Arts Minimal Nation
posted by August 9 at 11:55 AMon
From Mills we get Waveform Transmission - Volume 1 (1992). From Hood we get Minimal Nation (1994). What drew these black American artists to minimalism (or modernism) is it’s logic to break from narrative and to escape from culture—in sum to become inhuman. Why would black artists want to revolt against humanity, which is what techno music is (a techno rebellion), which is what its first song, “Clear” (1982), celebrates—the end (clearing) of humanity? Because the history of civilization has been the history of white supremacy. Narrative power has never been black power, and so resorting to modernism, is resorting to an art that tells no (or the least) stories. It is in the liberated area of the un-story black American techno begins and ends all at once. It’s not surprising that mainstream America absolutely rejected black American techno. Unlike rap or funk, techno rebels refused to play the game of storymaking. (Drexiya is of course the one exception, but the least compelling part about Drexiya is its science fiction story.) No counter narrative but no narrative at all. No narrative leaves us with just the present. In the present, everything is left to happen. Clear out the space. Modernism must fulfill its promise.