{"id":17138,"date":"2024-05-30T11:52:42","date_gmt":"2024-05-30T09:52:42","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=17138"},"modified":"2024-05-30T11:52:54","modified_gmt":"2024-05-30T09:52:54","slug":"el-caos-i-latzar-la-identitat-del-soroll","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/ca\/el-caos-i-latzar-la-identitat-del-soroll\/","title":{"rendered":"El caos i l’atzar, la identitat del soroll"},"content":{"rendered":"

El caos i l’atzar, la identitat del soroll<\/h1>\n

Incloure soroll a la m\u00fasica encara t\u00e9 un efecte i comporta un cert poder est\u00e8tic<\/p>\n

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Aircraft Noise Hazard – geograph.org.uk. \/ Wikimedia<\/a><\/figcaption><\/figure>\n

Llic\u00e8ncia Creative Commons<\/a><\/p>\n

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 <\/p>\n

Cesc Fortuny i Fabr\u00e9<\/strong><\/p>\n

 <\/p>\n

Si b\u00e9 el soroll<\/strong> \u00e9s un concepte dif\u00edcil d’abordar ja que qualsevol definici\u00f3 s’enfrontar\u00e0 a una inevitable subjectivitat, em refereixo que all\u00f2 que per a alguns es percep com a r\u00e0bia, mol\u00e8stia i agressi\u00f3, per a d\u2019altres \u00e9s viscut com a \u00e8xtasi, psicod\u00e8lia i llibertat, el soroll \u00e9s un problema especialment greu en ciutats de grans dimensions, que afecta els \u00e9ssers humans i altres animals de manera clarament negativa.<\/p>\n

Tot i aix\u00ed amb el temps ens hem enfrontat a aquest soroll classificant-lo segons diversos par\u00e0metres. Per exemple anomenem soroll ocupacional el que es produeix en ambients laborals, o anomenem soroll ambiental el que vaga pels aires, fa vibrar edificis i es produeix en exteriors per m\u00faltiples motius. Tenen en com\u00fa que s\u00f3n accidents assimilats i usats per a la creaci\u00f3 art\u00edstica igual que Cage feia servir el vent del desert com a carburant atzar\u00f3s per alimentar els seus invents sonors.<\/p>\n

Potser per la capacitat adaptativa de la nostra esp\u00e8cie, el soroll ha estat incorporat des de fa ja d\u00e8cades a la caixa d’eines de l’artista i, en especial, d’aquells creadors que carreguen contra les convencions i els bons costums creatius.<\/p>\n

De la mateixa manera que aquests accidents sonors no tenen una estructura que permeti assimilar-los en forma de m\u00fasica, \u00e9s a dir, que s\u00f3n ca\u00f2tics, impredictibles, i que no tenen ritme, comp\u00e0s ni harmonia, tamb\u00e9 incorporen, per a l’o\u00efda entrenada, una visceralitat i una capacitat d’impacte que els artistes de principis del segle XX es van plantejar imitar amb una finalitat art\u00edstica en qu\u00e8 es podia detectar una sensibilitat estranya i inusual. Aix\u00ed, Luigi Russolo<\/strong> escriu el 1913 el seu manifest L’arte dei Rumori<\/em> i construeix diversos artefactes per tal de produir sorolls i, malgrat que no va ser popularment conegut a la seva \u00e8poca, se les va apanyar per enamorar Milhaud, Varese, Stravinski o Ravel<\/strong>, entre altres que en van recon\u00e8ixer la seva influ\u00e8ncia.<\/p>\n

A partir dels anys 60, des de Paul Mcartney o Lou Reed<\/strong> tot passant per The Velvet Underground<\/strong>, Jimmy Hendrix i Pere Ubu<\/strong> o, fins i tot, Tool o Nirvana<\/strong> entre tants altres, la majoria d’artistes pop han anat incorporant m\u00e9s o menys l’\u00fas del soroll com a eina creativa.<\/p>\n

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Einst\u00fcrzende Neubauten L1020992-Edit (35657178315).jpg<\/figcaption><\/figure>\n

Per\u00f2 s\u00f3n els artistes inclassificables, aquells que han establert el seu camp d’operacions a la bastardia rebel i avantguardista, en aquest terreny d’experimentaci\u00f3 en qu\u00e8 mai no acaben de buscar res en concret i \u00e9s aquesta recerca el fi i no el mitj\u00e0, els que m\u00e9s han cultivat el soroll com a expressi\u00f3. El nip\u00f3 Masami Akita aka Merzbow<\/strong> emblema del japanoise<\/em>, va presentar moltes de les seves performances a sales d’art de tot el m\u00f3n abillat amb est\u00e8tica rockera de cabellera llarga i ulleres de sol fosques.<\/p>\n

