La paradoja de las transgresiones musicales: el ruido como energía libidinal

I establish a reflection about the psychoanalytic concepts of repression and death drive. Within this framework, these concepts are linked to the process of rejection, acceptance and transgression of some elements that constitute the basis of artistic creation. The relationship between transgression...

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Autores:
Campesato, Lilian
Tipo de recurso:
Article of journal
Fecha de publicación:
2018
Institución:
Pontificia Universidad Javeriana
Repositorio:
Repositorio Universidad Javeriana
Idioma:
eng
OAI Identifier:
oai:repository.javeriana.edu.co:10554/41963
Acceso en línea:
http://revistas.javeriana.edu.co/index.php/cma/article/view/21940
http://hdl.handle.net/10554/41963
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Atribución-NoComercial-SinDerivadas 4.0 Internacional
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oai_identifier_str oai:repository.javeriana.edu.co:10554/41963
network_acronym_str JAVERIANA2
network_name_str Repositorio Universidad Javeriana
repository_id_str
dc.title.spa.fl_str_mv La paradoja de las transgresiones musicales: el ruido como energía libidinal
dc.title.deu.fl_str_mv The Paradox of Music Transgressions: Noise as a Libidinal Energy
dc.title.por.fl_str_mv O paradoxo das transgressões musicais: o ruído como energia libidinal
dc.title.english.eng.fl_str_mv The Paradox of Music Transgressions: Noise as a Libidinal Energy
title La paradoja de las transgresiones musicales: el ruido como energía libidinal
spellingShingle La paradoja de las transgresiones musicales: el ruido como energía libidinal
title_short La paradoja de las transgresiones musicales: el ruido como energía libidinal
title_full La paradoja de las transgresiones musicales: el ruido como energía libidinal
title_fullStr La paradoja de las transgresiones musicales: el ruido como energía libidinal
title_full_unstemmed La paradoja de las transgresiones musicales: el ruido como energía libidinal
title_sort La paradoja de las transgresiones musicales: el ruido como energía libidinal
dc.creator.fl_str_mv Campesato, Lilian
dc.contributor.author.none.fl_str_mv Campesato, Lilian
description I establish a reflection about the psychoanalytic concepts of repression and death drive. Within this framework, these concepts are linked to the process of rejection, acceptance and transgression of some elements that constitute the basis of artistic creation. The relationship between transgression and acceptance of noise can be understood as a dialectical and dynamic process. On the one hand, noise can be understood as a disturbing, not desirable, suppressed and repressed event; on the other hand, can become something acceptable and desirable when incorporated as an aesthetic element. This oscillatory process of acceptance and rejection may be related to two concepts of Freudian psychoanalytic theory: repression and the death drive. These concepts may help to understand the return of what was repressed, what is to be avoided, and what is perceived as noise, connecting this “return” to the idea of remembering something that has been repressed. In an aesthetic context this remembrance binds to a dynamic motion within the artistic transformations, pointing out to two seemingly paradoxical situations: repression noise (prostration) and its recall (drive). By pursuing this parallel between noise and psychoanalysis, I intend to understand the mechanism from which an uncomfortable, noisy and sometimes destructive element becomes crucial to overcome a conservative inertia and thus set in motion a spring that propels the cultural dynamics. Although denoting a paradox, this dynamic, allows the incorporation of what is considered to be undesirable, and consists in an essential operation in the transformative processes of music.
