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...
- Autores:
- Tipo de recurso:
- article
- 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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- Rights
- openAccess
- License
- Derechos de autor 2018 Lilian Campesato
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La paradoja de las transgresiones musicales: el ruido como energía libidinal The Paradox of Music Transgressions: Noise as a Libidinal Energy O paradoxo das transgressões musicais: o ruído como energia libidinal 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 Campesato, Lilian |
| 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 |
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La paradoja de las transgresiones musicales: el ruido como energía libidinal |
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La paradoja de las transgresiones musicales: el ruido como energía libidinal |
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Campesato, Lilian |
| author |
Campesato, Lilian |
| author_facet |
Campesato, Lilian |
| author_role |
author |
| 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. |
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2018 |
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2018-12-27 2019-03-26T20:58:37Z 2019-03-26T20:58:37Z 2020-04-16T13:54:19Z 2020-04-16T13:54:19Z |
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http://purl.org/coar/version/c_970fb48d4fbd8a85 Artículo de revista http://purl.org/coar/resource_type/c_6501 info:eu-repo/semantics/article Artículo revisado por pares info:eu-repo/semantics/publishedVersion |
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http://revistas.javeriana.edu.co/index.php/cma/article/view/21940 10.11144/javeriana.mavae14-1.tpom 2215-9959 1794-6670 http://hdl.handle.net/10554/41963 |
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http://revistas.javeriana.edu.co/index.php/cma/article/view/21940 http://hdl.handle.net/10554/41963 |
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10.11144/javeriana.mavae14-1.tpom 2215-9959 1794-6670 |
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eng |
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eng |
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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 Cuadernos de Música, Artes Visuales y Artes Escénicas; Vol. 14 Núm. 1 (2019): Arte Sonoro; 103 - 114 Cuadernos de Música, Artes Visuales y Artes Escénicas; v. 14 n. 1 (2019): Arte Sonora; 103 - 114 Cuadernos de Música, Artes Visuales y Artes Escénicas; Vol 14 No 1 (2019): Sound Art; 103 - 114 |
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Derechos de autor 2018 Lilian Campesato Atribución-NoComercial-SinDerivadas 4.0 Internacional http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess http://purl.org/coar/access_right/c_abf2 |
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Derechos de autor 2018 Lilian Campesato Atribución-NoComercial-SinDerivadas 4.0 Internacional http://creativecommons.org/licenses/by/4.0 http://purl.org/coar/access_right/c_abf2 |
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Pontificia Universidad Javeriana, Bogotá |
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Pontificia Universidad Javeriana, Bogotá |
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La 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 EnergyCampesato, LilianI 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.Pontificia Universidad Javeriana, Bogotá2019-03-26T20:58:37Z2020-04-16T13:54:19Z2019-03-26T20:58:37Z2020-04-16T13:54:19Z2018-12-27http://purl.org/coar/version/c_970fb48d4fbd8a85Artículo de revistahttp://purl.org/coar/resource_type/c_6501info:eu-repo/semantics/articleArtículo revisado por paresinfo:eu-repo/semantics/publishedVersionPDFapplication/pdfapplication/xmlhttp://revistas.javeriana.edu.co/index.php/cma/article/view/2194010.11144/javeriana.mavae14-1.tpom2215-99591794-6670http://hdl.handle.net/10554/41963enghttp://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 - 114Derechos de autor 2018 Lilian CampesatoAtribución-NoComercial-SinDerivadas 4.0 Internacionalhttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccesshttp://purl.org/coar/access_right/c_abf2reponame:Repositorio Universidad Javerianainstname:Pontificia Universidad Javerianainstacron:Pontificia Universidad Javeriana2023-03-28T21:14:14Z |