{"id":22132,"date":"2024-11-19T09:39:59","date_gmt":"2024-11-19T08:39:59","guid":{"rendered":"https:\/\/educationalevidence.com\/?p=22132"},"modified":"2024-11-20T09:44:53","modified_gmt":"2024-11-20T08:44:53","slug":"oriol-rosell-what-makes-noise-so-fascinating-is-that-it-exists-independently-of-us","status":"publish","type":"post","link":"https:\/\/educationalevidence.com\/en\/oriol-rosell-what-makes-noise-so-fascinating-is-that-it-exists-independently-of-us\/","title":{"rendered":"Oriol Rosell: “What makes noise so fascinating is that it exists independently of us”"},"content":{"rendered":"

Interview with Oriol Rosell, Music Critic and Educator<\/p>\n

Oriol Rosell: “What makes noise so fascinating is that it exists independently of us”<\/h1>\n
\"\"
Oriol Rosell. \/ Photo: courtesy of the author<\/figcaption><\/figure>\n

License Creative Commons <\/a><\/p>\n

\"\"<\/p>\n

 <\/p>\n

Andreu Navarra<\/strong><\/a><\/p>\n

 <\/p>\n

Oriol Rosell<\/strong> (Barcelona, 1972) surprises us with a bold and unconventional book: a history of noise and its complex relationship with music, anti-music, and anti-anti-music. Un cortocircuito formidable. De los Kinks a Maerzbow: un continuum del ruido<\/em> (Alpha Decay) delves into the avant-garde aspects of subcultures over recent decades. It\u2019s a decisive, uninhibited contribution to Cultural Studies in our context.<\/p>\n

 <\/p>\n

\"\"
Oriol Rosell \/ Alpha Decay<\/figcaption><\/figure>\n

How did the idea for such a crazy book come about? What was the process like? Did you survive all the nihilism?<\/strong><\/p>\n

In a way, the book was already written before I began, and it wasn’t truly finished when it was published. The things that fascinate me\u2014political thought, pop anthropology, art\u2014are all there, and I discovered them all through music. I always stress that it’s not a book about music, but one that uses music as a starting point to delve into other realms. To me, pop\u2014understood as the antithesis of academia\u2014is a reflective surface where the social, cultural, and political dynamics of its time become vividly apparent. I interpret the world through pop, and that\u2019s what I\u2019ve tried to share. So, the process really began the moment I started discovering things beyond music, yet because of it. In this sense, the book isn’t a final statement but rather a “frozen” moment\u2014a snapshot of my ongoing process of discovery and learning.<\/p>\n

Is it true that you only read essays?<\/strong><\/p>\n

Yes, that\u2019s correct. I made that choice years ago, partly for practical reasons\u2014I simply don\u2019t have time for everything. I decided to reserve fiction for cinema, another one of my great passions. Moreover, reading non-fiction allows me to keep learning and studying constantly. I\u2019ve been fortunate to turn this passion into work as well; for the last four or five seasons, I\u2019ve been hosting La Biblioteca Inflamable<\/em>, a segment dedicated to essays, on the show Territori Clandest\u00ed<\/em> (R\u00e0dio 4-RNE).<\/p>\n

Is noise \u201ca metaphor for power, rebellion, and the rejection of norms\u201d? Is noise \u201ca way of knowing\u201d (p. 13)?<\/strong><\/p>\n

It\u2019s all that and much more. What makes noise so fascinating is that it exists independently of us. Unlike music, it\u2019s not the product of human reflection or action. That\u2019s why it can function as a kind of signifier without a fixed meaning\u2014a blank symbol that we can imbue with any value we choose.<\/p>\n

Why do you think Lou Reed\u2019s Metal Machine Music<\/em> is a \u201cmythologized\u201d album?<\/strong><\/p>\n

Because it\u2019s an anomaly. The aura surrounding MMM<\/em> isn\u2019t about its quality\u2014which, in my opinion, is lacking as an avant-garde proposition\u2014but about its context. Its symbolic weight comes from the fact that Lou Reed created it and it was released within the pop-rock market. It\u2019s mythologized for its status as a \u201cprank\u201d or momentary transgression. However, I doubt it served as a gateway to other aesthetics beyond pop-rock for the New Yorker\u2019s fans.<\/p>\n

