Mouchette, Robert Bresson, 1967

Mouchette: Girl, Interrupted

By Robert Polito

“Between thought and expression”—as Lou Reed wrote in the Velvet Underground song “Some Kinda Love”—“lies a lifetime.” Mouchette, and maybe all Robert Bresson’s inexhaustible, majestic films, transpire in that puzzling space “between,” that incalculable “lifetime.” How, for instance, does a director as visually acute as Bresson and so insistent on “the resources of cinematography and the use of the camera to create” also imply the urgency of the unseen, the ineffable, the otherworldly? How does a filmmaker so attentive to metaphysical demands honor the press of our physical existence, whether everyday or tragic? The marvel of Mouchette inheres in the elegance, obstinacy, and capaciousness of Bresson’s double-mindedness. A rape edges into tenderness, suicide emerges as at once holy and appalling, and scene upon scene invokes, simultaneously, spiritual despair and an afterlife.

Mouchette (1967) was Bresson’s final black-and-white film before he switched over to color for Une femme douce, in 1969. And there are vestiges throughout of the mournful, formally exacting work he created during the 1950s and 1960s, as well as intuitions of the tonal complexity and even fiercer pessimism that infused his late style. Mouchette herself is at least as solitary as Michel in Pickpocket (1959), and her village proves as claustrophobic as Fontaine’s prison cell in A Man Escaped (1956). Like Diary of a Country Priest (1951),Mouchette tracks hereditary alcoholism in the “malicious” French countryside, and Bresson adapted both movies from novels by Georges Bernanos, a gifted exponent of what he designated “Catholic realism” and also the author of the libretto for the Francis Poulenc opera Dialogues des Carmelites. Shooting on Mouchette started soon after Bresson finished Au hasard Balthazar (1966), and Mouchette seems a combination of the suffering Marie and the donkey, Balthazar, much as the hunting (rabbits) and poaching (partridges) episodes once again analogue human and animal misfortunes.

Yet Mouchette registers a departure from early Bresson as much as a summing up. Philosophically, or theologically, suicide no longer arises as inevitably redemptive, as purely (in novelist Dennis Cooper’s tense phrase) “a tragic segue into the comforting delusion of heaven.” Mouchette foretastes the desperate convulsions of Bresson’s last films, The Devil, Probably (1977) and L’argent (1983). There are also prickly cinematic variations and reversals. A distinguishing gesture of A Man Escaped, Pickpocket, and especially Diary of a Country Priest involved the repetition, sometimes the tripling, of an event—we see a close-up of a handwritten notebook page; then listen as a voice-over speaks the words; finally, someone performs the actions we have just heard and read. For Mouchette, Bresson folded this stylistic signature inside out, and instead of reiteration advanced a sort of stutter step, often signaled by a disruption of image and sound.

A brief prologue introduces this oblique sound-image design and lodges a story line in the form of a question. The scene, the film in miniature, enacts a riddle of presence and absence. A woman we later recognize as Mouchette’s dying mother abruptly sits before us, crying, talking. “What will become of them without me?” she asks. “I can feel it in my breast. It’s like a stone inside.” The woman rises, but Bresson’s camera, instead of following her, stays fixed on the spot she has just departed, inside—we now discern—a church. Against the vacant frame we hear the loud click-clack of her shoes as she walks away, and then Claudio Monteverdi’s Magnificat. The rest of the film tracks a reply to her tearful inquiry, perhaps her prayer, about the fate of her family, particularly her daughter Mouchette. But on subsequent viewings, after we understand who the woman is and her situation, cruxes still abound. The “stone” indicates her fatal physical illness, yet isn’t the word also emblematic of the adamantine misery that numbs her family, the entire town? Does the empty frame betoken, as the Magnificat hints, her ascent into heaven? Or do empty frames anticipate greater, possibly eternal, emptiness, as the disappearing footsteps suggest? She can’t go on with the world, the prologue further proposes, yet the world can go on without her.

