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infocomp:joan-arnau-pamies [2015/11/25 12:26]
Joaquín Herrero Pintado [I.]
infocomp:joan-arnau-pamies [2021/01/14 21:44]
Joaquín Herrero Pintado
Línea 1: Línea 1:
-====== Joan Arnau Pamies: Noise-Interstate(s) ​======+====== Joan Arnau Pamies ======
  
 +Ver en YouTube [[https://​www.youtube.com/​watch?​v=mNtkz3DgHU8|Joan Arnau Pàmies presenta «Dialectics of Collapse»]]
 +
 +
 +[[https://​www.mundoclasico.com/​articulo/​33411/​Entrevista-a-Joan-Arnau-Pami%C3%A9s-12-No-existe-una-socializaci%C3%B3n-de-la-conciencia-progresista|Entrevista a Joan Arnau Pàmies (1/2). No existe una socialización de la conciencia progresista]]
 +
 +"​Terminé mi doctorado en 2016. La tesis tiene dos partes: la primera, teórica, de análisis; la segunda, creativa: la composición de una nueva pieza. La investigación arguye que el neoliberalismo como proyecto político no tiene recorrido y que, por lo tanto, debemos construir una hegemonía post-capitalista. La Nueva música, en el sentido adorniano, puede y debe ocupar un espacio cultural prominente en este nuevo paradigma. A partir de aquí, parto de teorías de Alain Badiou, Herbert Marcuse, **Nick Srnicek y Alex Williams** para __construir un modelo normativo de producción musical en el que sus máximos protagonistas son la autocrítica y la voluntad de ofrecer experiencias fenomenológicas más allá de las que produce la industria cultural, arraigada en la lógica del beneficio corporativo__."​
 +
 +
 +[[https://​nmbx.newmusicusa.org/​new-music-a-product-of-modernity-and-capitalism/​|New Music: A Product of Modernity (and Capitalism)]]
 +
 +The third definition can be found in **Nick Srnicek and Alex Williams’s** recent book on post-capitalist alternatives,​ Inventing the Future:
 +
 +>​[Modernity] can refer to a chronological period, typically filtered through European history with a variety of events having been posited as its origin: the Renaissance,​ the Enlightenment,​ the French Revolution, the Industrial Revolution. For others, modernity is defined by a distinct set of practices and institutions:​ widespread bureaucratization,​ a basic framework of liberal democracy, the differentiation of social functions, the colonization of the non-European world, and the expansion of capitalist social relations.[3]
 +
 +What these definitions seem to have in common is the underlying conviction that, in the modern era, humanity became an active participant in the construction of the world. “Modern” humans became conscious subjects and built societies according to their needs. Of course, the modern world has many facets, some of them conflicting:​ Emma Goldman’s modernity is different from Joseph Stalin’s; Angela Davis’s view of progress is antipodal to Alan Greenspan’s. Yet, these four individuals share the conviction that humanity is in charge of the development of history. Modernity is not necessarily an egalitarian and democratic endeavor, but rather seems to emerge as a product of 19th-century industrialization and the accompanying exponential growth of technological means. In this regard, it is difficult to imagine modernity without capitalism.
 +
 +[[https://​nmbx.newmusicusa.org/​towards-the-future-new-music-in-the-21st-century/​|Towards The Future: New Music in the 21st Century]]
 +
 +Ryoji Ikeda: the transfinite (2011)
 +
 +Ryoji Ikeda is primarily known for his electronic music albums, which tend to use minimal and repetitive materials often expressed through a representational aesthetics based on glitch and temporary computer malfunction. the transfinite is an audiovisual installation piece: https://​www.youtube.com/​watch?​v=omDK2Cm2mwo
 +
 +There is much that could be said about the transfinite,​ but I would like to focus on the interrelatedness of two aspects that I personally find significant:​ the overwhelmingness of the experience and the semantic implications of the audiovisual materials employed.
 +
 +**Nick Srnicek** has argued that,
 +
 +>Ryoji Ikeda’s work on dataphonics is exemplary of this approach. Wielding massive datasets and numbers that defy human comprehension,​ Ikeda has built installations and soundscapes that operate at the very boundaries of human sensibility. The sonic frequencies of his music often just barely enter into the range of human auditory capacities, and his visual installations are designed to overwhelm and incapacitate. The technical sublime emerges here: where perception recoils at an incomprehensible vastness whilst cognition and reason sits back and black boxes it. The sublime here is the parallax tension between a horror at the level of sensibilia and conceptual understanding at the level of cognition.[2]
 +
 +the transfinite may be understood as a representation of the vast complexity of underlying networks that form the present world. It is a constant flux of monolithic information,​ which swamps human sensorial experience with exceedingly fast changes in light and sound. As Srnicek contends, it is “designed to overwhelm and incapacitate,​” an argument with which I would agree. I would also like to point to the fact that the viewer/​listener is located inside the piece: the spectator truly is in a position where she or he has to navigate through these streams of data. In addition, I would suggest that the nature of the sounds employed conveys a landscape that resembles that of encrypted data, thus contributing to the illusion of the impossibility of deciphering the true meaning of these materials.
 +
 +As I see it, the transfinite functions as a rather clear parallel to how global markets operate today: high-speed algorithmic trading which allows capital to fluctuate internationally at extremely fast speeds. Simultaneously,​ people—biopower,​ as Michel Foucault and later Michael Hardt and Antonio Negri would describe it—have neither the physical ability nor the means to change their geographic location at a similar rate. the transfinite operates according to the same paradoxical logic: digital data is highly dynamic, while spectators are physically stuck in this ever-changing space.
 +
 +While the transfinite may be an excellent example of a representational aesthetics of early 21st-century capital, I am not sure whether it provides a critique of this situation, let alone an alternative. I will leave this up to the reader’s discretion.
  