“For Dubuffet, in a capitalist system where art becomes an industry driven by speculation, art brut stands out as the only truly “authentic” form of art”<\/p><\/blockquote>\n

What is shoegaze? And art brut?<\/strong><\/p>\n

Shoegaze<\/em> is a label for bands characterised by ethereal pop layered with heavy distortion. The name derives from the tendency of musicians in these bands to perform while intently focusing on their effects pedals\u2014hence, “shoegaze,” meaning \u201cgazing at shoes.\u201d Art brut<\/em>, on the other hand, is a term coined by Jean Dubuffet to describe art created on the marges of society, outside the influence of traditional artistic institutions, often by individuals dealing with mental health challenges. For Dubuffet, in a capitalist system where art becomes an industry driven by speculation, art brut stands out as the only truly “authentic” form of art, as it is motivated purely by creative impulses without concern for dissemination or commercialisation.<\/p>\n

What do you think of Viennese Actionism? Would you have joined their ranks?<\/strong><\/p>\n

I think the Viennese Actionists tried to channel their anxieties and fears in a visceral and wild way. It was a reactive movement responding to specific circumstances. Today, their methods wouldn\u2019t make sense because the aesthetics of the extreme have already been absorbed, at least within contemporary artistic practices. Besides, I\u2019m not sure I\u2019m young enough for that sort of thing anymore.<\/p>\n

Is noise an \u201cautoerotic catharsis\u201d (p. 25)?<\/strong><\/p>\n

Undoubtedly, this is true in Japanoise. A central aspect of its discourse is the dissolution of the self within noise\u2014the collapse of language and intellect. This has a direct connection to sexual ecstasy. The \u201clittle death\u201d of orgasm is, at its core, a brief suspension of thought, a complete surrender to physical sensation. In Japanoise, this experience becomes deeply introspective, as the individual generates the very noise that engulfs them. It\u2019s an almost masturbatory act.<\/p>\n

Why is Merzbow so important?<\/strong><\/p>\n

Because, whether we like it or not, global music criticism is still shaped by Western thought. Of all Japan\u2019s noise artists, Merzbow operates closest to European-rooted cultural ideas. Despite the harshness of his work, it\u2019s the easiest to grasp from our perspective. Personally, I find the work of Incapacitants<\/em> or Hanatarash<\/em> more interesting.<\/p>\n

You consider COUM and Throbbing Gristle to be highly pioneering. Why is that?<\/strong><\/p>\n

Because they represent the first significant and fully realized integration of avant-garde methods and concepts into the pop context. I’m fascinated by how they blend this experimental approach with a fundamentally rock-based foundation, using noise in a way that echoes “academic” art while still preserving the inherent negativity often associated with rock music.<\/p>\n

“A crucial principle for me when writing about music is to put my personal tastes aside and focus on the analytical value of a given discourse”<\/p><\/blockquote>\n

Punk or Heavy Metal?<\/strong><\/p>\n

I don\u2019t think it\u2019s relevant. A crucial principle for me when writing about music is to put my personal tastes aside and focus on the analytical value of a given discourse. Without meaning to pat myself on the back, this is something I feel is often lacking in much of the pop literature produced in Spain. In the book, I explore many types of music that I don\u2019t particularly enjoy but find intellectually fascinating. If I hadn\u2019t taken this approach, I wouldn\u2019t have written an essay; I\u2019d have created, metaphorically speaking, a fanzine.<\/p>\n

Bruckner or Cage?<\/strong><\/p>\n

Again, beyond my preferences, I think Cage\u2019s contributions are far more significant. His continuous questioning of the nature of music, his reflections on listening, and the cultural frameworks that shape it are essential. If Fountain<\/em> by Duchamp is considered the most important 20th-century artwork by many contemporary art experts, for me, in music, it\u2019s Cage\u2019s 4\u201933\u201d<\/em>.<\/p>\n

What music have you been listening to lately?<\/strong><\/p>\n

You won\u2019t believe it, but lots of vintage reggae and northern soul.<\/p>\n

\n

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

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

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Un cortocircuito formidable. De los Kinks a Maerzbow: un continuum del ruido (Alpha Decay) delves into the avant-garde aspects of subcultures over recent decades. 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