Suchergebnisse

It has been roughly six months since my family and I started our quarantine in João Pessoa, Brazil, and to this day we are still at home trying to avoid physical proximity with people from outside. As Italian immigrants (proudly not "expats") in Latin America, we experienced two main phases of the Covid-19 global crisis: in March and April, with shock and despair, we were following the daily death bulletins coming from Italy; from May onwards, the progressive easing of the situation in Italy coincided with the escalation of contagions and deaths in Brazil. In this essay, written from one of the current epicentres of the pandemic, I draw upon Achille Mbembe and Denise Ferreira da Silva in order to reflect both on the necropolitical governmental machine that literary seems to extract pleasure from this sustained tragedy, and on the self-destructive colonial logic that inscribes the ongoing trivialisation of deaths in Brazil. I discuss the self-inflicted racialised logic that makes such a reasonment possible and diffused, as well as the multiple layers of whiteness and privilege that permit the naturalisation and oblivion of these deaths both from internal (Euro-descendant) and external points of view. I conclude the essay by making reference to my track 107 jorna (107 days), written on the last 1 July (and to be premiered online by the Glasgow-based Lights Out Listening Group), where I combine Sicilian speech and electronic noise in order to articulate my own astonishment, impatience and indignation with the current situation.

In this essay, I reflect on my experience of social/physical distancing in Brazil, one of the current epicentres of the COVID-19 pandemic. I draw upon Achille Mbembe and Denise Ferreira da Silva to explore how necropolitics underpins the Brazilian Government's response to the crisis, framed by a colonial and racialised logic that privileges whiteness and trivialises the deaths of Brazilians. I conclude the essay by making reference to my track107 jorna(107 days), written on 1 July (and premiered online by the Glasgow-based Lights Out Listening Group), where I combine Sicilian speech and electronic noise in order to articulate my own astonishment, impatience and indignation with the current situation.

La iniciativa del Sur de Italia conocida como CompraSud (literalmente: "Compra Sur") es compleja, heterogénea y contradictoria e comprende campañas de medios sociales, movimientos sociales, pequeñas iniciativas de "startup" y peticiones callejeras. El principal objetivo de CompraSud es debilitar la hegemonía nacional de los productos fabricados en el norte de Italia. Como parte de sus actividades, las diferentes agendas de CompraSud promueven boicots de productos del Norte vendidos en todas las regiones italianas, como el tradicional pastel navideño conocido como "panettone". Es importante destacar que varios grupos de CompraSud se esfuerzan por ofrecer una justificación racional y una autoridad intelectual a sus acciones al citar una serie de trabajos académicos. En este artículo, afronto la intrincada red de trampas discursivas inherentes al complejo corpus textual asociado a las agendas de CompraSud, para identificar las visiones geopolíticas y económicas implicadas en la iniciativa. A partir de la teoría de Joseph Pugliese de la "frontera" italiana entre Norte e Sur como un eje geopolítico racializado, trato de descifrar las implicaciones de coloniales de CompraSud, considerando también las tensiones producidas dentro de la iniciativa a nivel nacional y regional. Posteriormente, tomo en cuenta la alianza entre Sur de Italia y África propuesta por los activistas mediante la apropiación de los discursos políticos anticoloniales de Patrick Lumumba y Thomas Sankara, resignificando el imaginario tradicional producido sobre la región. A nivel nacional, finalmente, considero las fricciones (y confusiones) entre las agendas de liberación territorial y la promoción de empresas locales privadas incluidas en la iniciativa. ; The Southern Italian initiative known as CompraSud (literally: "Buy South") is a complex, heterogeneous, and contradictory heading that comprises social media campaigns, activist movements, small-scale start-up initiatives, and street petitions. The principal aim of CompraSud is weakening the national hegemony of goods manufactured in the Northern Italy. As part of their activities, the various CompraSud agendas promote boycotts of Northern goods that have become widespread in all Italian regions, such as the traditional Christmas loaf known as "panettone". Importantly, various CompraSud groups make an effort to provide rational justification and intellectual authority for their actions by citing a range of academic works. In this article, I work my way through the intricate web of discursive trappings inherent to the complex body of textual materials associated with CompraSud agendas, in order to identify the specific geopolitical and economic visions implied in the initiative. Drawing upon Joseph Pugliese's theory of the Italian North/South "border" as a racialized geopolitical axis, I try to decipher the decolonial implications of CompraSud, also considering the tensions produced within the initiative at national and regional levels. Subsequently, I take account of the conflation between Southern Italy and Africa envisaged by the activists using anti-colonial political discourse by the likes of Patrick Lumumba and Thomas Sankara, which has the effect of appropriating and signifying traditional images of the región produced at the national level. Finally, I consider the frictions (and confusions) between territorial liberation agendas and the promotion of private local enterprise embedded in the initiative. ; peerReviewed

