RADIO PAPESSE asked artists, musicians and radio producers to let them listen to their idea of the ‘sound of the revolution’
Re-designed sounds, ready sounds like readymade, a short walk through the sounds of everyday life…Can we apply the duchampian readymade praxis to sound? Objects delocated and decontextualised assume a new identity: the process of taking elements from a precise reality and recomposing them in a new vision, capable of disorienting; the meaning of things is in itself revolutionary:a sound, a noise, a voice out of its proper context assume a new identity, the acoustuc identity that we associate to a sound by habits starts to vacillate…This is the quiestion I tried to answer to the radio papesse call: Is it licit to apply the duchampian readymade praxis to an acoustic dimension? Can the elaboration of an acoustic event/casuality be considered an extension of the duchampian ready made?
Capturing an acoustic element, isolate it from its natural atmosphere; operating a debordian détournement; freeing the notes fitted in their “proper” sound action; is it legitim to “steal” a sound, a READY SOUND from its enviorement; in order to employ it in other actions and let it play somewhere else? Can we compare the overcoming of the duchampian retinal space to the overtaking of the acoustic dimension?