Durant els anys vuitanta es va anar naturalitzant l’\u00fas de sorolls en la composici\u00f3 musical, fent-se evident en projectes com Big Black, Einst\u00fcrzende Neubauten, SPK o Throbbing Gristle<\/strong>, que a m\u00e9s eren ja capa\u00e7os d’atreure grups cada cop m\u00e9s nombrosos d’oients a les seves performances i concerts, molts celebrats en edificis industrials d’antigues f\u00e0briques.<\/p>\n

Una cosa tan poli\u00e8drica i metam\u00f2rfica com el soroll suscita, en els primers anys de la d\u00e8cada dels noranta, la percepci\u00f3 que ha nascut un nou g\u00e8nere o, com a m\u00ednim, que hi ha prou bandes i projectes alineats amb aquesta manera de creaci\u00f3 que es poden unir sota un mateix paraigua malgrat no tenir absolutament res m\u00e9s en com\u00fa. Certes maneres de crear, executar, gravar, distribuir i escoltar el so van comen\u00e7ar a considerar-se elements identitaris de la m\u00fasica noise<\/em>. Alguns treballs de Christian Marclay i DJ Olive<\/strong> al camp del turntable<\/em>, elements inquietants en temes electr\u00f2nics de DJ Spooky<\/strong>, les exc\u00e8ntriques performances de Masonna<\/strong>, el CD live mixing<\/em> amb loops i samplers<\/em> de Philip Samartzis<\/strong> i els ja anomenats Throbbing Gristle o SPK<\/strong>, a m\u00e9s de Z’ev i els Haters<\/strong> s\u00f3n un bon exemple d’aquesta amalgama de projectes desconnectats que evidencien que si existeix un g\u00e8nere amb dret a anomenar-se noise<\/em>, es defineix per la seva cronologia i pel seu escenari sociocultural on s’escull, es compon i se sent .<\/p>\n

\u00c9s temptador pensar que parlar del soroll com una cosa ex\u00f2tica hagi perdut tot el sentit, ja que avui dia certs artistes d’avantguarda i oients avesats poden presumir d’haver-se “intoxicat les orelles” (remarqueu les cometes) amb herbotes sonores de tot pelatge. Per\u00f2 \u00e9s notori en la producci\u00f3 musical imperant cada cop m\u00e9s quir\u00fargica, al servei d’una ind\u00fastria que exigeix resultats econ\u00f2mics que comporten estandarditzaci\u00f3 i monotonia, que hi ha una difer\u00e8ncia m\u00e9s que clara entre el soroll i els sons musicals m\u00e9s tradicionals. Els sorolls s\u00f3n els sons que antigament es denunciaven com a no musicals. Per tant, incloure soroll a la m\u00fasica encara t\u00e9 un efecte i comporta un cert poder est\u00e8tic.<\/p>\n

___<\/p>\n

https:\/\/vanosonoro.com\/la-teoria-del-noise\/<\/a><\/p>\n

https:\/\/culturacolectiva.com\/entreteniment\/musica\/guia-para-comprender-la-musica-noise<\/a><\/p>\n

\n

Font:\u00a0educational EVIDENCE<\/strong><\/p>\n

Drets:\u00a0Creative Commons<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Si b\u00e9 el soroll \u00e9s un concepte dif\u00edcil d’abordar ja que qualsevol definici\u00f3 s’enfrontar\u00e0 a una inevitable subjectivitat, em refereixo que all\u00f2 que per a alguns es percep com a r\u00e0bia, mol\u00e8stia i agressi\u00f3, per a d\u2019altres \u00e9s viscut com a \u00e8xtasi, psicod\u00e8lia i llibertat, el soroll \u00e9s un problema especialment greu en ciutats de grans dimensions, que afecta els \u00e9ssers humans i altres animals de manera clarament negativa.<\/p>\n","protected":false},"author":4,"featured_media":17125,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_FSMCFIC_featured_image_caption":"","_FSMCFIC_featured_image_nocaption":"1","_FSMCFIC_featured_image_hide":"","footnotes":""},"categories":[232],"tags":[1264,1267,1265,1266],"class_list":["post-17138","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-humanitats","tag-atzar","tag-caos-ca","tag-identitat","tag-soroll"],"yoast_head":"\nEl caos i l'atzar, la identitat del soroll - 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