International audience ; How can an intellectual project, centred on the revindication of one's peripheral identity, be based on a privileged, ethnocentric corpus of (extra)musical practices and rituals-described as "experimental", "new" or "contemporary"-that is inevitably imbricated with impalpable and yet perniciously operative notions such as "erudite", "classical", "Western", "European", etc.? On the one hand, self-determination activism and avant-garde music may both be seen as forms of symbolic production characterised by situations of substantial political isolation. On the other hand, claims for territorial and ethnic liberation may clash with the not-so-implicitly Eurocentric, white, aristocratic premises upon which the whole "erudite music" rubric is predicated. In addition, as someone born and grown up in the Southern fringes of Europe, who has lived and worked both in Northern Europe and South America, I also need to acknowledge the slippery nature of my supposed peripherality, always suspended between the racialised stereotypes traditionally assigned to Sicilians and the privileged condition of a white EU passport holder. ; Como pode um projeto intelectual, centrado na reivindicação da própria identidade periférica, ser baseado em um corpus privilegiado e etnocêntrico de práticas e rituais (extra)musicais-definidos como "experimentais", "novos", e "contemporâneos"-que è inevitavelmente imbricado com as noções, impalpáveis e mesmo assim operativas, de "erudito", "clássico", "ocidental", "europeu", etc.? Por um lado, o ativismo pela autodeterminação e a música de vanguarda podem ambas ser vistas como formas de produção simbólica, caracterizadas por situações de substancial isolamento político. Por outro lado, reivindicações de independência territorial e étnica podem chocar com as premissas eurocêntricas, brancas e aristocráticas nas quais todo o conceito de "música erudita" se sustenta. Outrossim, como sujeito nascido e criado no extremo sul da Europa, que têm morado e trabalhado tanto no Norte da ...

International audience ; How can an intellectual project, centred on the revindication of one's peripheral identity, be based on a privileged, ethnocentric corpus of (extra)musical practices and rituals-described as "experimental", "new" or "contemporary"-that is inevitably imbricated with impalpable and yet perniciously operative notions such as "erudite", "classical", "Western", "European", etc.? On the one hand, self-determination activism and avant-garde music may both be seen as forms of symbolic production characterised by situations of substantial political isolation. On the other hand, claims for territorial and ethnic liberation may clash with the not-so-implicitly Eurocentric, white, aristocratic premises upon which the whole "erudite music" rubric is predicated. In addition, as someone born and grown up in the Southern fringes of Europe, who has lived and worked both in Northern Europe and South America, I also need to acknowledge the slippery nature of my supposed peripherality, always suspended between the racialised stereotypes traditionally assigned to Sicilians and the privileged condition of a white EU passport holder. ; Como pode um projeto intelectual, centrado na reivindicação da própria identidade periférica, ser baseado em um corpus privilegiado e etnocêntrico de práticas e rituais (extra)musicais-definidos como "experimentais", "novos", e "contemporâneos"-que è inevitavelmente imbricado com as noções, impalpáveis e mesmo assim operativas, de "erudito", "clássico", "ocidental", "europeu", etc.? Por um lado, o ativismo pela autodeterminação e a música de vanguarda podem ambas ser vistas como formas de produção simbólica, caracterizadas por situações de substancial isolamento político. Por outro lado, reivindicações de independência territorial e étnica podem chocar com as premissas eurocêntricas, brancas e aristocráticas nas quais todo o conceito de "música erudita" se sustenta. Outrossim, como sujeito nascido e criado no extremo sul da Europa, que têm morado e trabalhado tanto no Norte da Europa, quanto na América do Sul, eu devo também reconhecer a natureza ambígua da minha suposta perifericidade, que está sempre suspensa entre os estereótipos racializados dos sicilianos e a condição privilegiada de um branco europeu.