publishDate 2018
dc.date.created.none.fl_str_mv 2018-12-27
dc.date.accessioned.none.fl_str_mv 2019-03-26T20:58:37Z
2020-04-16T13:54:19Z
dc.date.available.none.fl_str_mv 2019-03-26T20:58:37Z
2020-04-16T13:54:19Z
dc.type.coar.fl_str_mv http://purl.org/coar/resource_type/c_2df8fbb1
dc.type.hasversion.none.fl_str_mv http://purl.org/coar/version/c_970fb48d4fbd8a85
dc.type.local.spa.fl_str_mv Artículo de revista
dc.type.coar.none.fl_str_mv http://purl.org/coar/resource_type/c_6501
dc.type.driver.none.fl_str_mv info:eu-repo/semantics/article
dc.type.other.none.fl_str_mv Artículo revisado por pares
format http://purl.org/coar/resource_type/c_6501
dc.identifier.none.fl_str_mv http://revistas.javeriana.edu.co/index.php/cma/article/view/21940
10.11144/javeriana.mavae14-1.tpom
dc.identifier.issn.none.fl_str_mv 2215-9959
1794-6670
dc.identifier.uri.none.fl_str_mv http://hdl.handle.net/10554/41963
url http://revistas.javeriana.edu.co/index.php/cma/article/view/21940
http://hdl.handle.net/10554/41963
identifier_str_mv 10.11144/javeriana.mavae14-1.tpom
2215-9959
1794-6670
dc.language.iso.none.fl_str_mv eng
language eng
dc.relation.uri.none.fl_str_mv http://revistas.javeriana.edu.co/index.php/cma/article/view/21940/21727
http://revistas.javeriana.edu.co/index.php/cma/article/view/21940/21352
http://revistas.javeriana.edu.co/index.php/cma/article/view/21940/21728
dc.relation.citationissue.spa.fl_str_mv Cuadernos de Música, Artes Visuales y Artes Escénicas; Vol. 14 Núm. 1 (2019): Arte Sonoro; 103 - 114
dc.relation.citationissue.por.fl_str_mv Cuadernos de Música, Artes Visuales y Artes Escénicas; v. 14 n. 1 (2019): Arte Sonora; 103 - 114
dc.relation.citationissue.eng.fl_str_mv Cuadernos de Música, Artes Visuales y Artes Escénicas; Vol 14 No 1 (2019): Sound Art; 103 - 114
dc.rights.spa.fl_str_mv Derechos de autor 2018 Lilian Campesato
dc.rights.licence.*.fl_str_mv Atribución-NoComercial-SinDerivadas 4.0 Internacional
dc.rights.uri.spa.fl_str_mv http://creativecommons.org/licenses/by/4.0
dc.rights.accessrights.none.fl_str_mv info:eu-repo/semantics/openAccess
dc.rights.coar.spa.fl_str_mv http://purl.org/coar/access_right/c_abf2
rights_invalid_str_mv Atribución-NoComercial-SinDerivadas 4.0 Internacional
Derechos de autor 2018 Lilian Campesato
http://creativecommons.org/licenses/by/4.0
http://purl.org/coar/access_right/c_abf2
eu_rights_str_mv openAccess
dc.format.spa.fl_str_mv PDF
dc.format.mimetype.spa.fl_str_mv application/pdf
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dc.publisher.spa.fl_str_mv Pontificia Universidad Javeriana, Bogotá
institution Pontificia Universidad Javeriana
repository.name.fl_str_mv Repositorio Institucional - Pontificia Universidad Javeriana
repository.mail.fl_str_mv repositorio@javeriana.edu.co
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spelling Atribución-NoComercial-SinDerivadas 4.0 InternacionalDerechos de autor 2018 Lilian Campesatohttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccesshttp://purl.org/coar/access_right/c_abf2Campesato, Lilian2019-03-26T20:58:37Z2020-04-16T13:54:19Z2019-03-26T20:58:37Z2020-04-16T13:54:19Z2018-12-27http://revistas.javeriana.edu.co/index.php/cma/article/view/2194010.11144/javeriana.mavae14-1.tpom2215-99591794-6670http://hdl.handle.net/10554/41963I establish a reflection about the psychoanalytic concepts of repression and death drive. Within this framework, these concepts are linked to the process of rejection, acceptance and transgression of some elements that constitute the basis of artistic creation. The relationship between transgression and acceptance of noise can be understood as a dialectical and dynamic process. On the one hand, noise can be understood as a disturbing, not desirable, suppressed and repressed event; on the other hand, can become something acceptable and desirable when incorporated as an aesthetic element. This oscillatory process of acceptance and rejection may be related to two concepts of Freudian psychoanalytic theory: repression and the death drive. These concepts may help to understand the return of what was repressed, what is to be avoided, and what is perceived as noise, connecting this “return” to the idea of remembering something that has been repressed. In an aesthetic context this remembrance binds to a dynamic motion within the artistic transformations, pointing out to two seemingly paradoxical situations: repression noise (prostration) and its recall (drive). By pursuing this parallel between noise and psychoanalysis, I intend to understand the mechanism from which an uncomfortable, noisy and sometimes destructive element becomes crucial to overcome a conservative inertia and thus set in motion a spring that propels the cultural dynamics. Although denoting a paradox, this dynamic, allows the incorporation of what is considered to be undesirable, and consists in an essential operation in the transformative processes of music.O presente artigo é parte de uma pesquisa mais ampla que considera o ruído como um agente de transformação musical. A partir dessa perspectiva, faço uma reflexão sobre os conceitos psicanalíticos de repressão e pulsão de morte. Neste contexto, estes conceitos estão ligados a um processo de rejeição, aceitação e transgressão de elementos que estão na base da criação artística. A relação entre transgressão e aceitação do ruído pode ser entendida como um processo dialético e dinâmico. Por um lado, o