Mouchette arranges a disquieting mix of naturalism and disorientation. The vistas of the film look matter-of-factly impoverished, brutal, and desolate, but Bresson recurrently shuns transitions, radiates noises—voices, trucks, a baby—independent of visual sources, and insinuates reactions prior to causes. “The ear goes more toward the within, the eye toward the outer,” Bresson remarks in Notes on a Cinematographer. “The eye (in general) superficial, the ear profound and inventive.” Like her mother, and as if in prediction of her suicide, Mouchette tends to exit the frame before Bresson cuts to the next shot, though from the outset she comes across as earthy rather than ethereal, her body hugging the ground, as when she crouches along a roadside to toss mud at her classmates, stomps her feet in a puddle, grinds dirt into a fancy carpet, or rolls downhill into a pond. In her oversize clogs, Mouchette always seems off-kilter, as Bresson’s strategy of low shots—legs, hands, skirts, shoes—disorders her childhood. Even her time line is unsteady—the music during the bumper-car interlude at the local fair secures a 1960s setting, but inside her destitute house it might as well still be World War II.

The coordinates of Mouchette are drinking and male power. Mouchette’s father and brother haul contraband liquor and grimly toast in celebration of their delivery. Alcohol is consumed before and after Sunday worship. The poacher, Arsène, drains his canteen of gin when he rapes her, and his bloody fight with Mathieu, the gamekeeper, dissolves into amiable imbibing. Her mother asks for gin on her deathbed, then warns Mouchette, “Make sure you never get taken in by lazy workmen or drunks.” In his novel, Bernanos links the rape to her other travails as the child of a dipso­maniac: “It was like one of those endless nightmares of uniform horror which, as a real alcoholic’s daughter, she often had to endure throughout a whole night and whose full memory only really came back much later, at supper time, when she had carried it with her all day like an invisible animal attached to her body.”

Sexual aggression and masculine bluster infect the countryside like a congenital defect. Early on, some boys expose themselves to Mouchette, and later call her “rat face.” Her father shoves her twice, first into church, and then as she flirts with a young man at the fair. Mathieu trails Arsène not so much for his illegal traps and snares as for their rivalry over Louisa, a dour bartender. There is a mechanical core to this antic, destructive motion—Mouchette’s father keeps on driving after he has collapsed onto his bed, improvising a steering wheel from his cap. The women of the town, too, absorb this lurid poison. “Little slut,” a shopkeeper snaps at Mouchette, observing the telltale scratches on her chest.

For Mouchette, love, sex, empathy, service, humiliation, and force are all bound up together. Although a child, she functions as caretaker for her family, yet she is an unseasoned, lackadaisical steward, spilling coffee and milk, and sloppily swaddling her baby brother. Her response to her mother’s death is to fall asleep. Bernanos renders Mouchette’s encounter with Arsène as a continuation of the cruelty she suffers at home: “In her child’s mind, the memory of that violence was somehow mixed with that of many others, and her reason could scarcely distinguish it from her father’s savage beatings.” But Bresson’s bleaker vision here always sees double. He deftly affirms Arsène as an alternative to her domestic violations, as well as their latest installment. Arsène manifestly wishes to protect Mouchette, even as he attacks her. She identifies with Arsène’s troubles and his revolt, hugging him finally while he struggles on top of her.

From the drinking to the violence, the strangled birds to the wounded rabbits, Mouchetteinscribes a fever dream. Long shots that overwhelm the human actors with landscape play against close-ups that block perspective. Inside and out, there is always a “cyclone,” as Arsène and Mouchette naively tag the storm that agitates their world. Mouchette apprehends her future in the hunted creatures, but also in Louisa’s drudgery, her mother’s sickness, and Arsène’s shame. Her parents, the teacher who yanks her by the neck over to the piano as though she were one of Arsène’s partridges, the old women who demean and mortify her, Mathieu—the figures of ostensible authority are suspect, tainted, their morality indistinguishable from neurosis, terror, and self-delusion.

Mouchette twice tries to tell her mother what happened to her with Arsène during her night in the woods, but each time she stops, interrupted by a crying baby and by her mother’s passing. Because of her suicide, Mouchette’s life is another interrupted story—and Bresson doesn’t show us an image of her body entering the water, recording instead the sounds of her splash. The Magnificat returns as the camera lingers over the space that she, like her mother at the start of the film, has now vacated, an empty frame. Once again, we might view this as Mouchette’s release, as a gift, but if her death is akin to grace, Bresson never lets us forget that her suicide is also desperate, pathetic, a dead end.

A poet and essayist, Robert Polito is the author of Savage Art: The Biography of Jim Thompson, which received the National Book Critics Circle Award in biography, among many other books.


