5/28/2011

Sonic Warfare - notatki (10)

Z rozdziału "1913: The Art of War in the Art of Noise":

- w którym Goodman zastanawia się, co zostało z myśli futurystycznej, co teraz może mieć jeszcze znaczenie, w czasie, gdy "maszyny termodynamiczne" zostały zastąpione przez "maszyny cybernetyczne"
- ciekawe spostrzeżenie nt. futuryzmu: "The futurist orientation to time was not so much futurological, that is, of predicting that which was to come, but rather of developing tactics to accelerate out of the tedium of the present. [...] Futurism here is a frustration with the sonic present" (str. 56)
- doświadczenie wojny (zwłaszcza dźwiękowe) uświadomiło futurystom marność dotychczasowej sztuki
- Virilio w Speed and Politics i Art and Fear stara się wyjść poza futurystyczne skupianie się na hałasie i prędkości, tworząc pojęcie dromologii
- jednak jest on "opętany przez ducha Marinettiego", a jego rozpoznania się "zbyt jednowymiarowe", nie obejmują "rozleglejszych ekosystemów dźwięków i prędkości": "The error of both the futurist politics of noise and the reactionary politics of silence (detectable in both Virilio and the acoustic ecology movement) is that both tend to restrict sonic intensity to the confi nes of a directly proportional relation to loudness or fastness instead of engaging the more complex aff ective profile of frequency dynamics and the polyrhythmic composition of speeds and slownesses." (str. 57)

Z rozdziału "1989: Apocalypse Then":

- w którym Afrofuturyzm update'uje futuryzm, co najlepiej realizuje się w pismach Kodwo Eshuna a szczególnie w często tu cytowanej More Brilliant Than The Sun
- Eshun uwalnia się od linearności proponując "a cyclical discontinuity in which there is a virtual coexistence of both the past and the future in the present." (str. 59)
- inną istotną koncepcją będzie futurhythmachine: "The rhythmachine is an algorithmic entity that abducts bodies, modulating their movements. [...] lies between the beats, or is the glue that congeals individual intensities together. To be abducted by the rhythmachine is to have the sensory hierarchy switched from the perception of rhythmelody to texturhythm, becoming a vibrational transducer, not just a listener. (str. 60)
- Afrofuturyzm ma charakter emancypacyjny: "Eshun understands Afrofuturism’s core insight as being precisely to pinpoint, combat, and subvert those predatory futurologies of science fi ction capital that trap Africa, and its diaspora’s future in a demoralizing doomsday of forecast archetypal dystopia, usually economic, ecological, or epidemiological, or some combination of these." (str. 61)
- bazując na tych rozwinięciach i przekroczeniach futuryzmu Goodman konkluduje: "The conception of the art of war in the art of noise is replaced by a rhythmanalysis of preemptive power, a cartography of diasporic bass cultures and their transduction of ecologies of dread, and an investigation of the concept of audio viruses that Afrofuturist musics and fictions have created." (str. 62)

2 komentarze:

ps pisze...

Hi, apologies for not speaking your language. I am desperately looking for Kodwo Eshun's More Brilliant Than The Sun and unfortunately it has been taken down from mediafire. The book has been long out of print and used copies on amazon go for not less than 70USD (!!). Is there any way you could point me in the direction of a pdf? Need it for research. In the meantime I'm going to slowly go through your blog with google translator. Thanks for any help.

piotr tkacz pisze...

Hi, here you are: http://www.megaupload.com/?d=VTNRQNNM