(Still) The Medium is the Message or how artists identify with Jonah
1. "The" digital cumbia "is a fusion between the rate bailantero and" dance "of Europe and the U.S., which was invented in Argentina. Since 2003, parties are held in Buenos Aires where foreign producers sponsor this mixture, that it has resonance and success in Europe ( Clarin, July 7)
2.
ZIZEK in Telenoche on Channel 13 from Villadiamante on Vimeo .
(Telenoche, July 9)
3. What's the point?.
4. Suppose innocence. Suppose that art be separated entirely from politics. Suppose the Clarín group only as a means of communication and the artists just as artists. Why the need to submit to the logic of the medium, which can only humiliate what was done?. Because, come on, why not read and humiliation that the party which controls the medium is the stupidest rock journalist who has given the national journalism (and in this context is enough)?. How not to read as destruction of art, the Holy snickers Biasatti and the other on the back of the note?.
5. Suppose the intention . Suppose the Zizek artists want to be the new "Under the Fund." Suppose the appearance in the Clarín Group as a publicity stunt to capture markets. How to read Chancha cutting saying that there is an economic issue?. How to read the common place to "sell the Scandinavian Latin blood?. How to read the label (the brand) Cumbia Digital?
6. Suppose rebellion. Suppose that what artists do is to break down cultural misunderstandings Zizek in pursuit of enjoyment. Suppose that the flag of Mash Up is an interesting ethical position against the market's copyright. The mash up as the resistance of those who can give new meaning discourse even more homogeneous. The mash up as metacreación space.
7. Suppose stupidity. Suppose that the group of artists from Zizek, some embrace the rebellion and other Phoenician intent. The rebels can not generate new discourses and Clarin fall into the whale, like Jonah. The Phoenicians, chochos, come in a new Mediterranean Clarin which continue to sell the trinkets they make.
8. Suppose a portrait of the political season: "Meanwhile, the freedom of the wi fi is showing its first collateral damage Empacho Digital is not simply a consequence of all the music that went through my hard drive" (Villa Diamante)
9. Phoenicia: "I want people to dance, I do not want to sell to sell, privilege artistic intention" ("King Coya Kerpel).
10. Suppose ideology (an answer why go to Telenoche?): "Not being a member of anything arouse suspicion in a society helplessly (...) overwhelming, the individual can experience himself if social media" (Adorno .)
11. Journalism hack S & P: Both Clarin as Critical , prevent development work, cutting and pasting what site says the artist .
12. Journalism: La Cumbia digital, however, is the daughter of: the dollar to 3.50, the creation of Palermo as a European outlet for not traveling, the tourist boom (at parties hear much English Zizek on the dance floor), the decline of the middle class, which begins to approach lower-class consumption before (moving from sushi to ceviche), the computer as a tool for communication, production and consumption of music, and depletion of stylistic devices in the European and American electronic music. This began to look more original beats outside its territory (the U.S. dj Diplo is the "Columbus of the Beats" became fashionable favela funk). In other words, is context (not by ideas, eye) "K", "Digital Kumbia." (Schanton)
13. Suppose the game: Why not go to the whale and cause a mini indigestion? Why tell them what they want to hear? Why not skip the caller to call somebody an idiot and more valid? Why put in the same bag, a collection of mash ups that somehow speak of information overload and what to do it, next to the shopping destination of "what succeeds in Europe, the lanyards of" there are no blood, we have to go to make them dance, "the company manager prolixity, and disfrute del baile?
14. Y a todo esto, ¿qué lugar queda para el sonido? ¿qué pasa en la pista?, ¿qué pasa en los auriculares por la calle?.
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