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Johannes Bergmark


Wilderness and wildness is alien to most of what is called democracy.

Mankind can never again live in harmony with nature if it is going to go on using representatives acting according to their own head, i.e.

Conventionalized heritage, after having bought passive acceptance of the people by advertizing their personality image, whereupon they institute laws, unfailingly making a minority (in many cases a majority) of the people to criminals. The functions of this society affects the psyches and consciousnesses of the people, so this society restrains a wild relationship to wildness, to wilderness and nature. We are brought up to plain survival, burdened with guilt by the law and its way of thinking.

Man needs a wild consensus a wild spirit of community, not prescribed by law to respect and appreciate nature in psyche as well as in consciousness, and for the possibility of incorporating chance (the natural unpredicted "lucky" as well as "unlucky") in life as a potentially creative element, where not one way of living together is the alternative to the present order, but a continuous, restless and pleasurable examining curiosity. The music representing these has its undeniable roots in the wild rhythms existing in an incessant polyrhythm in the whole system of the body: heart; lungs; intestines; muscles; sensory and motoric nerve functions, including the little isolated part called thinking. The marvellous mysteries of the body have never been prescribed by law their perfection are in their own inner conflict of aggressive aging.

This intuitive insight seems to presuppose the abolishment of civilized sounds industrial and commercial belonging to the personality market or the usual economy, e.g. Noise from big industries, highways, sirens from emergency vehicles and robbery alarms, commercials on ether medias and videos, sports commentaries, roaring sports fanatics, muzak, public-keeping continuous pop music on radios, whining tax payers with a greedy mood, sellers with standardized service-mindedness, shallow entertainers with microphones, politicians, beeping digital watches and computer games, the majority of the heard rock'n'roll which has become the fastest way of musically driving the body impulse and the desire for happiness into the fold of conformity and stupidity.

If these are deprived of their civilized functions, though, even these sounds can, in exceptional cases, be reconquered by wild music, which in this way gives them a different content and consequently makes them turn against the misery that created them in the first place. But the main road must be to re-establish music as a sound of nature, which does not oppose sounds of nature as "art music" does per definition; to make music a behaviour of the species, an engaged occupation to develop curiosity and the body rhythms (dance impulse) together.

The structure of the city: size, density, the impossibility to recognize people or make friends with all the unknown passers-by, industrialism and commercialism, make them to places where the encounter between music and nature is marginalized to the point of extinction. The few musicians that can survive in some form of wildness are continuously threatened to be smashed by the commercialization of personality: rock'n'roll or avant-garde clown are the choices. In a natural state (wild state) every 50th person should be of the shamanistic magnitude that Cecil Taylor is.

Now, such unique and rare beings must travel round the world to meet those wanting to participate in this wildness (free beauty) instead of being able to have their closest people within walking distance. The whole global political system contributes in the attack against wildness and its liberation in all animal species in the attack against wildness and its liberation in all animal species and humans, and until further notice, therefore, an international exchange of ideas and results, such as visits, writings and recordings are of great value as proofs of the potentials of wildness and as support and inspiration for its spreading.

Wildness in music already seems to spread more and more as in other areas of human life. Young musicians can today be brought up with free music as their own heritage. The first Western attempts to create a non-tonal music (or rather post-tonal or anti-tonal, since these break with a certain period of functional harmonics (now yet another form prevails), which was preceded by another, linear, tonality) have since long ceased to be needed to train the ears to experiment the ear in more and more cases does not demand anymore agreed outer rhythms and keys in order to become curious.

In spite of new sampling techniques, the will to explore new and unusual objects' musical potential seems to provide the greatest possible expression with the least possible need of technique and thus also for the largest amount of people available, all around the planet. In these objects the physical contact and the intellectual understanding are as big as possible, while this is so only in extreme cases with electronic and digital equipment. The deprofessionalization and humour (closeness to the listener) of the musician can often be greater if the technique is simpler.

The need for music of man is wild and human. It will not disappear just because all sounds are formally possible and acceptable. Music is the human possibility to, through sounds, enter and communicate with the total (wild) organism of man, in worlds in nature which are not or less accessible which broadens the understanding of the magical, animate, in nature and in our human friends. At the same time dance and curiosity, as pleasure-processes, are themselves both research and results, wonder and discovery, way and end, rest, preparation and completion.

I hit an object. The object begins to call out. I begin to call out.

Beings pay attention. What is said? Who is speaking? Will I answer? One cranes one's neck. I raise my eyes. Do you wish to come over here?


(From The Man on the Street #2 1993, also published in The Improvisor.)



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