ARTIFICIAL HELLS

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Hooter Symphony, c.1920 Conductor of a Hooter Symphony, c.1920
artificial hells My second example, the ‘Hooter Symphonies’, is one of the most mindboggling cultural gestures of the post- revolutionary period. Not only did this musical endeavour seek to facilitate mass participation, it also reinvented the entire concept of instrumentation by harnessing the sirens and industrial noise of the modern city into a new understanding of what constituted an orchestra. Conceived as a new and truly proletarian music, the Hooter Symphonies aimed to turn the whole city into an auditorium for an orchestra of new industrial noise, conducted from a rooftop by a man carrying large flags; they embraced ‘all the noises of the mechanical age, the rhythm of the machine, the din of the great city and the factory, the whirring of the driving belts, the clattering of motors, and the shrill notes of motor horns’. 86 The Hooter Symphonies were initiated by the music theorist Arsenii Avraamov (1886– 1944), a reformist who in 1920 had asked the Commissariat of Enlightenment to confiscate and demolish all pianos as a necessary first step in destroying bourgeois music and the twelve- tone scale. After experiments with factory whistle symphonies in St Petersburg (1918) and Nizhnyi Novgorod (1919), Avraamov oversaw a spectacular noise symphony to celebrate the anniversary of the Revolution in the Baku harbour on 7 November 1922. The event used sirens and whistles from navy ships and steamers, as well as dockside shunting engines, a ‘choir’ of bus and car horns, and a machine- gun battery. The aim was to evoke the struggle and victory of 1917, and involved versions of ‘The Internationale’ and ‘The Marseillaise’ with a 200- piece band and choir, and a large portable organ of steam- controlled whistles on the deck of a torpedo boat. With characteristic scepticism, Fülöp- Miller notes that the results of such experiments were unhappy, to say the least: on the one hand, the capacity of modulation in the instruments used was not very great, and, on the other hand, the ‘compositions’ performed were much too complicated. Although the ‘conductors’, posted on high towers, regulated by waving flags the intervention of the various sirens and steam- whistles, which were at considerable distances from each other, it proved impossible to attain a uniform, acoustic impression. The distortions were so great that the public could not even recognise the well- known and familiar ‘Internationale’. 87 The (un)recognisability of a tune seems to be a minor quibble in the face of the searing impression that remains of these efforts today, both visually and conceptually: a barely visible man forlornly stands on a factory roof, a tiny speck in the face of an invisible (but one imagines overwhelming) industrial cacophony swirling around him. The futility of this proposition and his impotent centrality stands as the poignant inverse of the conductorless orchestra. Here, the lack of a new repertoire really doesn’t matter, because the proposition and its outcome exceed all existing categories: Avraamov’s Hooter Symphonies are perhaps more visionary than any other Russian cultural 65
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ARTIFICIAL HELLS Participatory Art
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Contents Introduction 1 1 The Socia
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Introduction All artists are alike.
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introduction framed within a tradit
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introduction education). Both of th
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introduction and troubling forms of
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introduction participatory art desp
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artificial hells extras of the spec
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Page 20 and 21: artificial hells but because the po
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Page 24 and 25: artificial hells Oda Projesi, FAIL#
Page 26 and 27: artificial hells Thomas Hirschhorn,
Page 28 and 29: Rachel Whiteread, House, 1993 Lorai
Page 30 and 31: artificial hells historical avant-
Page 32 and 33: artificial hells the drawbacks of t
Page 34 and 35: artificial hells sensoriality from
Page 36 and 37: artificial hells the same time, Del
Page 38 and 39: artificial hells politically self-
Page 40 and 41: artificial hells societies. 76 Beca
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Page 44 and 45: artificial hells ‘good soul’; i
Page 46 and 47: artificial hells I. Provocation, Pr
Page 48 and 49: artificial hells From the beginning
Page 50 and 51: artificial hells perhaps regard the
Page 52 and 53: artificial hells On the other hand,
Page 54 and 55: artificial hells productions, and t
Page 56 and 57: artificial hells real work, applyin
Page 58 and 59: artificial hells Kerzhentsev advoca
Page 60 and 61: artificial hells It is unsurprising
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Page 64 and 65: artificial hells Re-enactment of th
Page 66 and 67: artificial hells It goes without sa
Page 70 and 71: artificial hells experiments of thi
Page 72 and 73: Excursions and Visits, flyer for th
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Page 78 and 79: artificial hells demanding an activ
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Page 82 and 83: artificial hells Khatib’s ‘Atte
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Page 86 and 87: artificial hells exhibitions in Par
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Page 90 and 91: artificial hells the constructed si
Page 92 and 93: artificial hells during the 1940s.
