Walter Benjamin, The Destructive Character (1931)

Bill Fontana

Wikipedia.org [+]

William Gibson, Neuromancer [pg 51] (1984)

Milan Kundera

Susan Sontag - The Aesthetics of Silence (1967)

Conrad Schnitzler @ Wire #267 (06.2006) [+]

Francisco López - Towards the blur (2001) [+]

John Cage en Écoute (docum.) ; citado por M. Chion en "El Sonido" (Paidós, 1999)

\\ Rogelio López Cuenca [+]

"I Ching: Or, Book of Changes" (Richard Wilhelm's and Cary F. Baynes translation)

Para ver el mundo en un grano de arena,
Y el Cielo en una flor silvestre,
Abarca el infinito en la palma de tu mano
Y la eternidad en una hora.

Aquel que se liga a una alegría
Hace esfumar el fluir de la vida;
Aquél quien besa la joya cuando esta cruza su camino
Vive en el amanecer de la eternidad.

William Blake (1757-1827)

Robert Bresson - notas sobre el cinematógrafo

Alexander Scriabin - Prefatory Act (1913)

Marcel Duchamp (1914 y 1948)

Gilles Deleuze (Tener una idea en cine, Archipielago nº22, 1995)

No one is responsible for an emergence; no one can glory in it, since it always occurs in the interstice

Michel Foucault

intentionally intentions intently intents inter intercede intercepted intercepting intercessory interchanges interchanging intercontinental intercourse interdependent interest interested interesting interfered interim interindividual interior interjacent interlacing interlocutor intermarriage intermediate interment intermezzo intermittent intermittently internal international interplanetary interposed interpret interpretation interpreted interpreting interred interrogated interrogation interrogations interrupted interrupting interruption interruptions intersecting intersection intershowed interstellar interstice interval intervals intervened intervening interview interviewer intestated intestation intestinal intestine intestines intimacy intimate intimated intimately intimations into intolerance intonation intoned intosh intoxication intraracial intres intricate intricately intrigue intrigues intrinsically introduce introduced introducing introduction introibo introit intuition intuitive inundations invading invalid invaluable invariability invariably invece invective inveigling invent invented invention inventions inventor inventoried inventors invents inverecund inverness inverse inversion inverted invest invested investigation invests invigorating invincible invincibles invisibility invisible invitasti invitation invite invited invocation invocationem invocations invokes invoking involuntarily involuntary

Jean Baudrillard - Impossible Exchange (1999)

SOY EL INTERMEDIARIO
ENTRE LO QUE SOY Y LO QUE NO SOY

John Cage

"No me encuentro donde me busco; me encuentro mejor tropezándome casualmente que buscando e inquiriendo con mi juicio" (...)

"El primer argumento que Fortuna me ofrezca, lo retomo: todos me parecen igual de buenos. Nunca intento exponerlos enteros porque no alcanzo a ver el todo de nada: tampoco lo hacen los que prometen hacérnoslo ver. Entre las cien partes y las cien caras que tiene cada cosa sólo escojo una: a veces, sólo para tocarla con un lametazo; otras, con la yema de los dedos y puede que la pinche hasta el hueso. Le doy un puntazo, no muy ancho, pero lo más profundo que pueda. Lo que más me gusta es cogerla desde un punto de vista distinto (...) Sembrando una palabra aquí, allí otra, muestras arrancadas a la pieza original, apartadas sin intención ni promesa, no me veo obligado a acertar, y tampoco a aferrarme a mi postura sin tener ocasión de variarla cuando me apetezca: puedo entregarme a la duda y la incertidumbre o a mi horma preferida, es decir, la ignorancia".

Michel de Montaigne (1533-1592)

:     : :

James Joyce - Ulysses -

Morton Subotnick - Intimate Inmensity (1996)

Jacques Attali, "Noise" (1977)

/ / DEVO / / "Patterns"

mariela arzadun [+]

Daniel Menche

Now I will do nothing but listen. . . .
I hear all sounds running together,
combined, fused or following,
sounds of the city and sounds out of the city,
sounds of the day and night. . .

