The general understanding of the concept of sound /music /noise or any forms of audio expression in the light of the " taught emotions"
Latest Activity: Oct 16, 2014
P R I V A T C A F E ’ S M A N I F E S T O A G A I N S T M U S IC 2011The present manifesto was not meant to hail or overestimate our personal and partly subjective approach, but to discredit this limited and general understanding of the concept of sound /music /noise or any forms of audio expression.The way that society reflects its boundaries are truly well measurable in the way that groups of individuals are accepting the information that controls the taste of sound [ music ] itself. This is nothing less then a covered form of clear limitation of self expression in having untroubled access to sound enjoyment. The audio expression of any kind is disabeled for the masses. Just preseted records are having access to the general public. Any too radical expression forms are sent at the very edge of this level. Despite of so many clear proofs, both, the general public and the profesionals of the branch are reflecting so wrong the quality of an audio production / record, in the brand image or in his theoretical background. Sound expression qualities are reduced to the level that serves the major interests of the industry that produce and reproduce the final piece. The audience is forced to look at the most irrelevant parts of the audio production. In classical music, consumer masses are „teached to enjoy” what „must be enjoyed” Aesthetical value is not to be percepted individually, but it was told to feel in a certain way, at a certain moment of the production. That’s how are born some sort of guardians of a certain type of audio production who are sharing a teached experience that has been never filtered through his virgin senses. The other different parts of the musical palette are in almost complete control, by definition.Music/ sound/noise construction was not designed to be pre-selected for any random auditory. Individuals of any kind are used to accept in a silent agreement this poorly minimal shape of what have become the large concept of music/sound/noise.This agressive intervention is fakening the whole range of audio enjoyment. Sound /music /noise shouldn’t be aestetically propertised in their freedom of being enjoyed. In a really solid way, audio enjoyment is now a definition for a predefined state of reception. The auditory in his great majority has absolutely no connection whatsoever with the real process of free deliberation. The choosing process for the „great-big public” is practically self-deliberating.In terms of ethical value, sound /music /noise is constantly changeable and is not intended to restrain his shooting range in order to amuse, entertain or depress. Any other sensorial intermitence that is not included in the big black book of the Music Industry is right at the top of the forbidden scale. So, music receptors, entertainers with or without degree, passengers, trip tellers, are right on the very other side of a movement that started itself.
p r i v a t c a f e
Dear All, Here the web page of DVO where I cooperate since some years. I invite you to see the posted on it and then , please, if you could, to answer 3 questions.…Continue
Started by Cecilia Montero Mórtola Sep 21, 2014.
The European Association of Social Anthropologists (EASA) is calling for proposals for the production of research-based creative works, with interactive and collaborative components, for its upcoming biennial conference in Tallinn, Estonia to be held from 31st July - 3rd August, 2014.
EASA2014 will provide spaces for producing and presenting ethnographic works that are not exclusively based on text-based conventions, but that are constituted through visual, acoustic, performative, and other forms of experience-based knowledge.
We are calling these spaces "Laboratories" in order to recall experimental practises and activities. The intention of these Laboratories is to explore methodological and epistemological possibilities of carrying out and presenting anthropological research using non-text based forms.
We are particularly looking for proposals with an interactive and collaborative component. Laboratories can be organised either as closed events (stating the names of the participants), or as invitations for individual submissions (which the respective Laboratory’s convener will be able to choose from among potential contributors).
For more information: http://www.easaonline.org/conferences/easa2014/cflabs.shtml
You need to be a member of SOUND OF SIGNS to add comments!