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| Ambos lados, revisión anterior Revisión previa Próxima revisión | Revisión previa | ||
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infocomp:joan-arnau-pamies [2021/01/14 21:43] Joaquín Herrero Pintado |
infocomp:joan-arnau-pamies [2021/02/06 15:17] Joaquín Herrero Pintado borrado |
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| Ver en YouTube [[https://www.youtube.com/watch?v=mNtkz3DgHU8|Joan Arnau Pàmies presenta «Dialectics of Collapse»]] | Ver en YouTube [[https://www.youtube.com/watch?v=mNtkz3DgHU8|Joan Arnau Pàmies presenta «Dialectics of Collapse»]] | ||
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| [[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]] | [[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]] | ||
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| "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__." | "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__." | ||
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| [[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] | ||
| 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. | 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. | ||
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| [[https://nmbx.newmusicusa.org/towards-the-future-new-music-in-the-21st-century/|Towards The Future: New Music in the 21st Century]] | [[https://nmbx.newmusicusa.org/towards-the-future-new-music-in-the-21st-century/|Towards The Future: New Music in the 21st Century]] | ||
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| 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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