I have nothing to say and I'm saying it. I am here and there is nothing to say. If among you are those who wish to get somewhere, let them leave at any moment. Our poetry now is the realization that we possess nothing. Anything therefore is a delight (since we do not possess it) and thus need not fear its loss. It is not irritating to be where one is. It is only irritating to think one would like to be somewhere else. Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. I gave up making choices. This frees me from memory, taste, likes, and dislikes. We need not destroy the past. It is gone. Words come first from here and then from there. The situation is not linear. It is as though I am in a forest hunting for ideas. One shouldn't go to the woods looking for something, but rather to see what is there. What right do I have to be in the woods, if the woods are not in me. There is no such thing as an empty space or an empty time. In fact, try as we may to make a silence, we cannot. The capitals going down the middle, to celebrate whatever, to support whatever, to fulfill requests, to initiate my thinking or my nonthinking: to find a way of writing that, though coming from ideas, is not about them but produces them. Syntax, like government, can only be obeyed. It is therefore of no use except when you have something particular to command such as: Go buy me a bunch of carrots. Ideas are one thing and what happens is another. The world is teeming; anything can happen. The emotions – love, mirth, the heroic, wonder, tranquility, fear, anger, sorrow, disgust – are in the audience. In the dark, all cats are black. Theater takes place all the time, wherever one is, and art simply facilitates persuading one that this is the case. Everyone is in the best seat. Every something is an echo of nothing. The highest purpose is to have no purpose at all. This puts one in accord with nature, in her manner of operation. Artists talk a lot about freedom. So, recalling the expression "free as a bird," Morton Feldman went to a park one day and spent some time watching our feathered friends. When he came back, he said, "You know? They're not free: they're fighting over bits of food." Get yourself out of whatever cage you find yourself in. If something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two. Which is more musical: a truck passing by a factory or a truck passing by a music school? Value judgements are destructive to our proper business, which is curiosity and awareness. Eventually one discovers that it is not boring at all. The first question I ask myself when something doesn't seem to be beautiful is why do I think it's not beautiful. And very shortly you discover that there is no reason. What I'm proposing, to myself and other people, is what I often call the tourist attitude – that you act as though you've never been there before. So that you're not supposed to know anything about it. If you really get down to brass tacks, we have never been anywhere before. Now we have come to the end of the part about structure. However, it occurs to me to say more about structure. As far as consistency of thought goes, I prefer inconsistency. When you start working, everybody is in your studio – the past, your friends, enemies, the art world, and above all, your own ideas – all are there. But as you continue painting, they start leaving, one by one, and you are left completely alone. Then, if you are lucky, even you leave. We carry our homes within us which enables us to fly. What is the purpose of writing music? One is, of course, not dealing with purposes but dealing with sounds. Or the answer must take the form of a paradox: a purposeful purposeless or a purposeless play. This play, however, is an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living, which is so excellent once one gets one's mind and one's desires out of its way and lets it act of its own accord. Nothing is accomplished by writing a piece of music. Nothing is accomplished by hearing a piece of music. Nothing is accomplished by playing a piece of music. Our ears are now in excellent condition. John Cage, 2012 - - - - - - - - - - - - - - - - - - - - - Nimam kaj povedati in to tudi