Sons de lloc perillosos<\/a>\u00bb, primera fase dins del seu projecte de \u00abperiodisme s\u00f2nic\u00bb, l’equivalent auditiu del fotoperiodisme. L’important d’aix\u00f2, a m\u00e9s de la implicaci\u00f3 del concepte de perill a llarg termini estretament lligat a una visi\u00f3 i audici\u00f3 atractives, \u00e9s que parteix del fet que el so d\u00f3na informaci\u00f3 quan se li \u00abpermet\u00bb ser escoltat per mitj\u00e0 dels enregistraments de camp sense ser complement per a d\u2019altres mitjans. No obstant aix\u00f2, sense restar-li el seu m\u00e8rit, conv\u00e9 remarcar que la l\u00ednia que el separa de l’expressi\u00f3 art\u00edstica del \u00abpaisatge sonor\u00bb no resulta tan f\u00e0cilment distingible. Els llocs gravats en aquesta primera fase van ser: la zona d’exclusi\u00f3 de Txern\u00f2bil, a Ucra\u00efna; els jaciments de petroli del Caspi, a l’Azerbaidjan; les valls dels rius Tigris i Eufrates al sud de Turquia oriental amena\u00e7ats per grans projectes de construcci\u00f3 de preses, i el nord de Gal\u00b7les, al Regne Unit. A Txern\u00f2bil segueix afectant la pr\u00e0ctica de la cria d’ovelles; i els llocs de gasos nuclears, militars i d’efecte hivernacle al Regne Unit, incloent Sellafield, Dungeness, Bradwell, Sizewell, Thetford Forest, Rainham i Uttlesford.<\/p>\nEn relaci\u00f3 a les ambig\u00fcitats psicoac\u00fastiques, Joe Banks desenvolupa el seu treball d’investigaci\u00f3 \u00abRorscharch \u00c0udio\u00bb, iniciat al 1999. Interessat pel fenomen ac\u00fastic de car\u00e0cter gaireb\u00e9 inaudible, per\u00f2 que justament per aix\u00f2 \u00e9s m\u00e9s influent en l’esfera privada i p\u00fablica de l’home, Banks equipara les il\u00b7lusions \u00f2ptiques als fen\u00f2mens psicoac\u00fastics, d’aqu\u00ed el nom, Rorscharch. Tanmateix, la cultura popular tamb\u00e9 ens impulsa a pensar en \u00abRorschach\/Walter Kovacs\u00bb, un dels personatges del c\u00f2mic \u00abWatchmen\u00bb, defensor de l’absolutisme moral, per al qual tot \u00e9s blanc o negre, si b\u00e9 la silueta que el cobreix canvia constantment… Arran d’aix\u00f2, penso en el ling\u00fcista alemany Klemperer que va escriure en el seu assaig \u00abLTR\u00bb que \u00abqualsevol llenguatge que pot actuar lliurement serveix a totes les necessitats humanes, serveix a la ra\u00f3 i al sentiment, \u00e9s comunicaci\u00f3 i di\u00e0leg, mon\u00f2leg i oraci\u00f3, petici\u00f3, ordre i invocaci\u00f3\u00bb, per aix\u00f2, hem d’escoltar de forma volitiva i conseq\u00fcent, cr\u00edtica i conscient per tal que el sentiment no dilueixi el pensament. Nom\u00e9s d’aquesta manera podem extreure informaci\u00f3 de l’\u00e0udio que escoltem i separar-la de les estranyes concomit\u00e0ncies que es donen entre els nostres processos de percepci\u00f3 i l’entorn.<\/p>\n","protected":false},"excerpt":{"rendered":"
L’afecci\u00f3 amb qu\u00e8 ens veiem commoguts per cada so \u00fanic que es troba dins del nostre camp auditiu \u00e9s admesa sense cap g\u00e8nere de dubtes per tots els individus. \u00danicament…<\/p>\n","protected":false},"author":1284,"featured_media":8147,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[6782],"tags":[],"coauthors":[],"acf":[],"yoast_head":"\n
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<\/p>\n