HOTS! Paisai Soinu Irratia

podcast #44 Diedrich Diederichsen

download.gif

Objektu musikalaren bermaterializazioa, Diedrich Diederichsen hitzaldia.

Oinarrizko hiru egituraren barruan, ez-koklear terminoaren balizko emaitzez hitz egingo dut, eta batez ere arte praktiken arteko alderaketarekiko harremanean, haiek generozkoak bezala ulertuak, azkenean ideia erretoriko horren imitazio bat lortzeko: objektu musikalaren desmaterializazio eta bermaterializazioaren inguruko eztabaida.

Ez-kokleartasunaren kasua hiru ikuspegi horietatik aztertu nahi nuke. Bada antzekotasunik arte praktika batek mundua eta bere lehiakideak -gainerako arte praktikak- behatzeko modu bikoitzaren eta entitate kapitalista batek, enpresa batek, alde batetik merkatua eta bestetik bere lehiakideak behatzen dituen moduaren artean. Konstelazio horrek buru-deskribapenetara eta funtsezko ezaugarri edo abantaila baten definizioetara darama. Abantaila espezifiko edo salmenta argudiatze esklusibo baten definizioetara. Aldi berean, egoera horrek buru-nortasun lasaigarriak eragiten ditu, bai mugimendua eta garapena ere. Horrenbestez, barne eten bat dago arte praktika bakoitzean, itzulpen edo eraldatze gune bat, nola edo hala erlazionatuta dagoena esentzia edo abantaila espezifiko horren definizioarekin. Definizio horrek bitatik bat: edo etena estaltzen du, edo puntu indartsu izendatzen du. Baina barne eten hori ekoizpen edo/eta banaketa alorreko errealitate bat da, eta ezin daiteke erraz saihestu.

Azkenik, instituzionalizatzearen logika dago. Instituzio bilakatzen den arte praktika batek gogara estali edo ikusezin bihurtu du itzulpen alorreko bere barne arazoa. Orain bestelako logika bat sartzen da esparru horretako eztabaidetan: iraultzaren logika, Edipo, belaunaldi aldaketa, aldaketa teknologikoen halabeharra, etab.

Diedrich DiederichsenHirugarren Belarria

Iraupena: 42:39

The re-materialisation of the musical object, conference by Diedrich Diederichsen.

Based on three basic situations, I am going to discuss the possible results of the term non-cochlear1 and, in particular, its relationship with the comparison between artistic practices understood as genre, to finally come up with an imitation of this rhetorical idea, which will be the debate on the de-materialisation and re-materialisation of the musical object.

I would like to look at the case of non-cochlearity from these three perspectives. There is a similarity between the dual form in which an artistic practice observes the world and its competitors, other artistic practices and the way in which a capitalist entity, a company, sees the market on the one hand and its competitors on the other. This constellation leads to self-descriptions and definitions of an essential characteristic or advantage. Of a specific advantage or exclusive sales argument. In turn, the situation produces reassuring self-identities and, at the same time, movement and development. Therefore, there is an internal gap in each artistic practice, a place of translation or transformation that is in some way related to the definition of this specific advantage or essence. This definition either closes the gap or declares it to be a strong point. However, this internal gap is a reality of production and/or distribution and cannot be easily avoided.

Finally, we have the logic of institutionalisation. An artistic practice that becomes an institution has satisfactorily hidden or rendered invisible its internal translation problem. Now, a different logic comes into the debates and discussions in this field: the logic of revolution, Oedipus, the generational change, the unavoidability of technological change, etc.

Diedrich DiederichsenHirugarren Belarria

Duration: 42:39