povem. Tu sem in nimam kaj povedati. Če so med vami taki, ki bi radi nekam prišli, lahko kadarkoli odidejo. Naša poezija je sedaj spoznanje, da ničesar ne posedujemo. Potemtakem je vse radost (ker je ne posedujemo), zato se nam ni treba bati izgube. Ni zoprno biti tam, kjer si. Zoprno je misliti, da bi raje bil nekje drugje. Kjerkoli že smo, slišimo večinoma hrup. Ko se zanj ne menimo, nas moti. Ko ga poslušamo, se nam zdi fascinanten. Odrekel sem se sprejemanju odločitev. To me osvobaja spomina, okusa, stvari, ki so mi všeč, in takih, ki mi niso. Ni nam treba uničiti preteklosti. Ta ne obstaja več. Besede najprej pridejo od tu in potem od tam. Stanje ni linearno. Tako je, kot bi bil v gozdu in lovil ideje. Ne bi smeli hoditi v gozd, da bi tam kaj iskali, ampak da bi videli, kaj tam je. Kakšno pravico imam biti v gozdovih, če gozdov ni v meni. Ne obstaja nič takega, kot je prazen prostor ali prazen čas. Lahko se trudimo kolikor hočemo, da bi ustvarili tišino. Ne moremo je. Velike začetnice sežejo navzdol do sredine, da bi nekaj proslavljale, nekaj podpirale, izpolnile zahteve, sprožile moje razmišljanje ali nerazmišljanje: da bi našle način, kako zapisati, da – čeprav prihaja iz idej – ne gre zanje, ampak jih proizvaja. Sintakso lahko, tako kot vlado, samo ubogamo. Zato ni pretirano uporabna, razen ko želiš kaj posebnega ukazati, na primer: pojdi mi kupit šop korenja. Ideje so ena stvar, kar se zgodi, pa je nekaj drugega. Svet prekipeva od vsega, lahko se zgodi karkoli. Čustva – ljubezen, radost, junaštvo, čudež, spokojnost, strah, jeza, obžalovanje, gnus – so v občinstvu. V temi so vse mačke črne. Gledališče se neprestano dogaja, kjerkoli je kdo, in umetnost preprosto olajša prepričevanje, da je to to. Vsak ima najboljši sedež. Vsak nekaj je odmev niča. Najvišji smoter je, da sploh nimamo smotra. To postavi človeka v skladnost z naravo v njenem načinu delovanja. Umetniki veliko govorijo o svobodi. Spomnimo se izraza "svoboden kot ptica". Morton Feldman je nekega dne šel v park, kjer je nekaj časa opazoval naše pernate prijatelje. Ko se je vrnil, je dejal: "Veš kaj? Niso svobodni: tepejo se za koščke hrane." Osvobodite se kletke, v kateri ste. Če je kaj dolgočasno po dveh minutah, poskusite s štirimi. Če je še vedno dolgočasno, poskusite z osmimi. Potem šestnajstimi. Potem dvaintridesetimi. Kaj je bolj muzikalično: tovornjak, ki pelje mimo tovarne, ali tovornjak, ki pelje mimo glasbene šole? Vrednostne sodbe uničujejo naš pravi posel, ki je radovednost in zavedanje. Navsezadnje ugotoviš, da sploh ni dolgočasno. Prvo vprašanje, ki si ga zastavim, ko se mi nekaj ne zdi lepo, je, zakaj mislim, da ni lepo. In kmalu ugotoviš, da razlog ne obstaja. Sebi in drugim predlagam nekaj, čemur pogosto pravim turistična drža – obnašaj se, kot da še nikoli nisi bil tam. In tako ti ni treba nič vedeti o tem. V bistvu nismo bili še nikjer. Sedaj smo prišli do konca dela o strukturi. Vendar me je prešinilo, da bi povedal več o strukturi. Kar zadeva konsistentnost misli, mi je ljubša nekonsistentnost. Ko začneš delati, so vsi v tvojem studiu: preteklost, prijatelji, sovražniki, svet umetnosti in nad vsemi tvoje lastne ideje – vsi so tam. Ko pa nadaljuješ s slikanjem, začnejo odhajati, eden za drugim, in ostaneš povsem sam. In potem, če imaš srečo, odideš celo ti. V sebi nosimo svoje domove, kar nam omogoča, da letimo. Kaj je smisel pisanja glasbe? Glasbenik se seveda ne ukvarja s smisli, temveč z zvoki. Ali pa mora odgovor imeti obliko paradoksa: smiselno nesmiselno ali nesmiselna igra. Vendar pa je ta igra potrditev življenja – ne poskus vnesti red v kaos ali predlagati izboljšave v stvarstvu, temveč preprosto način, da se prebudimo v življenje, ki ga živimo; to je tako čudovito, ko se človek znebi misli in želja in pusti življenju, da teče svojo pot. S pisanjem glasbe ne dosežemo ničesar. S poslušanjem skladbe ne dosežemo ničesar. Z igranjem skladbe ne dosežemo ničesar. Naša ušesa so sedaj v odličnem stanju. John Cage, 2012

