VOLDELIG LYD

Edvard Haraldsen Valberg

At our concerts we want to be firestarters for chaos, the unexpected, and fierce moshpits. We attempt to establish directionless energy with no particular purpose other than to fuck shit up in an everyday existence that we often feel to be dull, passive and predictable. Through this practice there is in particular one type of experience for which I have garnered an interest – what role danger and fear can play in a musical experience. And, right in the midst of it; the encounter of “zen” in chaos. When I, by chance, came across an article on danger music it became clear that danger in music already was conceptualized. What sort of experiences do we share? What accesses to understand the phenomena danger music is there? What place can these seldom and special experiences of mine of quiet, calm and clearness have in danger music?

BACK

Antonin Artaud - French author and actor (2018), i: Encyclopaedia Britannica [online], Available at:https://www.britannica.com/biography/Antonin-Artaud [Accsessed 14.06.18].

Bale, K. og Bø-Rygg, A. (2008). Estetisk teori - En antologi. Oslo: Universitetsforlaget.

Bishop, C. (2012). Artificial Hells - Participatory Art and the Politics of Spectatorship. London og New York: Verso.

Bryen, T. (1995) Kropp og katharsis. Morgenbladet 02.06.1995.

Burke, E. (2001) A Philosophical Inquiry into Our Ideas of the Sublime and Beautiful. Bartleby [online]. Available at: https://www.bartleby.com/24/2/ [Accsessed at 10.01.18]

Cohen, E. (2008) Mosh Pit or Death Pit? Abcnews [online ], 07.05. Available at: http://abcnews.go.com/Health/story?id=4804513&page=1 [Accsessed 10.07.18].

Cope, D. (1981). New Directions in Music. Dubuque: Wm. C. Brown Company Publishers.

Danger Music (2017), i: Wikipedia [online]. Available at: https://en.wikipedia.org/wiki/Danger_music[accsessed 15.07.18].

Dolnick, S (2011) An Artist’s Performance: A Year as a Poor Immigrant. New York Times [online], 18.05. Available at: https://www.nytimes.com/2011/05/19/nyregion/as-art-tania-bruguera-lives-like-a-poor-immigrant.html[Accessed 05.06.18].

Douglas, K. (1999) Noise, Water, Meat: A History of Sound in the Arts. Massachusetts: MIT Press.

Freud, S. (1998). Det uhyggelige København: Forlaget politisk revy.

Gumbrecht, H. U. (2004) Production of Presence - What Meaning Cannot Convey. Stanford: Stanford University Press.

Hannerz, E. (2015) Performing Punk. New York: Palgrave Macmillan.

Hagerup, N. (2012). Sub Rosa - Det uhyggelige i William Blakes illuminasjoner «The SICK ROSE», «THE FLY» og «The Tyger». Masteroppgave. Oslo: Oslo universitet.

Hegarty, P. (2008) Noise/Music - A History. New York: Continuum.

Jasen, P. (2016) Low End Theory: Bass, Bodies and the Materialty of Sonic Experience. New York: Bloomsbury.

Kester, G. (2013). Conversation Pieces - Community and Communication in Modern Art. Berkely og Los Angeles: University of California Press.

Longinos (2007). «Diktningens storhet» i Klassisk litteraturteori. En antologi. Eiliv Eide, Atle Kittang og Asbjørn Aarseth (red.). Oslo: Universitetsforlaget.

Marinetti, F. T (1909) The Founding and Manifesto of Futurism. Le Figaro, 20.02, s.1

Moe, J.F. (2007) Kald blod og brutal lyst. Morgenbladet 23.11.2007.

Moncaleano, C. S. (2016). Gaze behaviors in serve returns: A comparison between high and intermediate-skill tennis players. Tallahassee: University Press of Florida.

Mosh (2015), i: Wikipedia [online]. Available at : https://no.wikipedia.org/wiki/Mosh[Accessed 04.07.18].

Okazaki, M (2006) Eye looks to tranquility after his contrived chaos. Japan Times [online], 09.06. Available at: https://www.japantimes.co.jp/culture/2006/06/09/music/eye-looks-to-tranquillity-after-his-contrived-chaos/#.Wsv0kNNubVo [Accessed 05.08.18].

Thompson, M. og Biddle, I. (red) (2013) Sound Music Affect - Theorizing Sonic Experience. London: Bloomsbury.

Wilkinson, D. (2014) Is Danger Music the most Punk Genre Ever? Noisey [online], 14.09. Available at: https://noisey.vice.com/en_uk/article/64ykj9/danger-music-is-the-most-punk-genre-ever[Accessed 04.07.18).

LITERATURE

HOME

Tip

Tip