muy buenas, hoy tomaré parte en una tarde organizada en relación al trabajo de Asger Jorn. Aqui hay mas información: http://www.cascoprojects.org/?show=&entryid=562 Yo me concentraré en los experimentos musicales que realizo con Dubuffet que son realmente fascinantes. Los podeis escuchar aquí: http://www.ubu.com/sound/dubuffet.html
Lo que me parece increible es que estos experimentos son justo anteriores a lo que se llamo la improvisación libre (Spontaneous Music Ensemble, AMM) pero las ideas estan alli. Ayer conoci A Jacqueline de Jong que tomo parte en estas grabaciones y fue muy interesante oir que Jorn y ella no se dieron cuenta de lo potente que era esta musica, en cambio Dubuffet parece ser que si le dio importancia y por eso saco los discos. En esos momentos (1960-61) tanto Jorn como Jacqueline eran parte de la Internacional Situacionista, asi que es uno de los pocos momentos sonoros (que yo sepa) en los cuales el situacionismo y la musica tuvieron conexion (aunque ellos segun comenta Jacqueline no hicieron conexiones entre las teorias situacionistas y la musica que grabaron). Jacqueline me comento como sucedio: Jorn fue a una tienda de instrumentos exoticos con bastante dinero y dijo: quiero todos los instrumentos que me puedas dar con este dinero. Fueron muchos. Entonces invito a Dubuffet a tocar y a Jacqueline a hacer voces. La idea era tocar los instrumentos como si no tuvieran historia, tocar de manera libre como ellos querian (lo mismo que Eddie Prévost nos decia en su taller). Hoy lo que voy a hacer con un par de amigos es tratar de ser Jacqueline, Jorn y Dubuffet pero en vez de instrumentos musicales utilizar el espacio de Casco, sus condiciones materiales y el publico como instrumentos. Aqui os copio algunas de las ideas de Dubuffet en relación a la música que hicieron: http://a4rizm.wordpress.com/tag/expriences-musicales-de-jean-dubuffet/ I believe that our western music is an avatar among all the possibilities that were offered to music. Now, by an optical error, one imagines that this is the only music possible, while, in reality, it is only a very specious music among millions of possibilities that were available and, without doubt, will be available tomorrow In my music I wanted to place myself in the position of a man of fifty thousand years ago, a man who ignores everything about western music and invents a music for himself without any reference, without any discipline, without anything that would prevent him from expressing himself freely and for his own good pleasure. Dubuffet makes a provocative distinction between two kinds of music, both of which he attempts to capture by turns in his own work: first, there is the music we make, a kind of permanent music expressive of basic human moods and actions and derived from the sonorous environment of everyday life. Second, there is the music we hear, a music completely foreign to us and our natural tendencies, which could lead us to hear (or imagine) sounds which would be produced by the elements themselves, independent of human intervention: [These sounds] would be as strange as what we might hear if we were to put our ear to some opening leading to a world other than our own or if we were to suddenly develop a new form of hearing with which we would become aware of a strange tumult that our senses had been unable to pick up and which might come from elements which were supposedly involved in silent action, such as humus decomposing, grass growing or minerals undergoing transformation. Whatever the nature of his musical material, Dubuffet finds himself drawn to composite sounds which appear to be formed by a great number of voices calling to mind distant murmurs, communities, hustle and bustle and hives of activity. He seeks a music without variations, not structured according to a particular system but unchanging, almost formless, as though the pieces had no beginning and no end but were simply extracts taken haphazardly from a ceaseless and ever-flowing score. The title of this album, Expériences Musicales, could be translated either as Musical Experiences or Musical Experiments. Along with a 1971 record of Dubuffets music entitled Musique Brut, it can be downloaded from the ever-resourceful UbuWeb. _______________________________________________ Igua_list mailing list [email protected] http://nine.pairlist.net/mailman/listinfo/igua_list
