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El Vj Y La Creación Audiovisual Performativa: Hacia Una Estética Radical De La Postmodernidad

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El Vj Y La Creación Audiovisual Performativa: Hacia Una Estética Radical De La Postmodernidad EL VJ Y LA CREACIÓN AUDIOVISUAL PERFORMATIVA: HACIA UNA ESTÉTICA RADICAL DE LA POSTMODERNIDAD Blanca Regina Pérez-Bustamante Yábar UNIVERSIDAD REY JUAN CARLOS Madrid, 2010 Nunca sabremos qué era lo social o qué era la música antes de su exacerbación presente en una imperfección inútil. Nunca sabremos qué era la Historia antes de su exacerbación en la perfección técnica de la información o su desaparición en la profusión de un comentario. Nunca sabremos qué era nada ántes de su desaparición en la fi nalización de su modelo... Así es la era del simulacro. Jean Baudrillard A la Sombra del milenio o el suspense del año 2000 Todos los artistas han extraído la mezcla al azar de las culturas y todos los movimientos musicales son combinaciones de otras culturas musicales. Nunca hay totalmente un nuevo movimiento estético en cualquier campo. Hay que generar todos estos movimientos, como si se desarrollaran diferentes criaturas de diferentes especies de apareamiento y dar a luz a otras criaturas y las que sean adecuadas para el medio ambiente sobrevivirán y se van a generar más y más cosas tal y como ha estado ocurriendo de forma naturas en las culturas desde que los seres humanos han existido. Matt Black, 2007 ÍNDICE PRESENTACIÓN: PARA UNA CONTEXTUALIZACIÓN DEL VJING y DEL AUDIOVISUAL LIVE 6 INTRODUCCIÓN: UNA APROXIMACIÓN A LOS MOVIMIENTOS CULTURALES CONTEMPORÁNEOS 27 CAPÍTULO 1: IMAGEN EN MOVIMIENTO Y POSTMODERNIDAD. LA CREACIÓN AUDIOVISUAL 46 1.1. Luces y sombras: La cámara oscura y la linterna mágica 47 1.2. Orígenes de la fotografía y desarrollo del arte de la proyección 65 1.3. De la imagen cinematográfi ca a la imagen con sonido 82 1.4. De las vanguardias cinematográfi cas a la postmodernidad 119 1.5. Cine digital 157 CAPÍTULO 2- ESTÉTICA DE LA MÚSICA CONTEMPORÁNEA: MÚSICA CLÁSICA, EXPERIMENTAL Y MÚSICA POPULAR. EL ORIGEN DE LA CULTURA DJ 165 2.1. La ruptura tonal: Schönberg y Messiaen 170 2.2. De la música eléctrónica y de la música experimental: Stockhausen y Cage 183 2.3. Las últimas vanguardias y la creación musical electrónica 204 2.4. Música en las ondas: las transformaciones de la música popular. El fenómeno DJ en la música: la producción , 217 reproducción y mezcla 2.5. La consagración de los DJ en la época de los años 60 y 70 del s. XX 229 2.6. Relaciones entre lo visual y lo sonoro: la sinestesia. 244 2.7. Las derivaciones de la música disco y la música electrónica popular 256 CAPÍTULO 3- MANIFESTACIONES VISUALES Y ARTÍSTICAS CONTEMPORÁNEAS: PERFORMANCE ART , VIDEOARTE, 266 TELEVISIÓN Y ARTE DIGITAL 3.1. Fundamentos del arte de la performance 267 3.2 El nacimiento del arte de la performance, del videoarte y el media art (1933-1969) 284 3.3. La consolidación del videoarte. Imágenes en movimiento (1963-1969) 305 3.4. Videoarte, arte de las ideas y generación de los media 330 3.5. Nuevos media, performance y videoarte (1990-2009) 374 CAPÍTULO 4. ESCENARIOS DE LA CULTURA VJ 378 4.1. La cultura VJ, la evolución de las performances audiovisuales y el arte contemporáneo 379 4.2. Coldcut: un grupo emblemático 395 4.3.Vjing como técnica y contexto para la creación audiovisual 412 4.3.1. Otras manifestaciones concretas del contexto VJ 418 4.4. Teoría y práctica del VJ 457 4.4.1. DJ y VJ: compatibilidades y especialidades. 457 4.4.2. El VJ entre la imágen y el sonido 463 4.4.3. El mensaje político, el cambio tecnológico y el cambio generacional 465 4.4.4. Vjing y tecnología 469 4.4.5. Creatividad, escenarios y perspectivas culturales 471 CONCLUSIONES 474 ANEXO 1: BREVE REFERENCIA CREATIVA Y RELACIONAL DE LA AUTORA 487 ANEXO 2: ENTREVISTAS A VJ Y AUDIOVISUAL PERFORMERS 495 Entrevista nº 1. Entrevista a Matt Black de Coldcut (Londres, Junio 2007) 495 Entrevista nº 2. Entrevista a Jonathan More de Coldcut (Londres, Agosto 2007) 497 Entrevista nº 3. Entrevista a Eclectic Method (Festival RECMADRID, Madrid 2009) 504 Entrevista nº 4. Entrevista a Graham Daniels Addictive TV (Londres, Febrero 2008) 506 Entrevista nº 5. Entrevista a Mia Makela aka Solu ( Madrid, junio 2007) 508 Entrevista Nº 6. Entrevista a Olga Mink ( online. octubre 2009) 510 Entrevista Nº 7. Entrevista a Ben Sheppee ( online. noviembre 2009) 514 Entrevista Nº 8. Entrevista a Servando Barreiro (online. abril 2010) 520 BIBLIOGRAFÍA 522 PRESENTACIÓN PARA UNA CONTEXTUALIZACIÓN DEL VJING Y DEL AUDIOVISUAL LIVE El presente trabajo tiene como principal objetivo el estudio del lenguaje y la 1 Live video traducido como vídeo en 1 vivo o vídeo en directo (streaming técnica de live video , así como la presentación de la cultura VJ o fenómeno vjing, media). en relación con la imagen en movimiento, el sonido, la realización de audiovisuales, performances e instalaciones en la producción contemporánea, y también pretende presentar la cultura VJ en la escena audiovisual, desde fi nales del siglo XX hasta la primera década del