International audience ; One of the US-owned Mobile User Objective System (MUOS) installations was projected and built in Sicily, near Niscemi. Since 2012, NO MUOS activists have excogitated various forms of protest that are reminiscent of artistic performances and identitarian rituals. Additionally, a number of creators/performers across different art forms have supported the movement by referring to the NO MUOS resistance in their work. This article seeks to explore the connection between protest and performance in the symbolic practices staged within and outside the picket line. I argue that these protests/performances possess an identitarian content that points to the reclamation of Sicily's sovereignty against the hysteric militarisation of an imaginary North/South border in the Mediterranean. ; Uma das instalações do Mobile User Objective System (MUOS), de propriedade dos EUA, foi construída e instalada na Sicília, perto do município de Niscemi. Desde 2012, ativistas do movimento NO MUOS (Não Muos) excogitaram várias formas de protesto que lembram performances e rituais identitários. Ao mesmo tempo, vários artistas suportaram o movimento fazendo referência à resistência do NO MUOS nas suas obras. Este artigo pretende estudar a conexão entre resistência e performance em práticas simbólicas encenadas dentro e fora dos atos de protesto. Eu sugiro que esses protestos/performances possuem um conteúdo identitário que tem a ver com a reclamação da soberania da Sicília face à militarização histérica duma fronteira imaginária entre o Norte e o Sul do Mediterráneo.

International audience ; One of the US-owned Mobile User Objective System (MUOS) installations was projected and built in Sicily, near Niscemi. Since 2012, NO MUOS activists have excogitated various forms of protest that are reminiscent of artistic performances and identitarian rituals. Additionally, a number of creators/performers across different art forms have supported the movement by referring to the NO MUOS resistance in their work. This article seeks to explore the connection between protest and performance in the symbolic practices staged within and outside the picket line. I argue that these protests/performances possess an identitarian content that points to the reclamation of Sicily's sovereignty against the hysteric militarisation of an imaginary North/South border in the Mediterranean. ; Uma das instalações do Mobile User Objective System (MUOS), de propriedade dos EUA, foi construída e instalada na Sicília, perto do município de Niscemi. Desde 2012, ativistas do movimento NO MUOS (Não Muos) excogitaram várias formas de protesto que lembram performances e rituais identitários. Ao mesmo tempo, vários artistas suportaram o movimento fazendo referência à resistência do NO MUOS nas suas obras. Este artigo pretende estudar a conexão entre resistência e performance em práticas simbólicas encenadas dentro e fora dos atos de protesto. Eu sugiro que esses protestos/performances possuem um conteúdo identitário que tem a ver com a reclamação da soberania da Sicília face à militarização histérica duma fronteira imaginária entre o Norte e o Sul do Mediterráneo.

International audience ; Luigi Nono è stato uno dei compositori più importanti del XX secolo, sia in Italia che all'estero. Esponente della "Scuola di Darmstadt" negli anni '50, insieme a compositori del calibro di Boulez e Stockhausen, Nono coniugò costantemente la sua attività di compositore con un'intensa militanza politica ed intellettuale, attestata per esempio dalla sua candidatura con il Partito Comunista Italiano alle elezioni politiche del 1963, o dall'incarcerazione ed espulsione dal Perù nel 1967, a seguito di dichiarazioni scomode, rilasciate durante un intervento all'Universitàdi Lima, a favore dei guerriglieri uccisi e imprigionati dalla Guardia CiviL. Lavorò moltissimo su testi di Pavese, tra gli altri, e poi dalla metà degli anni '70 cominciò a collaborare intensamente con Massimo Cacciari. Il testo esaminato in questo lavoro è una trascrizione dell'intervento di Nonoad una conferenza ad Avellino (Auditorium del Conservatorio Statale "D. Cimarosa"), risalente al 15 giugno del 1978. L'intervento, intitolato Musica e massa popolare, è stato pubblicato postumo nella raccolta di saggi L'ascolto del pensiero, e contiene un raro esempio della visione del Mezzogiorno del compositore. Il testo, che presenta evidenti influenze gramsciane, affronta il problema del ruolo dell'intellettuale e del compositore nei confronti della massa popolare, in contrasto con la subalternità imposta su quest'ultima da sovrastrutture culturali associate al sistema capitalistico, e nella direzione di un superamento del concetto stesso di massa a favore del concetto di socializzazione.

