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The re-materialisation of the musical object, conference by Diedrich Diederichsen.
Based on three basic situations, I am going to discuss the possible results of the term non-cochlear1 and, in particular, its relationship with the comparison between artistic practices understood as genre, to finally come up with an imitation of this rhetorical idea, which will be the debate on the de-materialisation and re-materialisation of the musical object.
I would like to look at the case of non-cochlearity from these three perspectives. There is a similarity between the dual form in which an artistic practice observes the world and its competitors, other artistic practices and the way in which a capitalist entity, a company, sees the market on the one hand and its competitors on the other. This constellation leads to self-descriptions and definitions of an essential characteristic or advantage. Of a specific advantage or exclusive sales argument. In turn, the situation produces reassuring self-identities and, at the same time, movement and development. Therefore, there is an internal gap in each artistic practice, a place of translation or transformation that is in some way related to the definition of this specific advantage or essence. This definition either closes the gap or declares it to be a strong point. However, this internal gap is a reality of production and/or distribution and cannot be easily avoided.
Finally, we have the logic of institutionalisation. An artistic practice that becomes an institution has satisfactorily hidden or rendered invisible its internal translation problem. Now, a different logic comes into the debates and discussions in this field: the logic of revolution, Oedipus, the generational change, the unavoidability of technological change, etc.