Publication: En los arenales del arte sonoro
Authors
Pardo Salgado, Carmen
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Publisher
Murcia: Servicio de Publicaciones de la Universidad de Murcia
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Description
Abstract
El presente escrito aborda el arte sonoro a través de la imagen de
unos inmensos arenales. Con esta imagen, se ilustra la dificultad
que se encuentra al querer definir el arte sonoro y someterlo
a una caracterización. Para ello, se interroga la expresión arte
sonoro estableciendo sus nexos con las vanguardias artísticas de
la primera y segunda mitad del siglo XX. Esto conduce a un análisis
del modo en que se modifica la noción de experiencia respecto a
lo que se entiende por arte y a la importancia que cobra la noción
de experimentación en las prácticas musicales de los años 50 y 60.
El cruce entre experiencia y experimentación se hace evidente en
la importancia que el sonido cobra más allá del ámbito musical,
particularmente en las prácticas artísticas que hacen de la ciudad
su centro. La ciudad se convierte en una gran máquina estética
con la que el arte sonoro entra en diálogo. En este diálogo se
pueden esbozar algunas de las formas que los arenales del arte
sonoro dibujan en la ciudad.
ABSTRACT: In the sands of the sound art illustrates the difficulty to define sound art and to submit it to a characterization. This written examines the expression sound art by establishing their links with the artistic avant-garde of the first and second half of the 20th century. This leads to an analysis of the way that the notion of experience is modified regarding what is meant by art, and the importance that takes the notion of experimentation in the musical practices of the 50s and 60s. The crossing between experience and experimentation becomes evident in the importance that the sound receives beyond the musical area, particularly in artistic practices that make the city as a center. The city becomes a great aesthetic machine which the sound art enters into dialogue. In this dialogue there can be outlined some of the forms that the sands of sound art drawn in the city.
ABSTRACT: In the sands of the sound art illustrates the difficulty to define sound art and to submit it to a characterization. This written examines the expression sound art by establishing their links with the artistic avant-garde of the first and second half of the 20th century. This leads to an analysis of the way that the notion of experience is modified regarding what is meant by art, and the importance that takes the notion of experimentation in the musical practices of the 50s and 60s. The crossing between experience and experimentation becomes evident in the importance that the sound receives beyond the musical area, particularly in artistic practices that make the city as a center. The city becomes a great aesthetic machine which the sound art enters into dialogue. In this dialogue there can be outlined some of the forms that the sands of sound art drawn in the city.
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