Jérôme Noetinger
Where are you now?
50 passage des Ateliers, 38140 Rives, France.
Where would you like to be?
50 passage des Ateliers, 38140 Rives, France.
But today, I was supposed to be in Vienna, Austria.
What have you been doing lately?
This morning, I was helping the Secours Populaire (a charity association) in Voiron, 10km from my home. Yesterday, I was helping the Red Cross in Rives. Monday, I distributed natural wine in Grenoble. Besides that, I'm making a sound exquisite corpse with Jean-Philippe Gross; together with Yanik Miossec on March 18, we've initiated a new interpretation of Alvin Lucier's I'm sitting in a room for confinement, with 20 different people from 20 different countries; I'm being part of a magnetic tape exchange with 9 other European artists; I'm looking for a label to release a record I made with Lionel Fernandez; I'm trying to complete Metamkine accounting for 2019; I'm preparing interviews (Mark Vernon, Alain Damasio, Michel Doneda, Michel Chion) for Revue & Corrigée; I'm looking for a label to release a record I made with Lasse Marhaug; I've got to listen to the recordings of the trio ...&mic... with Jean-Luc Guionnet and Will Guthrie; I'm trying to complete Ovnivins accounting for 2019; I've got to compose a piece for Frédéric Marty and another one for Aude Romary; I've got to listen to the recordings of the Hrundi Bakshi quartet with Sébastien Cirotteau, Christian Pruvost and Arnaud Rivière; I'm contributing to the Amplify 2020 bandcamp, to a Sonic Protest playlist, and also to a few radios, P-Node, Confins et Dordogne; and a few other stuffs.
And now I'm answering those questions, and I'm wondering why.
What are you hearing right now?
The open window lets me perceive the songs of sparrows and balckbirds, on top of the high pitched jerks of the only robin squatting the garden. A few cars in the distance.
As usual actually, besides more brushcutter.
I'm lucky to live remotely in a big house with a garden. In normal times, Rives has always looked like a confined city, nothing ever happens here. So nothing has changed.
Are you using this confinement period to make music?
“Confinement of bodies is proving to be an optimal way to re-mobilize available brain time over a period long enough to produce effects”. Alain Damasio, Coronavigation en air trouble in Pour un tournant radical, Socialter.
The open window lets me perceive the songs of sparrows and balckbirds, on top of the high pitched jerks of the only robin squatting the garden. A few cars in the distance.
As usual actually, besides more brushcutter.
I'm lucky to live remotely in a big house with a garden. In normal times, Rives has always looked like a confined city, nothing ever happens here. So nothing has changed.
Are you using this confinement period to make music?
“Confinement of bodies is proving to be an optimal way to re-mobilize available brain time over a period long enough to produce effects”. Alain Damasio, Coronavigation en air trouble in Pour un tournant radical, Socialter.
What will the world be like next?
Since I heard this question, since I read different things here and there on this topic, honestly I don't understand. What world? After what? What do the thousands of people crammed into Lesbos, forcibly confined by Europe, say? What do all these other populations say, while they are being kept at the external borders of Europe and watched by Frontex?
Where is the world after AIDS? Where is the world after Ebola?
The transformation of a social system based on distribution will go on for the benefit of capitalization. The funding cuts in hospital beds and staff will not stop. Social inequalities will multiply, like misery. The exploitation of the African continent will increase. The non-distribution of wealth will always be the rule. “Macron demission” is absolutely useless. If it's not him, it is another one who will rub the vaseline. I would have preferred this question: Once the confinement is over for everyone, how would you imagine the possibility to build together a different world than the one solely based on instant profit?
“We don't need the police on our streets, walking alone is not a crime that will increase the number of deaths. […] Creating and maintaining isolated crowds, that are locked up, detained, retained and exposed to risks, is an offense, penalizing lives is an offense.” Sarah Mekdjian
How can we support the music community?
In fact, everyone must be supported. But ok, we are here in a specific context, so I understand your question. For those whose music is the only job, it is necessary to support them financially. For those who benefit from the French “intermittence du spectacle” (entertainment/art workers status), it is at all costs necessary to require from the Medef (French employers organisation) and the State that this becomes a blank year, and that they do not simply grant a pseudo 2 or 3 months postponement of the anniversary date (date on which the status is renewed for another year). This measure must be applied to all precarious workers registered with Pole emploi (French employment office).
For those with self-employed status, the possible monthly help of 1,500.00 euros must be given without falling into a delusional scrutiny of everyone's turnover.
For those of you who are interested, I'm trying to make an inventory of the different situations in Europe (and elsewhere). For instance, it goes from 600.00 euros in Italy to 5,000.00 euros in Berlin!!!
[To make things clear, I'm not defending any corporation, I don't receive any pension].
Besides all this, there are a lot of initiatives for playing via live streams or radios, or anything I wouldn't know about since I'm not on social media. It's great and sometimes raving (see for instance Aaron Dilloway in the Experimental Sound Studio series). Eventually, it turns out to be a different space, like concerts or records can be. But let's not forget about the energetic cost of such initiatives, and let's not reduce the music community problematic to a simple narcissistic frustration.
Five music to recommend?
It will be five records, picked up among the last ones I've listened to and liked, beyond any advice. And they all are obviously available at corticalart.com.
Noel Meek & Bruce Russell, Say No to hate on Ikuisuus
Sven-Åke Johanson & Thomas Kapielski, Das Moabiter Duo - recovered on Fantôme Verlag
Ollivier Coupille, Fragments & Ramifications on Loligo
Stine Janvin, Fake Synthetic Music on Pan
Claire Bergerault, Stick slip released by the Art School of Le Havre
A book?
Moby Dick, by Herman Melville, because I'm currently reading it.
Besides all this, there are a lot of initiatives for playing via live streams or radios, or anything I wouldn't know about since I'm not on social media. It's great and sometimes raving (see for instance Aaron Dilloway in the Experimental Sound Studio series). Eventually, it turns out to be a different space, like concerts or records can be. But let's not forget about the energetic cost of such initiatives, and let's not reduce the music community problematic to a simple narcissistic frustration.
Five music to recommend?
It will be five records, picked up among the last ones I've listened to and liked, beyond any advice. And they all are obviously available at corticalart.com.
Noel Meek & Bruce Russell, Say No to hate on Ikuisuus
Sven-Åke Johanson & Thomas Kapielski, Das Moabiter Duo - recovered on Fantôme Verlag
Ollivier Coupille, Fragments & Ramifications on Loligo
Stine Janvin, Fake Synthetic Music on Pan
Claire Bergerault, Stick slip released by the Art School of Le Havre
A book?
Moby Dick, by Herman Melville, because I'm currently reading it.
What will you do when you get out?
In the absence of hatred, I would contemplate the resonance of the ruins in the vestiges of chaos.
Links:
https://amplify2020.bandcamp.com/
https://p-node.org/
http://radio-des-confins.online/
http://www.radiodordogne.com/category/les-creations/#post2131
http://www.socialter.fr/fr/page/1/accueil
https://www.youtube.com/watch?v=SmaHRm12ITM&feature=emb_logo
https://www.corticalart.com