  
Línea 9: Línea 42:
 http://​issuu.com/​cerenem/​docs/​final_symposium_booklet page 32 http://​issuu.com/​cerenem/​docs/​final_symposium_booklet page 32
  
-{{youtube>g-C2BL6VjMM?​medium}}+https://​www.youtube.com/​watch?​v=g-C2BL6VjMM ​\\ 
 +https://​www.youtube.com/​watch?v=pczuFZM3V9A
  
-{{youtube>​pczuFZM3V9A?​medium}} 
  
-===== Conciertos ===== 
  
-{{youtube>​k-6uJst_7rs?​medium}}+==== Noise-Interstate(s):​ toward a subtextual formalization ==== 
 + 
 +Este es el título del ensayo publicado por él en la obra colectiva [[Noise In and As Music]] 
 + 
 + 
 +=== Introduction:​ noise as transcender === 
 + 
 +=== Information theory and the Noise-Interstate === 
 + 
 +=== The Noise-Interstate as a Self-Generating Entity === 
 + 
 +=== Deliberate Equivocation:​ a methodology === 
 + 
 +=== Further Applications === 
 + 
 +=== Conclusion === 
 + 
 +==== Noise-Interstate(s):​ Towards A Subtextual Notational Methodology ==== 
 + 
 +Disponible online en [[https://​www.gold.ac.uk/​media/​migrated/​media/​goldsmiths/​departments/​academicdepartments/​music/​pdf/​Notation-booklet.pdf|Notation in Contemporary Music, CMRU, Goldsmiths, University of London, 18-20 October 2013]] 
 + 
 +This presentation is a restructurization of an essay entitled “Noise-Interstate(s):​ toward a subtextual formalization”,​ published in //Noise In And As Music// (Huddersfield University Press, 2013) 
 + 
 +--- 
 + 
 +By employing a relatively recent conception of noise within the domain of information theory (as in an array of deeply rooted layers of information rather than mere undesirability),​ my work as a composer has successively been treating noise as the psychological outcome that the performer develops during the attempt to realize the specific nature of certain unconventional notational objects into sound. Notation, in this case, has the capacity to trigger and/or produce contingent formal paths which had not explicitly been formalized throughout the compositional operation. 
 +  
 +Thus, the performer'​s mental state during the process of translating such notational signifiers into concrete sonic objects catalyzes 
 +the existence of a multiplicity of obliquely predetermined trajectories whose purpose is to enrich the overall musical experience. Two newly developed notational techniques will be discussed: ​
  