Walt Whitman

"I can see it now," Laws said, grinning. "Slender young men sitting on the floors of their North Beach apartments, rapturously tuning knobs and switches as the incredibly authentic roar of freight engines, snow storms, trucks unloading scrap iron, and other recorded oddities thunder out."

Philip K. Dick

Quizá la historia misma sea una lucha titánica por el oído humano; en él pelean las voces próximas con las que vienen de lejos por el acceso privilegiado a conmover, a hacerse oír, las voces de los antepasados con las de los vivos, las voces de los gobernantes con las de los contrapoderosos.

- Peter Sloterdijk [+] [+]

Edwin A. Abbott - Planilandia (1884) [+]

We are what we hear and what we see and what we feel and touch as much as what we think. If there´s a perceptual level of information happening at the level of your fingertips, happening with your hips, happening with your groin, happening with your arse, happening with your feet, happening with your elbows, the next step is to listen to what these aspects of the body are saying and to realise that these different sensory levels have been really misunderstood. The DJ goes into a journey of the hands. The whole scratch is like this manual perception. I figure in the future that the DJs will have extremely developed fingertips, because they"re super-sensitive, like lily pads, like frogs. Their heads will be fused to their necks, and I think in about twenty years time their legs may well have withered away, "cause they never dance. That´s how I think of the body, and that´s how I think of rhythm. I think of rhythm as a kind of an abstract machine, which appeals to the entire distributed body, because rhythm is parallel music.

Kodwo Eshun

Music is the supreme example of movement become pattern. Music is time given sublime shape. If for no other reason than its universality and its status in the collective mind, music invites imitation. A visual art should give the same superior shape to the temporal order that we expect of music.

John Whitney

- A NEW TIME - - A NEW TIME - - - A NEW TIME

anybody who has ever become really involved in listening to a piece of music, or looking at a painting, or reading a book, will have noticed that our subjective time is not feeling the same as the chronometrical time our watch shows... time can run much slower or much faster, along with the musical flow of events, a painting may stop our feeling for the passing of time altogether, and looking up from a book, we notice that much more time has passed than we thought.

in my work as a composer, i have often found that listeners took a shorter piece to last longer than an actually longer one, and that their estimates of the duration of a work were often quite far from the actual chronometrical one.

these observations, together with the interest i have taken in neurological research into our perception of time, have led me to devise a new time unit for measuring the duration of my musical works. said research has found that our perception of "present”, "now”, "the present moment” is a time window of about three seconds, everything else is memory or anticipation.

so my new time unit is three seconds long, and i call it dim, which stands for the french expression "durée; içi, maintenant” ("duration; here, now”). from now on, i will give the duration of my works expressed in numbers of this unit . . . . like this, you know how many "moments” of your attention/consciousness each of my works is asking for... before you can ask: a 24 hours’ day is 28.800 dim :-)

...the strong tendency of dim values to end with a period shows how imponderable time really is...

bernhard günter, april 1999

Preocuparse por uno mismo tal y como será en el futuro no es más razonable que preocuparse por uno mismo tal y como es ahora. O incluso menos, en el caso de que valga menos la pena preocuparse por nuestro futuro yo.

Todo lo que hacemos puede hacerse mejor o peor, pero si actuamos bien, no es debido a que traduzcamos nuestras intenciones en hechos. Se debe a que hacemos lo que sea necesario hacer con habilidad. La vida ética significa vivir de acuerdo con nuestras naturalezas y circunstancias. No hay nada que diga que tenga que ser la misma para todo el mundo o que se haya de ajustar a la moralidad.

En el pensamiento taoísta, la vida buena viene de forma espontánea; pero ser espontáneo dista mucho de actuar simplemente por impulso. En algunas tradiciones occidentales, como el romanticismo, se vincula la espontaneidad a la subjetividad. En el taoísmo, sin embargo, significa actuar desapasionadamente, sobre la base de una visión objetiva de la situación concreta. El hombre corriente no puede ver las cosas objetivamente, porque su mente está nublada por la ansiedad de alcanzar sus objetivos. Ver con claridad significa no proyectar nuestras metas en el mundo; actuar espontáneamente significa actuar según las necesidades de la situación.