Francois J. Bonnet Orden de los libros (cronológico)

This is not a study. It is a manifesto for a peculiar conviction: that music remains to be discovered, that it is still hidden. That, nonetheless, it does sometimes appear, but most often incompletely and unevenly. And that what we have hitherto referred to as “music” is in fact only a preliminary, a prodrome. That all musics produced up until now have been nothing but simulacra, rituals to call music forth. This may sound crazy, and indeed unwelcome. But the sole concern of the following text will be to make this statement legible, understandable, and perhaps even to some extent acceptable. Its hope is that, setting out from a few intuitions, the possibility of a music to come can be formulated. That this obscure becoming will emerge, one trait at a time; that the shape of this music to come will reveal itself, gradually, by way of a cluster of assumptions, the reading of a multiple history, and the examination of damaging paradigms that have taken music far from itself. That the subjectivity of a writing, with all of its beliefs, its errors, its biases, its injustices and its shaky certainties, may yet manage to cast a singular and inspiring light upon the idea of music―this, ultimately, is the ambition of the lines to come.

This book serves as both a prism and a manual, following the traditional arc of electroacoustic composition: listen, record, compose, deploy, and feel. Each contribution focuses on a personal aspect of sonic and musical experimentation. While "experimental music" is often seen as a genre or style, it is essential to remember its original meaning, which emphasizes an approach rather than a specific aesthetic. The essence of the experimental lies in the spirit of exploring unknown territories and inventing new ideas, viewing musical composition as a journey into uncertainty rather than a safe endeavor within well-mapped areas. The content includes diverse contributions from various artists, each offering unique insights into the realm of sound and music. Topics range from recording techniques and non-human listening to the philosophical implications of sound and the nature of time. The contributions explore the relationship between sound and perception, the acousmatic experience, and the spaces of the mind, emphasizing the importance of immersion and perspective in understanding sound. Overall, the book invites readers to engage with the experimental spirit, encouraging a deeper exploration of the sonic landscape.