-{{youtube>​SAJO-vZlaLM?​medium}} +1. Perspective Notation (PN)\\ ​ 
-===== Ruido como material para la música, como sonido, como datos =====+Its fundamental goal is to devise a movable staff whose limits are in constant transformation throughout the formal development of the musical work. PN is designed to separate the notation essentially into two domains: parameterized objects (signifiers that represent multiple instrumental techniques juxtaposed onto each other) and projection surfaces (where these objects confront the particularities of the surfaces). This phenomenon generates highly unpredictable situations. ​
  
-Libro [[https://​www.hud.ac.uk/​research/​researchcentres/​cerenem/​noise/​book/​|Noise In and As Music]] ​\\ +2. Temporal Displacement Notation (TDN): \\ 
-CassidyAaron and EinbondAaron (2013) Noise in and as music. University ​of Huddersfield,​ Huddersfield. ISBN 978-1-86218-118-2 ​+TDN detaches the intrinsic features of both projection surfaces and parameterized objects from temporal pace. During the compositional processthis disconnect allows time to be treated as an independent dimension that does not necessarily have to relate to the nature of the aforementioned objects ​and surfaces. Thusthis phenomenon introduces paradoxical situations into the score with the commensurate increase ​in the incidence ​of noise:  ​
  
->The book’s focus is the practice ​of noise and its relationship to music, and in particular the role of noise as musical material—as form, as sound, as notation or interface, as medium ​for listeningas provocationas data. Its contributors are first and foremost practitionerswhich inevitably turns attention toward how and why noise is made and its potential role in listening ​and perceiving.+In order to fully delve into the intricacies ​of such technicalitiesthree of my most recent works shall be discussed: Study on Deliberate Equivocation for solo piano; [k(d_b)s] for solo bass with optional accompanying ensemble; ​and [IVsaxVIvlc]^[III(bflbclvln/​a)] for solo sopranino saxophone and solo celloplus an ensemble with bass flutebass clarinet, violin, and viola.
  
-Disponible bajo licencia [[http://​creativecommons.org/​licenses/​by/​3.0/​|Creative Commons Attribution]] en [[http://​eprints.hud.ac.uk/​18189/​|eprints.hud.ac.uk]] 
  
  
Línea 236: Línea 295:
 pocas piezas de aquel período están serializadas de forma total. En el caso específico de Boulez, su  pocas piezas de aquel período están serializadas de forma total. En el caso específico de Boulez, su 
 pieza Structures I, escrita en 1952, representa su último intento de componer música en la que todos pieza Structures I, escrita en 1952, representa su último intento de componer música en la que todos
-los parámetros estén ​serializados25 ​(otras piezas significativas del compositor, como Le marteau+los parámetros estén ​serializados(( G.W. Hopkins and Paul Griffiths, “Boulez, Pierre.” Grove Music Online. Oxford Music Online. Oxford University 
 +Press, accessed April 24, 2015, )) (otras piezas significativas del compositor, como Le marteau
 sans maître (1955) y Répons (1984), no siguen las prescripciones estéticas de las que Born habla). sans maître (1955) y Répons (1984), no siguen las prescripciones estéticas de las que Born habla).
 Por otra parte, la creencia de que el serialismo dominó el panorama de la composición durante la Por otra parte, la creencia de que el serialismo dominó el panorama de la composición durante la
Línea 609: Línea 669:
 que nos rodea pueda desenvolverse. Insertarnos en el mundo: este es el objetivo de los compositores que nos rodea pueda desenvolverse. Insertarnos en el mundo: este es el objetivo de los compositores
 en el siglo XXI.  en el siglo XXI. 
 +
 +===== Conciertos =====
 +
 +https://​www.youtube.com/​watch?​v=k-6uJst_7rs \\
 +https://​www.youtube.com/​watch?​v=SAJO-vZlaLM ​
  
 ===== Más información ===== ===== Más información =====
  
   * http://​www.sulponticello.com/​wp-content/​uploads/​2015/​06/​017_componer-siglo-xxi_joan-arnau-pamies.pdf   * http://​www.sulponticello.com/​wp-content/​uploads/​2015/​06/​017_componer-siglo-xxi_joan-arnau-pamies.pdf
-  * http://​joanarnaupamies.com/​onewebmedia/​Pamies_DdT_entrevista.pdf+  * http://​joanarnaupamies.com/​onewebmedia/​Pamies_DdT_entrevista.pd