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Net.futurismo collection points against the net-rabbit taste

As promised during the svernissage of monomials of Rome, after having previewed territory, the netfuturismo has published on the virtual manifesto "against the evils RABBITS OF WEB-NET" ( http://liberidallaforma.blogspot.com ) which published extracts significant:

We must, however, so crush clean and clear every vile behavior on the network and traditionalist .
The first enemy of every heroic conception, really futuristic and optimistic on the web is represented by the cowardly and treacherous race that wanders throughout the global network: the net.conigli . [...]

Outside Web rabbits are recognizable: flushing, confusion, tremors, fearful and evasive eyes, unsteady voice, vile behavior.
Here they are. They then trolleggiano on the web, thinking to win their congenital rabbit behind a monitor. But right on the web become net-rabbits. rabbits and rabbits out into the web. Doubly rabbits! [...]

Net-rabbits!
We will not actually get you back in your holes sad and dark. We look forward
to face with name!
We look forward to up in person! Outside the web! We look forward
to deal with strokes of ideas and word-swords!
We have been flushed out.
Stop running away and hiding.
Take courage.
and face the world.

http://www.netfuturismo.it/

Network real and virtual network to a single battle against cowardice!

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Creating art = empty

Duchamp Already in 1955 he claimed the repetition of a style decreed the devaluation of any artistic idea, creating the habit and becoming pure taste .

In an interview with him by the director of the New York Guggenehim, JJSweneey, who asks him about the creation of taste, Duchamp replied:

Exactly. The taste is a habit. Restart the same thing for a while, 'and it becomes a taste. If you stop your artistic production after creating something, it becomes a thing in itself and remains so. But if you repeat a certain number of times, it becomes taste.

Only a few years later another brilliant Italian artist's echoed:

I have always considered painting as a matter of moral obligation rather than a fact plastic, but now that, in the name of the vanguard, everyone started to make white paintings or not it at all, it is becoming highly immoral and should be even more hard to avoid confusion and misunderstandings.

(Piero Manzoni 1962 ca.)

We can no longer accept a system that makes a machine of contemporary art voted to the market, an art that no longer generates itself, but to lay it on thick reel welcoming his eternal reflection.

We affirm the 'uniqueness work of art. The reproductions are handled by technology and result in the reduction of transaction costs and the aura of the artist. Everything else is good, crafts and / or performance.
(Antonio Saccoccio 2008)

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music listening - part

analysis of musical performance, quantitatively the most widespread ' listener pastime.

Subject-prey culture industry as it has no critical discernment, the listener reflects an ideology for fun listening level, so it is more difficult to discern the social differentiation in this category, as the passive enjoyment General is extended to the point that permeate various social strata, to create a genre that is miscellaneous.

Similar in fierce resistance from the intellectual efforts, listeners may qualify as a hobby in those who can not work without the radio on, who kills time by immersing himself in the music a feeling of belonging to a category, who is in a means of relaxing music until you get to those individuals who, being devoid of any musical education are the most adaptable to the market because they consume all that is given.

"The listener as a hobby can be adequately described only in connection with the media consisting of radio, cinema and television. In the typical psychological weakness of his ego: radio host of events, enthusiastically applauded the appearance of the light signals that invite him to this. Each object's criticism is no less alien to any intellectual commitment to it. Skeptical only in regard to what forces him to think with his head, he is ready to show solidarity with their as a customer, and is stubbornly convinced of the facade of the company, which shows grinning on the covers of magazines. This type of listener [...] adapts - in music as well as in everyday life - all forms of domination that does not affect too clear her standard consumer. "

In this context, although the significant connection of music to be systematically ignored, even listening to emotional comes to be anesthetized by the need of music as a palliative for distraction, for which the 'play loses its value and becomes a habit.
In fact, such behavior is configured for the submissive Music net.futurismo with ' hear presentations .

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music listening - part

In music as in art in general, the technology of reproduction means has gradually changed the relationship with the masses, bringing them closer inevitably to confrontation with the artwork.

In this favorable situation, the desired growth of cultural interest, however, has given way to a more concrete flattening of use by a public often reactionary towards the new. This created an imbalance between production and reception, moving the axis to the market that produces more for a large audience for a well-educated.

Theodor W. Adorno in " Introduction to the sociology of music " does a thorough investigation of the relationship between music and listeners, identifying eight types of musical performance, including a particular interest in modern sociological analysis are:

• CONSUMER CULTURE
• CALLER FOR HOBBY

Consider the consumer culture. We are facing a kind of listener who stands in respectful relationship to music as a cultural, but as something to be known for their social prestige , resulting in the most vulgar snobbery.

crowds the concert halls and opera, collects records for collection and not to search for a unique and well informed on most music literature, that the structure and the performance of a composition:

"And 'the man of' appreciation '. The only thing that really affects performance is exorbitant, as it were 'measured', for example, the most daring virtuosity, just in the sense of the ideal of the show. The command respect the technique, the half end in itself, and in that sense he is not not so far away from hearing mass-circulated. But it poses as an enemy of the masses, a man of the elite. [...] This is a crucial group that decides to a large extent the musical official are recruited into it especially the committees that design the programs and posters, they pilot the taste reified falsely believes that more of the taste 'culture industry: cultural heritage music administered by this sociological change, in increasing quantities, in consumer goods handled. "

net.futurismo For this type of musical performance, but not snobbish and facade, is identified with the 'traditionalist listener.

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REZEPTIONSGESCHICHTE E ANTICONFERENZA

Hans Robert Jauss in his theory of reception (rezeptionsgeschichte) explains how the artistic character of a new work demonstrate its effectiveness on the public, at any given time, by two factors:

• aesthetic distance
• SKYLINE CHANGE WAITING

where the distance aesthetic perception of distance is established between the new work el ' horizon waiting recipient, or all that the receiver expects the opera, based on their previous knowledge, relating to other work.
The work that is new, therefore, requires a change in the horizon waiting from the public to reduce the aesthetic distance.

"To the extent that this distance decreases, not by requiring the reorientation to no more conscience container of unknown experience, the work approaches the domain of art 'culinary' or an art purely for fun. The latter is, in terms of aesthetics of the use, characterized in that it does not require any change of horizon. Converge with expectations of a dominant taste preordained, that meets the demand of playing a "good family", which confirms the usual feelings. " (HRJauss "Literaturgeschichte als provokation)

Its artistic so it will be effective when the aesthetic distance, while declining to make the work comprehensible to the public, while at the same time

1. NEWS 'KIND OF PROPOSED
2. DEFORMATION OF RULES pertaining to the horizon waiting

So when anticonferenza net.futurista, performing the work, in itself innovative and detrimental to the "norms" of the traditional conference, it becomes effective precisely when the mediators (in the case of Antonio and Gianni Otranto), spoke to explain the character and nature of stimulus and provocation, thus changing the horizon waiting for the public adequately mitigate the aesthetic distance makes it incomprehensible that are too high and the work if too small makes the work artistically nothing.