Quanthof - Byztanbul*
* No one can tell the origin of this cymbal, the cymbal 'itself' and the sound of this cymbal, cymbal-sound, the audio recording of it or some (!) cymbal (who can tell?), the concept of its sample. Sound does not talk. One can not tell which
political side the cymbal maker in Turkey is on, what kind of re-reseller there is. Is this cymbal from Turkey? Who sells it in Germany with which brand? When one says there is no substance (Wesen) of a commodity, is then re-presentation its only 'being' if its
presentation can be no longer refered to its presence as it has none or multiple? Because its "presence" is exchange value? Or is it its use value, its sound? Is there any history I can talk about, how its been made, who made it, why is its sound included in post-military
western music, what's the material of bronze, copper, tin? Who mined it? Is this 'story' lost with the on true non-presence of that cymbal that never has been there opened up to something that never can be represented when there never was a presence, opened up to performance?
So no one can tell the origin of a (not this) cymbal, how its made (untrue!), what's its real sound (true?) except its cymbal-sound loss in data, the sample, and a strive to transcend in playing. And if you would consider this 'machine' sound and audioresearch by feeding it?
And at this point the problem of the narrative begins.
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