Page 94 and 95: artificial hells a critique of art
Page 96 and 97: Groupe Recherche d’Art Visuel, it
Page 98 and 99: artificial hells Happenings in Euro
Page 100 and 101: artificial hells Lebel pushed a pra
Page 102 and 103: artificial hells Jean-Jacques Lebel
Page 104 and 105: artificial hells Most of the time,
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Page 110 and 111: artificial hells Brazil in that it
Page 112 and 113: artificial hells with photographs o
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artificial hells Oscar Bony, The Wo
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artificial hells ephemerality of wo
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artificial hells more light- hearte
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artificial hells The work consists
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artificial hells refinery owners ho
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artificial hells connected this opp
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artificial hells started digging gr
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artificial hells aesthetic programm
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artificial hells non- aligned forme
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artificial hells 1977. Although the
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artificial hells Milan Knížák, A
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artificial hells investigated An Ev
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artificial hells form of a stream o
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Stano Filko, Alex Mlynárčik, Happ
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artificial hells ‘happsoc’: ‘
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artificial hells Alex Mlynárčik,
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artificial hells nature of artistic
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III. Problematics of Public Space a
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artificial hells Jan Mlčoch, Class
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artificial hells posters around the
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artificial hells It is in this lite
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artificial hells a description of t
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artificial hells Collective Actions
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artificial hells was a society of p
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artificial hells part, a Western fa
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artificial hells London ICA in 1966
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artificial hells yet the driving fo
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artificial hells Brisley felt that
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artificial hells company publicity
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artificial hells III. Placements in
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artificial hells 1976. Rather, the
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artificial hells anticipate the ‘
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artificial hells Way to Run a Railr
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artificial hells Children outside t
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artificial hells them in the twenti
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artificial hells The Blackie, Sanct
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artificial hells The Blackie, ‘To
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artificial hells origins and faced
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artificial hells In other words, co
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7 Former West: Art as Project in th
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former west In tracing the re- emer
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former west Green, whose proposal d
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former west (building, residents, a
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former west brought back from their
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former west artists and collectives
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former west As Dion indicates, this
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former west II. Performative Exhibi
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former west ‘No Man’s Time’ c
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former west The artists were asked
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Carl Michael von Hausswolff, Andrew
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former west artists at this time. T
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former west however, result in a fo
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artificial hells specialist art wor
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artificial hells performing music)
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artificial hells specific abilities
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artificial hells Martin Creed’s W
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artificial hells Artur Żmijewski,
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artificial hells Marina Abramovic,
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artificial hells provide not just t
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artificial hells ends. 34 As such,
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artificial hells economic instituti
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artificial hells essential in this
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9 Pedagogic Projects: ‘How do you
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pedagogic projects southern hemisph
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pedagogic projects curriculum, offe
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pedagogic projects however, was not
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pedagogic projects re- installed ev
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pedagogic projects uncanny sense of
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Paul Chan, Waiting for Godot in New
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pedagogic projects Chan identifies
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pedagogic projects kids and the sci
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pedagogic projects In 2005, Żmijew
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pedagogic projects the history of B
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pedagogic projects play, only note
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pedagogic projects into which the p
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pedagogic projects framework applie
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pedagogic projects rather than a cr
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pedagogic projects and Lia Perjovsc
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pedagogic projects to morality. Nea
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Conclusion The dominant narrative t
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conclusion emergence of the contemp
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conclusion I. The Ladder and the Co
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Christoph Schlingensief, Please Lov
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conclusion of art to a question of
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Acknowledgements This book took a l
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Notes Introduction 1 Jeremy Deller:
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notes to pages 11- 13 University of
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notes to pages 18- 23 28 I say schi
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notes to pages 29- 33 56 ‘Suitabl
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notes to pages 37- 43 79 ‘This ki
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notes to pages 46- 9 14 Michael Kir
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notes to pages 54- 8 Mystery- Bouff
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notes to pages 63- 9 82 Kerzhentsev
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notes to pages 74- 78 the Great War
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notes to pages 80- 3 ‘40˚ au- de
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notes to pages 86- 9 its emphasis o
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notes to pages 94- 8 theatre. In th
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notes to pages 100- 3 89 Lebel, int
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notes to pages 106- 9 Columba, 1967
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notes to pages 111- 2 designed to t
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notes to pages 117- 9 ‘Un mongolo
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notes to pages 124- 6 taken, most o
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notes to pages 131- 2 at having to
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notes to pages 135- 8 employed to d
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notes to pages 141- 2 general of th
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notes to pages 146- 7 suspect of ha
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notes to pages 150- 4 almost no int
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notes to pages 159- 60 What I wante
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notes to pages 165- 7 Lawson, Julie
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notes to pages 170- 1 28 Ibid., p.
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notes to pages 173- 5 48 See Brisle
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notes to pages 179- 81 which saw cr
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notes to pages 185- 8 limited, and
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notes to pages 194- 8 4 In his intr
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notes to pages 202- 6 their work, i
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notes to pages 209- 14 48 Rirkrit T
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notes to pages 217- 23 Gonzalez- Fo
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notes to pages 226- 9 using the fiv
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notes to pages 234- 8 34 In other w
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notes to pages 242- 3 e- flux journ
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notes to pages 251- 7 de Aizpuru in
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notes to pages 266- 8 49 Jacques Ra
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notes to pages 273- 6 70 ‘Patentl
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notes to pages 283- 4 newspaper, in
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illustration credits Chapter 3 p. 7
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illustration credits p. 184 (top) T
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illustration credits p. 235 Pierre
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Index Abramovic, Marina, 219, 230 A
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index Classic Escape (book), 149 Cl
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index Hackney Writers Workshop, 173
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index Moreau, Gustave, 95 Müller,
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index ‘Sonsbeek 93,’ (exhibitio
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On the Typeface Artificial Hells is
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ARTIFICIAL HELLS

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