ruído pode ser entendido como um evento perturbador, indesejável, suprimido e reprimido; por outro lado, pode tornar-se algo aceitável e desejável quando é incorporado como um elemento estético. Esse processo oscilatório de aceitação e rejeição pode estar relacionado a dois conceitos da teoria psicanalítica freudiana: repressão e pulsão de morte. Esses conceitos podem ajudar a entender o retorno do que foi reprimido, do que deve ser evitado e que é percebido como ruído, conectando esse “retorno” à ideia de rememoração de algo que foi reprimido. Ao fazer esse paralelo entre o ruído e a psicanálise, busco entender o mecanismo pelo qual um elemento desconfortável, barulhento e às vezes destrutivo se torna crucial para superar uma inércia conservadora e, assim, ativar uma mola que impulsiona a dinâmica cultural. Embora denote um paradoxo, essa dinâmica permite a incorporação do que é considerado indesejável e é uma operação essencial nos processos de transformação da música.I establish a reflection about the psychoanalytic concepts of repression and death drive. Within this framework, these concepts are linked to the process of rejection, acceptance and transgression of some elements that constitute the basis of artistic creation. The relationship between transgression and acceptance of noise can be understood as a dialectical and dynamic process. On the one hand, noise can be understood as a disturbing, not desirable, suppressed and repressed event; on the other hand, can become something acceptable and desirable when incorporated as an aesthetic element. This oscillatory process of acceptance and rejection may be related to two concepts of Freudian psychoanalytic theory: repression and the death drive. These concepts may help to understand the return of what was repressed, what is to be avoided, and what is perceived as noise, connecting this “return” to the idea of remembering something that has been repressed. In an aesthetic context this remembrance binds to a dynamic motion within the artistic transformations, pointing out to two seemingly paradoxical situations: repression noise (prostration) and its recall (drive). By pursuing this parallel between noise and psychoanalysis, I intend to understand the mechanism from which an uncomfortable, noisy and sometimes destructive element becomes crucial to overcome a conservative inertia and thus set in motion a spring that propels the cultural dynamics. Although denoting a paradox, this dynamic, allows the incorporation of what is considered to be undesirable, and consists in an essential operation in the transformative processes of music.Este artículo hace parte de un proyecto de investigación más amplio que considera el ruido como un agente de transformación musical. Desde esta perspectiva, hago una reflexión sobre los conceptos psicoanalíticos de represión y pulsión de muerte. En este contexto, estos conceptos están vinculados al proceso de rechazo, aceptación y transgresión de algunos elementos que constituyen la base de la creación artística. La relación entre la transgresión y la aceptación del ruido puede entenderse como un proceso dialéctico y dinámico. Por un lado, el ruido puede entenderse como un evento perturbador, indeseable, suprimido y reprimido; por otro lado, puede convertirse en algo aceptable y deseable cuando se incorpora como un elemento estético. Este proceso oscilatorio de aceptación y rechazo puede estar relacionado con dos conceptos de la teoría psicoanalítica freudiana: la represión y la pulsión de muerte. Estos conceptos pueden ayudar a comprender el regreso de lo que se reprimió, lo que se debe evitar y lo que se percibe como ruido, conectando este “regreso” a la idea de recordar algo que ha sido reprimido. Al hacer este paralelo entre ruido y psicoanálisis, busco comprender el mecanismo por el cual un elemento incómodo, ruidoso y a veces destructivo se vuelve crucial para superar una inercia conservadora y así activar un resorte que impulsa la dinámica cultural. Aunque denota una paradoja, esta dinámica permite la incorporación de lo que se considera indeseable y es una operación esencial en los procesos de transformación de la música.PDFapplication/pdfapplication/xmlengPontificia Universidad Javeriana, Bogotáhttp://revistas.javeriana.edu.co/index.php/cma/article/view/21940/21727http://revistas.javeriana.edu.co/index.php/cma/article/view/21940/21352http://revistas.javeriana.edu.co/index.php/cma/article/view/21940/21728Cuadernos de Música, Artes Visuales y Artes Escénicas; Vol. 14 Núm. 1 (2019): Arte Sonoro; 103 - 114Cuadernos de Música, Artes Visuales y Artes Escénicas; v. 14 n. 1 (2019): Arte Sonora; 103 - 114Cuadernos de Música, Artes Visuales y Artes Escénicas; Vol 14 No 1 (2019): Sound Art; 103 - 114La paradoja de las transgresiones musicales: el ruido como energía libidinalThe Paradox of Music Transgressions: Noise as a Libidinal EnergyO paradoxo das transgressões musicais: o ruído como energia libidinalThe Paradox of Music Transgressions: Noise as a Libidinal Energyhttp://purl.org/coar/version/c_970fb48d4fbd8a85Artículo de revistahttp://purl.org/coar/resource_type/c_6501http://purl.org/coar/resource_type/c_2df8fbb1info:eu-repo/semantics/articleArtículo revisado por pares10554/41963oai:repository.javeriana.edu.co:10554/419632023-03-28 16:14:14.929Repositorio Institucional - Pontificia Universidad Javerianarepositorio@javeriana.edu.co