{"id":210749,"date":"2020-10-13T20:32:46","date_gmt":"2020-10-13T20:32:46","guid":{"rendered":"https:\/\/rizosfera.org\/?p=210749"},"modified":"2020-10-14T11:34:39","modified_gmt":"2020-10-14T11:34:39","slug":"eccellente-recensione-di-chaos-variation-vii-su-kuwomba-11-a-cura-di-giuseppe-molica","status":"publish","type":"post","link":"https:\/\/rizosfera.org\/en\/blog\/eccellente-recensione-di-chaos-variation-vii-su-kuwomba-11-a-cura-di-giuseppe-molica\/","title":{"rendered":"\u00abCHAOS VARIATION VII\u00bb RAVE REVIEW BY ITALIAN PHILOSOPHER GIUSEPPE MOLICA AT KUWOMBA #11"},"content":{"rendered":"

Excellent review of “Chaos Variation VII” [cfr. Obsolete Capitalism \/ Zafer Aracag\u00f6k \/ SIFIR] by\u00a0Italian\u00a0philosopher Giuseppe Molica, in \u00a0Kuwomba #11. Kuwomba is an online magazine of music criticism.<\/strong><\/p>\n

KUWOMBA\/MOLICA ::<\/strong> [De\/sonance] – Dis\/sonance:<\/p>\n

“In music, virtue attributed by the tonal sense (variable over time) to some intervals or chords to produce an effect of dissatisfaction, a tendency to movement”<\/p>\n

This definition does not come from important encyclopedia, those that should always be mentioned, but much more trivially from Google: and if we discard such an ideology we may see the very recognition of words within vocabularies: rather than being based on a vague majority of use in fact, words are also subjected to mediations. Representing the represented. With the language we often find ourselves in the midst of the circus\/circle of mediations, which is essential to justify the existence of a language.<\/p>\n

And therefore Google, one of the great actor of our world and capital today, tells us that dissonance is the virtue of producing dissatisfaction, “a tendency to move”. Thus providing us with a beautiful dissonant definition, to read it literally.<\/p>\n

Indeed, it seems that there is a virtue – “disposition of mind aimed at good” – capable of producing dissatisfaction – “discontent, regret, disappointment” – or a tendency towards movement – “displacement associated with functionality or dynamism”.<\/p>\n

Can we thus infer that the movement may produce dissatisfaction, or rather that it arises from dissatisfaction? If we avoid falling into a eudaimonic morality and use that piece of information for what it is we may say that if we are dissatisfied, we will move (or at least we will tend to do so), if we are moving we should ask ourselves if we have been driven by dissatisfaction.<\/p>\n

Obsolete Capitalism’s Chaos Variations seem to be a sonic response to this imposed need for order: a sonic and literary project carried out in dissonance with the music market, whose publications (produced by Rizosfera) are expressed through vinyls, texts, interviews, illustrations – musical assemblages that are difficult to ascribe only to musical plateau.<\/p>\n

In the (so far) seven chaotic variations we can hear and read the implementation of these assemblages, having \u00abambiguous sonic objects\u00bb in our hands and ears, capable of placing themselves and their\u00a0compositional process\u00a0at the limit between fruition and rupture with everything we are used to call music. O.C. has collaborated with various musical personalities, from Howie B to NicoNote, not to mention Adi Newton and Mark Stewart.<\/p>\n

The seventh chaotic variation by Zafer Aracag\u00f6k \/ SIFIR, entails a philosopher who in his exploration of thought has found a resonant and dissonant musical practice of composition as shown in \u00abExasp\u00e9r\u00e9 Compl\u00e8tement\u00bb: layers upon layers of voices and rhythmic sounds – a free jazz -more and more free and less and less jazz.<\/p>\n

The situationist call is clarified in the title of the second track \u00abEverybody Wants To Be A Somnambulist Situationist\u00bb, but it is precisely a sleepwalker situationism, freed from that intentionality that has affected the destructive thought as to lead it to detourn itself: SIFIR plays the exploration of the sound space in which one’s presence is not the end, but the necessary, ontological condition to undertake a dreamlike sound walk.<\/p>\n

Desonance is what we find, voices on voices repeating one after another, one on and for the other – it is from the noise that we extract sound objects, musical pieces: we could listen to these 7 ’44’ ‘repeatedly, and with each listening bring out the sonic differences, the rhythms, the meanings to leave out by time to time.<\/p>\n

A chaotic variation, in fact, which offers different ways of listening, and allows you to listen to unique and impersonal voices and subjects: sound, cognitive, material dissonances – each track is someone, each speaker is himself\/herself and other than himself\/herself. Voices that will have to end, composed sounds that bring together the life to the song to the one of the listener: \u00abKilling Oneself Is a Life Long Project\u00bb.<\/p>\n

\u201cDon’t ask me who I am, and don’t ask me to remain the same: it’s a civil status type of morality; it reigns over our documents. At least leave us free when it comes to […] ”<\/p>\n

\"\"<\/p>\n

CLICCA QUI PER LEGGERE IL NUMERO 11 DI KUWOMBA<\/a><\/p>\n

CLICCA QUI PER LEGGERE LA RECENSIONE DI CV7 DI GIUSEPPE MOLICA\/KUWOMBA<\/a><\/p>\n

\"\"<\/p>","protected":false},"excerpt":{"rendered":"

Excellent review of “Chaos Variation VII” [cfr. Obsolete Capitalism \/ Zafer Aracag\u00f6k \/ SIFIR] by\u00a0Italian\u00a0philosopher Giuseppe Molica, in \u00a0Kuwomba #11. Kuwomba is an online magazine of music criticism. KUWOMBA\/MOLICA :: [De\/sonance] – Dis\/sonance: “In music, virtue attributed by the tonal sense (variable over time) to some intervals or chords to produce an effect of dissatisfaction, […]<\/p>\n","protected":false},"author":17,"featured_media":209949,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[39,144],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/rizosfera.org\/en\/wp-json\/wp\/v2\/posts\/210749"}],"collection":[{"href":"https:\/\/rizosfera.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rizosfera.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rizosfera.org\/en\/wp-json\/wp\/v2\/users\/17"}],"replies":[{"embeddable":true,"href":"https:\/\/rizosfera.org\/en\/wp-json\/wp\/v2\/comments?post=210749"}],"version-history":[{"count":0,"href":"https:\/\/rizosfera.org\/en\/wp-json\/wp\/v2\/posts\/210749\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/rizosfera.org\/en\/wp-json\/wp\/v2\/media\/209949"}],"wp:attachment":[{"href":"https:\/\/rizosfera.org\/en\/wp-json\/wp\/v2\/media?parent=210749"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rizosfera.org\/en\/wp-json\/wp\/v2\/categories?post=210749"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rizosfera.org\/en\/wp-json\/wp\/v2\/tags?post=210749"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}