Nzikitanza for accordion, violin, cello and tape was written in 2012 as a reflection on the deployment of Sicilian territory for NATO and US military operations. In particular, the piece was inspired by the then newly formed resistance committee against the MUOS in Niscemi. This brief commentary will illustrate a priori and a posteriori reflections on the status of the piece as a contribution to forms of antagonistic culture.

International audience ; This paper documents the composition and performance of two rare examples of pieces that use Sicilian poetry as their textual material, namely, Emanuele Casale's Composizione per voce (1997), written on a contemporary poem by Catanian poet Biagio Guerrera, who also premiered the piece in 1998; and my own composition Senza cialoma, on a selection of 19th century Sicilian street poems, premiered in 2013 by the Gnu ensemble. A variety of materials, ranging from interviews with the musical composers to programme notes, weblogs and personal correspondence, is used as evidence alongside the content of the musical works, in order to explore the political implications of composing music in Sicilian

International audience ; This paper documents the composition and performance of two rare examples of pieces that use Sicilian poetry as their textual material, namely, Emanuele Casale's Composizione per voce (1997), written on a contemporary poem by Catanian poet Biagio Guerrera, who also premiered the piece in 1998; and my own composition Senza cialoma, on a selection of 19th century Sicilian street poems, premiered in 2013 by the Gnu ensemble. A variety of materials, ranging from interviews with the musical composers to programme notes, weblogs and personal correspondence, is used as evidence alongside the content of the musical works, in order to explore the political implications of composing music in Sicilian

Between the end of May and the beginning of June, 2020, we performed individually, filmed, synced together, edited and presented a quarantine version of John Cage's Cartridge Music. Uploaded on YouTube, the performance was broadcast on 1 June, as part of the 4th Research Colloquium of the Postgraduate Programme in Music of the Federal University of Paraíba. Stranded at home since March, unable to reach our respective faculty offices/studios, and mostly left with domestic gear, kitchenware, sound-producing car equipment and our children's toys, we put together an emergency version of the piece, characterised by three dramatically different setups, each with its own spatialities and soundworlds. Importantly, our use of the signifier "emergency" here is meant to refer much more to the concrete condition of our existences in this particular situation, than to the contingential circumstances of this specific musical activity. In this paper, we discuss the piece by considering its preparation, performance, presentation the (de-)territorialisation of performance and on the territorial metaphors embedded in collaborative artistic interaction, we question the notions of "place" and "venue" in the context of a collective performance that happened in three different locations and of a subsequent première that did not happen in any tangible physical place at all. However, and in spite of the substantial de-territorialisation of our gig, we also consider a set of persisting spatial narratives that inscribe the performance in terms of both visually and aurally perceptible power relations. Finally, considering the inherent criticalities of the field(s) of "experimental", "avant-garde" or simply "contemporary" music, we assess the gains and losses of such a dematerialised and yet ubiquitous performance in terms of audience participation and appreciation.

Part of the recent developments in Ubiquitous Music (ubimus) research involve the proposal of the Internet of Musical Stuff (IoMuSt) as an expansion and complement to the Internet of Musical Things (IoMusT). The transition from IoMusT to IoMuSt entails a critique of blockchain and non-fungible tokens (NFTs) as technologies for allotment, disciplination and regimentation of formerly open and freely accessible artistic web content. In brief, the replacement of the operative concepts constructed around "things" with strategies based on "stuff" highlights the underlying interconnected processes and factors that impact interaction and usage, pointing to resources that become disposable and valueless within an objectified and monetized musical internet. This conceptual and methodological turn allows us to deal with distributed-creativity phenomena in marginalized spaces, highlighting the role of resources that are widely reproducible, fluid and ever-changing. In this paper, we address IoMuSt-based responses to issues such as the artificial production of scarcity associated with the application of NFTs. The selected musical examples showcase the meshwork of dynamic relationships that characterizes ubimus research. In particular, we focus on a comprovisation project involving VOIP visual communication through Skype, Meet and Zoom, a ubimus experience involving a Telegram chatbot and a set of musical experiments enabled by an online tool for remote live patching.