holas, muy interesante la propuesta. si alguien tiene más curiosidad por jean dubuffet está este doble cd que acaba de ser publicado por sub rosa: http://www.subrosa.net/en/catalogue/soundworks/jean-dubuffet-coucou-bazar.html si lo queréis, os puedo enviar un enlace de descarga…
saludos, (...) | Mikel R. Nieto -------------------------- www.mikelrnieto.net www.soinumapa.net www.hots-radio.info www.security-device.org www.mediateletipos.net 2014/1/12 <[email protected]> > 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 Dubuffet s 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 >
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