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Sobre las diferentes percepciones de un elemento artistico.


Si hay un problema a discutir hoy en dia en el plano artístico, es el del espectáculo.

¿son los emprendimientos artisticos capturados y transformados en mercancia espectacular o hay acaso un modo de producir arte que tiene ya de antemano al publico como su receptor?..

Deleuze habla, nose si apuntando a este problema o no, en el libro Logica de la sensación sobre los cuadros de un pintor llamado Bacon (en particular sobre uno llamado “pintura” de 1976) en este autor, dice Deleuze, se hace un esfuerzo enorme por conjurar al espectador .. lo que el cuadro invoca es un testigo …(habría que leer el texto mas en profundidad y ver exactamente de que esta hablando cuando se refiere a un testigo y como funca) … la idea esta buena ya que denota que desde la obra misma se selecciona (o se crea) a su “receptor” … la obra misma ya contiene en si a la idea de publico..

Se me ocurre que estas dos lógicas (la del publico y la del testigo) pueden ser pensadas desde la improvisación músical.. hay un modo del solo que a lo único que esta apuntado es a denotar el virtuosismo del ejecutante o por lo menos decir que lo va a poner en un espacio central y solitario.. y todo la música de fondo va a servir de vidriera para que los diferentes solistas vayan pasando uno tras otro, esto es básicamente el funcionamiento del jazz (es muy injusto decir esto para con todo el género y en cierta medida falso, pero maso menos va por ahí la cosa….)

En este video esta ejemplificada la lógica esta… Estos cuatro tipos son grandes personalidades en el ambito del jazz que se juntaron para tocar Standars de jazz .. un Standard es un tema (que normalmente nunca tienen menos de 50 años de antiguedad) sobre el cual los musicos van a improvisar… La estructura es Melodia-Solos-Melodia y a otra cosa… en este caso la guitarra va a estar tocando la melodia que dura hasta el segundo 0.30 para despues tomar el 1er solo que dura 44 horas. Y asi con todos .. el resto de los musicos que no son el solista van a estar tocando la base armonica del tema una y otra vez.. para ponerlo en otros terminos.. es como si uno agarrase la cancion de feliz cumpleaños y cuando termina la empezas de vuelta pero esta vez en vez de cantar las misma melodia vas a cantar una diferente  sobre la misma secuencia armonica..

Ahora bien, hay otra lógica de la improvisación que supone la creación de lo que pareceria ser un territorio musical, con sus temas y sus motivos que lo constituyen y que  despues estos van a empujar los limites del territorio, hacerlo crecer hasta que la fuga sea inmininente y un nuevo territorio sea creado apartir de eso que fugó o bien desde cero . El virtuosismo del ejecutante si bien puede ser notable o no, queda relegado a un segundo plano.. uno es testigo de la producción músical y su existencia no esta determinada por que el elemento sea percibido sino que se es invitado a presenciar un acontecimiento musical determinado y de algun modo sucederia aunque no estuviese alli…

Para que pintar, componer, crear? Realmente, si nos sacamos de encima el publico o cualquier tipo de expresión personal de un individuo, es como si de repente estuviésemos parados en el medio del desierto… parecería como si no tuviese sentido hacer algo sin que alguien lo este mirando… Esto creo que contiene cierta verdad. El otro es un problema en cualquiera de las cosas que uno hace y siempre está.. la creación de un publico va a ser un modo de inclusión del otro, pero el otro separado, un otro pasivo al que no se le requiere mas que su percepción de lo que se le esta mostrando…

La hipótesis seria que la obra misma ya contiene su modo de la percepción… hay cosas que solo están hechas para que uno las mire…. elementos que casi a un nivel físico lo fuerzan a uno a ser un perceptor en el instante que aparecen … ciertos culos están hechos para acumular mirada…ciertas músicas van a atrapar el oído instantáneamente… los ejemplos de esto abundan .. casi sin exclusión todos los lugares que recorremos habitualemente se pelean por nuestra percepción constantemente.