claim any special talent for
it.
that everything, if looked at with the right attitude, can be a pivotal point
in the expansion of awareness. Although in practice one has preferences which
come from all sorts of influences, but I do strive every day to encounter what
arises with what I hope, earnestly, to be equanimity. It is, of course, a
never-ending practice, and I certainly would not claim any special talent for
it.
28. Could you tell us about the project The Hafler Trio and
Simply Superior present Brion Gysin’s Dreamachine (DVD+book)? Were
you experimenting with Dreamachine?
Simply Superior present Brion Gysin’s Dreamachine (DVD+book)? Were
you experimenting with Dreamachine?
I met
Brion Gysin in 1982, and promised him I would release the Dreamachine
commercially, as he had not been successful in that regard, ever. This proved
very hard, but eventually happened in 1989. The Soleilmoon re-release
is
unauthorised, and is not as I wished it to be. Unfortunately, I cannot prevent
it from being sold. I have not seen a copy.
Brion Gysin in 1982, and promised him I would release the Dreamachine
commercially, as he had not been successful in that regard, ever. This proved
very hard, but eventually happened in 1989. The Soleilmoon re-release
is
unauthorised, and is not as I wished it to be. Unfortunately, I cannot prevent
it from being sold. I have not seen a copy.
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| The Hafler Trio |
29. Brion Gysin, William Seward Burroughs, cut-up technique.
Are you interested in those personalities? What about their experiments?
Are you interested in those personalities? What about their experiments?
Their
personalities, not at all. Years ago, there was serious talk of me writing
Gysin‘s biography, but that dissolved in a barrage of letters from old
“friends” of his who considered that I would be able to give them
money that Gysin owed them, according to them. Gysin and Burroughs opened up
interesting areas, but I consider their experiments to be outdated and have
tried, in my own way, to develop whatever I found that was of worth, much
further, to the point that what they did was unrecognisable. There are many
people still ploughing the same ground as WSB and BG, and although I wish them
well, I see it as part of a world that no longer exists. The world has changed.
personalities, not at all. Years ago, there was serious talk of me writing
Gysin‘s biography, but that dissolved in a barrage of letters from old
“friends” of his who considered that I would be able to give them
money that Gysin owed them, according to them. Gysin and Burroughs opened up
interesting areas, but I consider their experiments to be outdated and have
tried, in my own way, to develop whatever I found that was of worth, much
further, to the point that what they did was unrecognisable. There are many
people still ploughing the same ground as WSB and BG, and although I wish them
well, I see it as part of a world that no longer exists. The world has changed.
30. Words are a machine language. Words have too many
meanings, definitions and associations. What could replace the language in your
opinion?
meanings, definitions and associations. What could replace the language in your
opinion?
I am
intrigued as to how you come to the statement that words are a “machine
language”. I cannot see this at all. First of all, it depends on what
language. Sanskrit, for example, is considered to have come from the Gods
(‘Devas’), and other languages seem to be derived from visual sources, and not
sounds. It is apparent, to me, that communication happens in spite of language.
And yet without it, we would be in a very unknown place. I would not replace it
with anything; I would add to it. But this means a very different approach to
more or less everything, and one that I have tried to suggest throughout my
life, in my own way, at least a little.
intrigued as to how you come to the statement that words are a “machine
language”. I cannot see this at all. First of all, it depends on what
language. Sanskrit, for example, is considered to have come from the Gods
(‘Devas’), and other languages seem to be derived from visual sources, and not
sounds. It is apparent, to me, that communication happens in spite of language.
And yet without it, we would be in a very unknown place. I would not replace it
with anything; I would add to it. But this means a very different approach to
more or less everything, and one that I have tried to suggest throughout my
life, in my own way, at least a little.
31. Why was the creation of Dr. Edward Moolenbeek‘s image
necessary? What is going on with Doctor now?
necessary? What is going on with Doctor now?
This is a
very misunderstood piece of Hafler Trio history, and will require, perhaps,
full explanation at some point in the future. Edward Moolenbeek {was} a real
person, and is now deceased. However, his manifestation was carried on by
others, foreshadowing “antiorp/Netochka Nezvanova”‘s extensive experiments in this area many years later, with which I was also involved.
very misunderstood piece of Hafler Trio history, and will require, perhaps,
full explanation at some point in the future. Edward Moolenbeek {was} a real
person, and is now deceased. However, his manifestation was carried on by
others, foreshadowing “antiorp/Netochka Nezvanova”‘s extensive experiments in this area many years later, with which I was also involved.
32. What did you and Zbigniew Karkowski use to produce
sparkles while touching heads on the video?
sparkles while touching heads on the video?
This was not Zbigniew Karkowski and myself, but Phauss – C.M.Von Hausswolf and Erik Pauser. I
had nothing to do with their performance, other than mixing the live sound on
the US tour. They were using car batteries linked to the metal plates they were
standing on, and through their costumes, when they touched, the power was
discharged.
I don’t recall their being any physical damage to either of them.
33. What is the most insane thing you’ve ever done in your
life?
life?
Not sure
how to answer this. I suppose, from one point of view, pretty much all my life
has been a form of mild insanity. After all, to actually try to achieve
anything is quite possibly the authentic mark of an insane person, even
if I am
trying to wean myself off it continually. Another way of looking at it is that
it was pretty insane to be born, really.
how to answer this. I suppose, from one point of view, pretty much all my life
has been a form of mild insanity. After all, to actually try to achieve
anything is quite possibly the authentic mark of an insane person, even
if I am
trying to wean myself off it continually. Another way of looking at it is that
it was pretty insane to be born, really.
34. Is there anything you would like to draw people’s
attention to? Make them notice something?
attention to? Make them notice something?
I think
if I say this, it will destroy it. So I prefer to leave that to be answered by
the records, even though they are nowadays mostly unavailable.
if I say this, it will destroy it. So I prefer to leave that to be answered by
the records, even though they are nowadays mostly unavailable.
 |
| The Hafler Trio |
35. What does the name The Hafler Trio mean?
Here you can find the information.
Although the article doesn’t actually mention it, there was a Hafler
three-speaker system. It works wonderfully, easy to make.
Buy Hafler Trio releases
Simply Superior
Hafler Trio on Discogs
Questions: Ilya Kudrin
three-speaker system. It works wonderfully, easy to make.
Buy Hafler Trio releases
Simply Superior
Hafler Trio on Discogs
Questions: Ilya Kudrin
