Tag Archives: Muzica

Streichtrios der neuen Wiener Schule

Cu ocazia unui concert tinut la Hamburg, un critic scria despre Trio-ul pentru coarde a lui Webern (pe care il puteti asculta mai jos):

We smiled in sympathy with the music, and perhaps one day people will smile at us.

Webern Streichtrio, op. 20:

Compilatia din care am extras piesa de mai sus mai contine lucrari de Schoenberg si Krenek, admirabil interpretate de Vienna String Trio.

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Tranhumanismul este un curent socio-politic care, incet-incet, castiga din ce in ce mai multa popularitate nu doar in randurile celor cu fundurile asezate pe catedre, ci si in lumea rarefiata a artei alternative. Astazi, avand creierul incins de atata caldura, aka fiind in calduri, m-am gandit sa va prezint doi artisti mai putini cunoscuti ce isi intersecteaza pixelii cu unele din ideile miscarii. Respective.

BG Nichols, persoana din spatele proiectului, si_comm

currently addresses himself to the technologically sophisticated environment of our advanced digital society and proposes critical and creative reforms that constitute a rupture of traditional solutions.

Albumul Probe, aparut in 2004,

examines the notion of an impending new species of Posthuman beings,

el reluand, sonor, cateva din intrebarile pe care si le pune Nichols cu privire la limbaj si relatia dintre acesta si eventualele fapturi post-umane:

# Given that language appears to evolve alongside the great leaps of human cognition and intuition, how might the language of these Posthumans be constructed?

# What will language become?

Personal nu sunt de acord cu multe din ideile artistului, insa articolul acesta cred ca merita a fi parcurs.

Un alt artist interesat de chestiunea post- / transhumanista este si Edgar Franco, cel din spatele proiectului Posthuman Tantra:

Posthuman Tantra is a sci-fi ambient industrial soundtrack to the “Posthuman Aurora” – a visionary brave new world based in mix between Dna and Sylicon, with a new kind of creatures that will mixture human, animals, vegetables and machines.

Un interviu cu artistul brazilian, aici:

A digital creature that represents us in a virtual reality world will be able to live forever, carrying our memories and desires even after the death of our biological body.

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Claude Bragdon

Despre arhitecti teribili am mai povestit aici, pe Lanternativa. Iata ca, in sfarsit, i-a venit si timpul lui Bragdon, unul dintre putinii arhitecti completi ai perioadei modern-contemporane. Si probabil ca nu ne-am fi intalnit cu el aici daca, cu putin timp in urma, nu ar fi aparut aceasta minunatie de carte:

Ce inseamna a construi? Eu unul vad arhitectura ca pe o paine care, pe de o parte, este o structura compusa din miriade de firimituri, toate tinute mai mult sau mai putin strans intre ele, depinde de arhitect, iar pe de alta, care lasa, odata consumata, zeci si zeci de firmituri in urma.

Bragdon disappeared from memory when mid-century histories promoted a narrow view of modern architecture that emphasized functional planning, industrial building technique, continuous space, and the suppression of ornament.

Bragdon nu ar fi fost si nu este un musafir bine primit in casele celor care isi aroga, arogant, dreptul de fiinte perfect rationale, atee si coerente, a sa

fascination with social reform often bordered with mysticism – he operated his own press through which he espoused his philosophical views on architecture, the mathematical order of nature, and theosophy. By adapting morality to mathematics and ornament, Bragdon aspired to create a fourth dimension in his work, a “hyperspace” where the self was cast out.

In alta ordine de idei, asa cum era si de asteptat, arhitectul american si-a manifestat curiozitatea si creativitatea nu numai in domeniul arhitecturii, ci si in cel al muzicii – care, paradoxal, nu sunt de loc atat de distincte dupa cum, in general, se crede:

From 1917 on, Bradgon began to develop a systematic technique for using mathematical correlations to harmonize music, geometric form, and color in a new art of mobile color.

Astfel a fost creat un instrument muzical numit Lux-organ:

Each key of the instrument corresponded to a bulb behind the projective screen, so that when Bradgon played a musical composition, its chromatic analogue lit up within the ornamental design.

Asadar, o publicatie de exceptie, recomandata tuturor celor cu interese in istoria ideilor, arhitectura si istoria stiintei.

Cartea poate fi achizitionata de aici.

± Corbel Stone Press ±

Cu Richard Skelton ne-am mai intalnit. Corbel Stone este editura pe care a infiintat-o impreuna cu prietenul sau, Autumn Richardson. Dedicata in special poeziei, editura publica

limited-edition, hand-bound poetry chapbooks with a strong emphasis on a minimalist, folk-oriented design and packaging aesthetic.

Cateva imagini din primul volum aparut, Typography of the Shore, puteti vedea mai jos:

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Landings

“Modernism recognizes no real spiritual or even physical difference of note between places. Implicit in this view is the tenet that any differences that do exist can be overcome by the power of technology. The effect of this is the innate tendency of modernism to reduce the land to a random series of virtually uninhabitable nowheres, brought into being by the denial of place.”