ResumenEn un sentido metafórico, los dualismos entre luz y oscuridad han dominado práctica-mente todas las narrativas que, mediante dicotomías, describen pugnas entre el bien y el mal, lo verdadero y lo falso y, por extensión, lo racional versus lo irracional. En un pensamiento como el nuestro, marcado por lo visual, estos conceptos toman múltiples formas y ramificaciones que, en base a la alegoría, construyen relatos que se afirman en el mito y, en cierta medida, terminan por constituirse en una puerta de acceso a lo oculto. El presente artículo toma por objeto la capacidad del sonido para crear contextos e imágenes que pertenecen a esa realidad desconocida, oscura. En concreto, se analizan tendencias musicales para ver como a partir del ruido evocan lo ininteligible, lo inaudito y la negrura.Palabras clave: MÚSICA; RUIDO; OSCURIDAD; TERROR; POLÍTICA THE SOUND DENSITY AS AN ALLEGORY OF DARKNESS AbstractAt a metaphorical level, the dualism between light and darkness has illustrated practically every artistic account that adopted dichotomies of different kinds to describe the battle between good and evil, truth and falsehood or, by extension, rationality and the irrational. The inherently visual nature of human thought endows these concepts with many shapes and meanings, using allegory to create narratives that are reaffirmed in myth and unlock the doors to a hidden reality. But while the visual is important, this paper takes as its subject the notion that sound can also create contexts and pictures of hidden realities. Specifically, it analyzes musical tendencies which use noise to evoke what is unintelligible, uncommon or otherwise shrouded in darkness.
La luz sugiere una imagen culturalmente construida, sus metáforas están tan arraigadas a nuestro pensamiento que se hace difícil ignorar el efecto que provocan. A causa de la carga cultural que posee, en una escenificación o representación, la luz alude a cierta mística o trascendencia; incluso siendo esta completamente artificial, sujeta a artefactos y bombillas. Podría decirse, pues, que en nuestra cotidianeidad electrificada, las luces que envuelven el entorno toman partido en este juego de significados. En la presente era de la tecnificación, la luz no parece haber perdido el menor ápice de su poder evocativo, lo cual es perceptible en muchas propuestas artísticas, cuyos enfoques ambivalentes redundan irónicamente en los grandes temas. Esto sucede porque muchas de ellas parten de un ideario desmitificador, para aplicar criterios diferentes tanto en la elaboración como en la recepción de las imágenes. Aun así, los significados tradicionales de la luz sobreviven en propuestas de muy distinta índole, ya sea en clave crítica o no. En el presente artículo, indagamos en las lecturas que suscitan obras realizadas mediante estos parámetros, aquellas que justamente se instalan en la contradicción y la aceptan como punto de partida.Palabras clave: LUZ; OSCURIDAD; ARTE CONTEMPORÁNEO; TECNOLOGÍA; INTERVENCIONES Flashes of light and their symbolic ambivalence AbstractLight in art is essentially tied to culturally constructed images and its various metaphors are so enmeshed in human thought that their effect is difficult to ignore. Because of its cultural load, the light in any staging or representation invariably refers, however indirectly, to matters that are in some sense mystical and transcendent—even when it relies upon prosaic electrical devices or simple light bulbs. We might argue, therefore, that the many lights illuminating our electrified everyday reality also play their part in this game of meanings. Indeed, in today’s technified world, light does not seem to have lost even the slightest portion of its evocative potential. This is evidenced in the many art works whose intentional ambivalence casts a wry eye on the big issues they address and which set out to demystify their subject, applying novel criteria in how images are created and responded to. But it is also seen in the more traditional metaphors of light which still abound, critical or otherwise, in art works of very different kinds. This article examines the readings that emerge from artworks created with these parameters, the very ones that that are based on contradiction and accept contradiction as their point of departure. Key Words: LIGHT; DARKNESS; CONTEMPORARY ART; TECHNOLOGY; SITE-SPECIFIC
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