DOPPLER

Reading VALÉRY Paul’s text (1928), “The conquest of ubiquity”, I would like to raise 2 questions. How incredible is the sound, isn’t it? But when we talk about sound, it is not only the song that comes out of our headphones when we are on the way to work, but the complex sound waves that birds emanate when flying, the leaves hitting in the wind, in reality, it is simpler. I call for reflection, for you to sit down and listen to me, sometimes I imagine going to university without hearing that honk that blows my ears. We are already in the work of Beauty and the Beast. Doesn’t this pause? It reminds me of a part of VALÉRY’s writing;

(..) “I now remember a fantasy that I saw as a child in a foreign theater. Or I think I saw it. In the Enchanter’s castle, the furniture spoke, sang, took a poetic and mocking part in the action. A door knocked when it opened with a pompous or creaky fanfare. There was not a cushion that, when someone sat on it, did not moan some polite phrase. Every thing released melodies when touched.”

It is worth noting to pay attention to the year in which VALERY wrote these words. We live in an extreme time of acoustic pollution, however, “We get used to it, we surrender to it with the same delight as to fair, powerful and subtle substances. It handles and pulses at will, it is universal by essence; it enchants and makes it dance throughout the earth.”

Technical, aesthetic and conceptual development:

As for “DOPPLER”, Bezier curves – lines and ellipses – predominate, I worked with sentences, cycles and variables that were responsible for generating movement in the sketch.

Different Rhythms is inspired by a work by George Nees. Although the artist has several works, in my search I found a link where I was attracted to the structures he used regarding the “quantities” if you want to call them of objects, in this case doors (https://www.artsy.net/artist/georg-nees) – structures of a certain familiar shape, since, if we turn around, a door is present (or else, to your left or to your right it surely is) but at the same time an unfamiliar sensation. Where am I going? Which door do I choose? (Excesses).

Specifically researching more about George Nees and regarding Doppler, I was inspired by the following work: https://spalterdigital.com/wp-content/uploads/2018/11/IMG_0320-800x1067.jpg

In great influence, while reading for the Sound Laboratory subject I was attracted to the way VALERY referred to sound.

A “Melody of desire” entered into me (Text by BREA, Jose Luis, point 7) this desire from the beginning is to represent how in society we give great identity to sounds, clearly, good and bad sides. How we become familiar even with those we don’t like, like the honking of horns when we walk down Corrientes Street, or which ones we don’t even witness in today’s society, like silence, which is nothing more than pure presence, and which also opens the doors for us to appreciate things that are always present but rarely seen. Brea speaks in points 4 and 7 of her text, that what is essential in the work of art is not its “work”, it is not the re-presentation, rather it is the field of intensities with which it is affected. The work of art is presence. In such an intense world, if you had to choose a sound in which you find yourself, in which you are in absolute presence, which one would you choose? What sound would you be?

There are excesses of them; Different paths for each one, different rhythms, so… good luck finding you.

Literature

• VALÉRY, Paul. ([1960], 1999). La conquista de la ubicuidad (1928). En Piezas sobre arte. Madrid: Visor..
• BREA, José Luis. (2008). “Redefinición de las prácticas artísticas (s. 21)” en El tercer umbral. Estatuto de las prácticas artísticas en la era del capitalismo cultural. Murcia: CENDEAC.