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infocomp:joan-arnau-pamies [2021/01/14 21:43] Joaquín Herrero Pintado |
infocomp:joan-arnau-pamies [2021/01/14 21:44] Joaquín Herrero Pintado |
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| Línea 11: | Línea 11: | ||
| [[https://nmbx.newmusicusa.org/new-music-a-product-of-modernity-and-capitalism/|New Music: A Product of Modernity (and Capitalism)]] | [[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: | + | 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] | >[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] | ||
| Línea 25: | Línea 25: | ||
| 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. | 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, | + | **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] | >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] | ||
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