siglo XXI, así como sus relaciones y derivaciones en la cultura audiovisual y en el arte. La cultura audiovisual en la que se genera el videoarte, el live cinema y el fenómeno vjing se ha convertido en objeto de atención científi ca, económica y social dada la riqueza de las prácticas establecidas y su condición de área emergente, fundamentada en la interoperabilidad entre el sonido, la imagen, concepto y/o texto, convirtiéndose en uno de los más usuales lenguajes de expresión de la actualidad. Su condición de área se fundamenta en la creciente ubicuidad de los medios digitales combinada con los avances y el desarrollo de las tecnologías que implican una democratización de las herramientas para la comunicación y producción de imagen y sonido. Es así que los teóricos de los medios de comunicación como Manovich vinculan el desarrollo de las tecnologías con la creación artística y atribuyen a las nuevas tecnologías la condición de fetiche en la creación artística que condiciona la estética 6 postmoderna, si bien inmediatamente se puede precisar que las herramientas por 2 “What a VJ is not: •A VJ (video/visual jockey) is not an MTV personality. •A VJ sí mismas no pueden separarse de las aptitudes creativas, de los conocimientos e is not a net artist. •A VJ is not a visual intersensibilidades que defi nen a los que realizan las prácticas creativas. En todo DJ. •A VJ is not susceptible to computer crashes (i.e. believes in the power of caso, el desarrollo tecnológico y en gran medida, su consecuencia, el desarrollo positive thinking). de las artes visuales, se ha constituido en un discurso actual en el mundo de la What a VJ could be: •A VJ could be a hyperimprovisational narrative artist cultura y de la academia, pero también en el mundo de la empresa y el mundo who uses banks of quicktime movie político si consideramos que la utilización de los audiovisuales y las técnicas del clips to construct on-the-fly stories composed of images processed in vídeo, del videoarte, del live cinema y del vjing pueden participar en la denuncia asynchronous realtime and through de los defectos y de los errores de nuestra civilización, todo ello favorecido además various theoretical and performative filters. •A VJ could be a creative writer por la evolución del lenguaje, la accesibilidad y democratización de la tecnologías who manipulates matter and memory audiovisuales. by composing live acts of image écriture repositioning the movie loop as the primary semantic unit of energy. Es evidente que estamos ante nuevas técnicas, nuevas estéticas, nuevas ideas, •A VJ could be a Tech*know*mad nuevos instrumentos y nuevos públicos frente a las más actuales prácticas del mundo whose fluid Life Style Practice captures consciousness in asynchronous audiovisual que han permitido el desarrollo de un arte ya plenamente integrado realtime and is forever being remixed en nuestro mundo presente, cuya sostenibilidad ya no esta ligada a los activos del into One Ongoing Text Exactly •A VJ could be a (h)activist provocateur pasado, aunque requiere fundamentarse precisamente en la construcción artística who knowingly intervenes in the main elaborada a lo largo de nuestro mundo moderno, postmoderno, altermoderno para stream art, club and cinema culture and opens up new possibilities for convertirse con mayor capacidad en la verdadera expresión de nuestro tiempo. hybridized art and entertainment events.” Mark Amerika, extracto de Por todo ello, trataremos de introducir el concepto, las técnicas y el lenguaje del Portrait of the VJ, Universidad de 2 Colorado, Departamento de Arte e sonido y de la imagen para fi nalmente abordar la fi gura del VJ , compositor de live Historia del Arte, University of Chicago cinema y performer audiovisual, y su vinculación con las transformaciones más Press, 1998. contemporáneas de la postmodernidad y del arte actual, ante lo cual, primeramente prestaremos la mayor atención a los dos grandes escenarios que constituyen la imagen y el sonido para continuar con la construcción artística del audiovisual, la emergencia y el desarrollo de las performances y la construcción del nuevo mundo de la creación audiovisual y su vigencia y desarrollo. 7 Como señala Marius Watz: “Cuando la mayoría de la gente oye la palabra VJ piensan 3 Marius, Watz, “More points on the chicken: and new directions in en alguien que mezcla los vídeos de la misma forma que un DJ mezcla la música […] improvised visual performance” en Los mejores VJ son capaces de crear relatos improvisados, espacios arquitectónicos o vE-jA: Art +Tecnology of Live Audio- Video, eds. Xárene Eskandar y Prisna una experiencia fílmica única. El peor VJ recicla material encontrado y aplica fi ltros de Nuengsigkapian, 2006. manera incesante sin añadir información adicional o la fi rma única de la obra”.3 4 Paul Spinrad y Melissa Ulto, The VJ Book: Inspirations and Practical Advice Parece evidente que la creatividad en el vjing, live cinema, y performances for Live Visuals Performance, Feral audiovisuales se consolida en la primera década del presente siglo XXI, en el que House, 2005.
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