We know classical music from sitting still on a chair, enjoying complex abstract forms.
The complexity of a melody or a composition is said to be the core value of ‘civilisation’ and it is therefore completely unthinkable that a classical concert would look like this:
That is why it is all the more striking that it is precisely in this hardcore scene that the ideas of turning trees into civilians surface. If classical music makes one so civilised, why are the followers of such music almost always the same cultural elite that indulges in genocide in other areas? Should Assad have learned to stagedive?
The answer is: yes indeed. Connectedness, death, risk. Having death near. Seeking death. Overcoming fear. All that is of higher civilizational value than passively enjoying a complex structure.
This audience is also an extremely complex spin.
How wonderful it is to see all this complex wriggling after that chilling ‘corona time’? And I can tell you from experience that it is extremely complex to come back from such a concert without bruises, and what you see here above is downright dangerous: it is a miracle that there were no deaths during this concert. But you come home with one feeling: goddamn, I am alive!
And that is precisely the idea. Connectedness, unity, energy. That requires a different attitude towards death. That the melodies are simple is certainly true. The complexity of these concerts is different.
That this complexity is inferior – the point of view of some people – I would rather turn it around: it is precisely stagediving that should be a standard part of the curriculum in schools. If only we had leaders who knew how to stagedive.
And yes, I can really enjoy Rachmaninov from time to time. But I can enjoy less the apes who think that their concoctions are vastly superior to those of nature, in every respect. That superiority complex is the most annoying contraction that nature is capable of – that is true enough.