The Art of Noises: Futurist Manifesto

Russolo, Luigi

doi:10.5040/9781501318399.ch-002

Cited by 8 publications

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“…Nos aproximamos assim cada vez mais do som-ruído. (RUSSOLO;PRATELLA, 1967: 5, tradução nossa) Assim, podemos pensar sobre a evolução dos sons, tecendo relações com o próprio desenvolvimento urbano da cultura ocidental, evitando o comum equívoco de que uma mera e brusca ruptura na organização dos sons possa estar intrínsecos as composições contemporâneas. "Esta evolução da música é paralela à multiplicação das máquinas."…”

Section: Revisão Bibliográficaunclassified

“…"Esta evolução da música é paralela à multiplicação das máquinas." (RUSSOLO;PRATELLA, 1967: 5, tradução nossa). "O ouvido de um homem do século XVIII não conseguiria suportar a intensidade desarmônica de certos acordes produzidos por nossas orquestras [...] nosso ouvido, no entanto, se compraz, porque já foi educado pela vida moderna tão pródiga dos mais variados ruídos."…”

Section: Revisão Bibliográficaunclassified

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Processo colaborativo na obra Arengarôa (2017) – Uma performance para tororó, percussão e live electronics

Freire

Campos

2018

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Este artigo discute aspectos práticos-interpretativos durante o processo de colaboração entre o autor (intérprete-compositor) e o compositor Caio Pierangeli, que resultou na obra Arengarôa (2017). A obra foi inspirada pela construção da performance de Microplastic PET (BURTNER, 2012). Em ambas as obras, a matéria prima composicional parte da utilização de objetos plásticos executados junto a instrumentos convencionais de percussão. Assim, descreve-se, neste artigo, as técnicas desenvolvidas e aplicadas a tais objetos, resultando numa performance para instrumentos de percussão e aparatos tecnológicos em tempo real. A metodologia se deu através da realização de oficinas de experimentação, compreendidas em três momentos: seleção dos objetos plásticos e construção das sonoridades; desenvolvimento das técnicas utilizadas e a criação da programação computacional utilizada no processamento sonoro no decorrer da obra. O resultado desta pesquisa se deu em dois aspectos concomitantes: a criação de um instrumento de percussão denominado por Tororó, desenvolvido exclusivamente para a interpretação da obra Arengarôa.

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Section: Revisão Bibliográficaunclassified

Processo colaborativo na obra Arengarôa (2017) – Uma performance para tororó, percussão e live electronics

Freire

Campos

2018

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“…Moreover, Russolo frames ancient life mostly as silent, only interrupted occasionally by the intense sounds produced by the exceptional movements of the Earth's crust, hurricanes, storms, avalanches, and waterfalls (Russolo 1913). According to Russolo, it was not until the 19th century that noise came to light, as a consequence of the invention of the machine -a notion he frames as a field of potential and resistance against a nostalgic version of the past.…”

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Playa Bagdad|SpaceX: Sound, Necropolitics, and the Industrialization of Space

Reyes-Retana¹

2022

xCoAx 2022

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This article looks through the lens of speculation at a scenario connecting the US-Mexico border complexities with the industrialization of outer space. Based on an art-oriented and multifaceted research process including fieldwork and conversations with Playa Bagdad’s residents, the scrutiny of SpaceX environ- mental impact assessments, and attendance to several Federal Aviation Ad- ministration (FAA) public hearings; this compilation of ideas investigates the subjectivities intrinsic to the coexistence of Playa Bagdad (Tamaulipas, MX) and SpaceX (Texas, US) through the social and political implications of sound. In this scenario, the noise produced by the launchers’ engines will not only act as mobilizing force resonating in the form of intense acoustic shock waves with the capacity of affecting materiality —including the biosphere and the body—, but as a cultural weapon nurturing an already existing ecology of fear. All of this amid a hybrid geography where the radical asymmetries of neoliberal policies fuel a regime built upon necropolitics which intersect with the rising in- frastructure of space exploration. Ironically, the confrontation between Playa Bagdad and SpaceX remains in silence, as an under-seen techno-political spectacle in which a community lacking political recognition stands in the front row to witness passively the con- solidation of an economic zone that promises to delimitate a new cosmological dimension; one perpetuating the validation of progress, exclusively, through hy- per-technological advancement.

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“…In his manifesto, The Art of Noise, Luigi Russolo suggested the Futurist derives "far more pleasure from ideally combining the noises of trams, internal combustion engines, carriages, and noisy crowds" than from the "harmonies of the great masters." [203] Bringing a mechanical form of production to his writing, Hausmann sought to "liberate the characters from the regime of semantics" for the instruction of performance of the text as an exploration of the materiality of speech and language. [199] Arguing that what began as typographic 'play' resulted in Hausmann's exploration of human physiology, Cornelius Borck contends Hausmann's fusion of sound and vision in his optophonetic performances revealed the 'disabilities' of the human body; the gap between human senses.…”

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confidence: 99%

Re-hearing the Past in the Age of Digital Re-Production A Sonification of Media Artefacts

Dunham¹

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The objective of this research is to reinterpret historic relationships between different forms of obsolete and contemporary media expressed through a series of sound-based art works. The research brings related artefacts, taken from different moments in time, into dialogue with each other by employing approaches and techniques drawn from media archaeology and data sonification. With sound no longer manipulated and rendered solely through digital audio software, each work expresses itself in each historically related artefact’s ‘voice’ through indexical relationships and the re-presentation of data. The primary contribution of this thesis provides a novel approach for methods of inquiry within a media archaeological idiom to the representation of historical media relationships expressed through sound. Following an investigation and critique of media archaeological approaches, its use in sound-based art and methods of representation, the research’s creative output focuses on the expressive materiality of the objects under inquiry. Such a transdisciplinary inquiry provides a new perspective for the re-presentation and representation of information. Each work explores the musicality of numeric sequences in space and time through rhythmic and spatialised patterns created by the absence and presence of data. As sound-basic music, the application of several access tools facilitated by data sonification are used to enhance audience perception and reception of the works. The works show that sonically interesting results can be obtained by creating abstract relationships between source data and the sounding object. The research establishes a framework in which the method of inquiry realises different outcomes. The framework utilises data sonification to defamiliarise one communication medium, the visual, before refamiliarising it within another medium, sound. Organising sound by using data sonification techniques as a media archaeological method facilitates the creative shaping of an historical narrative. As an approach to sonification within the field of auditory display, the works employ each artefact’s ‘voice’, or elements of it. Thus, the alternative representation of data as a media archaeological method of inquiry is used to achieve different outcomes unique in this research’s diversity of inquiry and intent.

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The Art of Noises: Futurist Manifesto

Cited by 8 publications

References 0 publications

Processo colaborativo na obra Arengarôa (2017) – Uma performance para tororó, percussão e live electronics

Processo colaborativo na obra Arengarôa (2017) – Uma performance para tororó, percussão e live electronics

Playa Bagdad|SpaceX: Sound, Necropolitics, and the Industrialization of Space

Re-hearing the Past in the Age of Digital Re-Production A Sonification of Media Artefacts

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