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. Repnik : Ruhsam : Myhre ALSO SPRACH CAGE serial performance / serijski performans 18. septembra 2012 ob 20. uri; Kino Šiška - prostor urbane kulture – Katedrala, Ljubljana, Slovenija 18 September 2012 at 8 PM; Kino Šiška - Urban Culture – Ljubljana, Slovenia Also sprach Cage is an extended act that constantly meanders through different medias – thereby continuously changing its performative means. It begins as a film, transforms into a dance, becomes a song in order to turn into a speech: I have nothing to say and I'm saying it. Words come first from here and then from there. The situation is not linear. Our poetry now is the realization that we possess nothing. Which blankets will provide a soft landing if we suddenly fall into the nothing of the thing? Which net will prevent injuries? Dear audience, dear spectators, I see a land, but there is no way of sleeping faster, there is no way of abolishing the time of mourning, there is no way of speeding up a pregnancy, there is no way of walking by making a mouse click. Ideas are one thing and what happens is another. The emotions – love, mirth, the heroic, wonder, tranquility, fear, anger, sorrow, disgust – are in the audience. In the dark, all cats are black. Everyone is in the best seat. Every something is an echo of nothing. Nothing is accomplished by seeing a piece of land. When the system fell apart it's totality was visible for the first time. I see a land that doesn't belong to us and will never belong to us. I see a land that doesn't keep us warm and that doesn't protect us. I see a land full of risks of loosing along with our individuality, our own wholeness. I see a beautiful land which you find on no map. Our eyes are now in excellent condition. Also sprach Cage je razširjen akt, ki nenehno vijuga skozi različne medije in s tem spreminja svoja performativna sredstva. Začne se kot film, se preoblikuje v ples, postane pesem, da bi se spremenil v govor: Nimam kaj povedati in to tudi povem. Besede najprej pridejo od tu in potem od tam. Stanje ni linearno. Naša poezija je sedaj spoznanje, da ničesar ne posedujemo. Katere odeje bodo zagotovile mehek pristanek, če naenkrat pademo v nič stvari? Katero medmrežje bo preprečilo poškodbe? Drago občinstvo, dragi gledalci, vidim kopno, toda ne obstaja način, da bi spali hitreje, ne obstaja način, ki bi ukinil čas žalovanja, ne obstaja način, ki bi pospešil nosečnost, ne obstaja način hoje s klikanjem miške. Ideje so ena stvar, kar se zgodi, pa je nekaj drugega. Čustva – ljubezen, radost, junaštvo, čudež, spokojnost, strah, jeza, obžalovanje, gnus – so v občinstvu. V temi so vse mačke črne. Vsak ima najboljši sedež. Vsak nekaj je odmev niča. Nič ni doseženo z videnjem kosa zemlje. Ko je sistem razpadel, je bila prvič vidna njegova totalnost. Vidim zemljo, ki nam ne pripada in nam nikoli ne bo. Vidim zemljo, ki nam ne ohranja toplote in nas ne varuje. Vidim zemljo, polno tveganj, da bi se izgubili v naši individualnosti, v naši lastni celostnosti. Vidim čudovito zemljo, katere ne najdeš na nobenem zemljevidu. Naše oči so sedaj v odličnem stanju. Direction, script / režija, scenarij Vlado Repnik Gotvan Live performance by / avtorski performans v živo Ingrid Berger Myhre & Martina Ruhsam In the movie / v filmu: Burkhard Stangl, Jan Ritsema, Simone Forti, Peter Weibel, Isao Nakamura, Christine De Smedt, Gerard Buquet, Rose Beermann, Meg Stuart, Graciela Carnevale, Reinhild Hoffmann, Joana von Mayer Trindade, Sigrid Gareis, Adriana Gabriela Gheorghe, Anja Katharina Arend, Bertrand Flanet, Marina Abramović, Luzie Hanna Karolina Meyer, Georg Schöllhammer, Ruti Sela, Boris Charmatz, Anna Donderer, Marcus Steinweg Camera, montage / kamera, montaža: Vlado R. Gotvan Sound design / zvočna obdelava: Brane Zorman Photography / fotografija: Nada Žgank Lighting / luč: David Cvelbar Technical realization / tehnična izvedba: Tomaž Gorkič, Jure Vlahovič Produced by / produkcija: GVR babaLAN Co-produced by / soprodukcija: Festival Ex Ponto (KD B-51) + Center urbane kulture Kino Šiška, Ljubljana (SI) Running time / trajanje: 50' The project was co-financed by the Ministry of Education, Science, Culture and Sport and the Municipality of Ljubljana. Projekt so sofinancirali Ministrstvo za izobraževanje, znanost, kulturo in šport in Mestna občina Ljubljana. GVR babaLAN | +386 31 589 877 www.babalan.org | gvr[at]babalan.org Photo: Nada Žgank