Asatoma Ma Sadgamaya Mantra

Asato ma sadgamaya tamaso ma jyotirgamaya mrtyorma amrtam gamaya

 Lead me from the asat to the sat. Lead me from darkness to light. Lead me from death to immortality. (Brhadaranyaka Upanishad — I.iii.28) This is true prayer—the seeker’s admission of his sense of limitedness and his heartfelt cry for assistance in transcendence. It is not a prayer for the things of the world. It is not a pray for food, shelter, health, partnership, riches, success, fame, glory or even for heaven1. One who recites these three mantras has realized that such things are full of holes, soaked in pain and, even in abundance, will forever leave him wanting. It is in this full understanding that one turns to this prayer. The essence of each of these three mantras is the same: "O, Guru, help me free myself from my sundry misunderstandings regarding myself, the universe and God and bless me with true knowledge." It is in this spirit that people throughout the world are regularly chanting these mantras, and in which they are chanted twice daily at Amma’s ashrams—both at the conclusion of the morning arcana and after the evening arati. The first mantra—asato ma sadgamaya—means, "Lead me from the asat to the sat." In fact, it is best to not translate sat (nor its negative counterpart asat) for, as with many Sanskrit words, sat has many meanings and not only are most of them applicable here, their deliberate combined import provides a depth that no one of them could hold independently. These co-applicable meanings include: existence, reality and truth. (Co-applicable meanings for asat being: non-existence, non-reality and untruth.) We often speak of religion or philosophy as a search for Truth. But only in India’s philosophy of Advaita Vedanta has the concept of "truth" been so meticulously and successfully dissected. According to Advaita, for something to be considered true in the ultimate sense, it must be true not just at one given moment, but always be true—true in all three periods of time: the past, present and future. In fact, Advaita goes one step further. It says if something does not exist in all three periods of time that it does not truly exist, it is not ultimately real. Thus, truth, existence and reality are one and the same. That reality, Vedanta says, is what we call God. The universe and its things are in a constant state of change. The planets are in constant motion, their positions in relation to each other and the other astral bodies are in continuous flux. The seasons similarly are ever-shifting. Scientifically, we can easily understand that our bodies (and the cells within them) come into existence, are born and then go through periods of growth, sustenance, deterioration and death. In fact these six modifications are part-and-parcel of everything in creation. On the level of emotions, we move back and forth between happiness, sorrow and anger. Even our intellectual convictions rarely stay fixed for very long. So, according to Vedanta, we cannot call this world ultimately real. It is not ultimately true. Ultimately, it does not exist. It seems real etc. but it is not. Such a thing is called asat. The seeker giving voice to this prayer has come to understand the finite nature of all the objects of the world, and he wants the Guru to guide him from the asat to the sat. He is fed up with depending on things that are not real. Why? Because just as the sandcastle is always washed away by the tide, dependence on the asat always ends in pain. Sat is our True Self—the blissful consciousness that ever was, is and ever will be. Being beyond time, this consciousness can never be washed away by the time’s tides. In fact, sat is there as the essential part of all of the asat objects. It is a matter of separating the wheat from the chaff, as it were. When speaking about the ultimate reality, Sages say it is of the nature of sat-cit-ananda: pure existence, pure consciousness and pure bliss. The second mantra—tamaso ma jyotirgamaya—means "Lead me from darkness to light." When the Vedas refer to darkness and light, they mean ignorance and knowledge, respectfully. This is so because ignorance, like darkness, obscures true understanding. And in the same way that the only remedy for darkness is light, the only remedy for ignorance is knowledge. The knowledge spoken of here is again the knowledge of one’s true nature. Currently, in the darkness of our ignorance, we believe ourselves to be bound and limited (otherwise we would not be reciting these mantras in the first place). But the Guru and the scriptures are telling us that, in truth, we are not, never will be and never have been bound. Eternally we sat-cit-ananda. The only thing that can remove our ignorance regarding our true nature is a spiritual education at the hands of a True Master like Amma. At the culmination of such an education, light floods the room, as it were; darkness vanishes. The final mantra—mrtyorma amrtam gamaya—means: "Lead me from death to immortality." This should not be taken as a prayer to live endless years in heaven or on earth. It is a prayer to the Guru for assistance in realizing the truth that "I was never born, nor can ever die, as I am not the body, mind and intellect, but the eternal, blissful consciousness that serves as the substratum of all creation." It is important to remember that, with all these mantras, the leading is not a physical leading. The Atma is not something far away that we have to make a pilgrimage to, nor is it something we need to transform ourselves into. Atma means "self." We don’t need to transform our self into our self. Nor do we need to travel to it. We are it. The journey is a journey of knowledge. It is journey from what we misunderstand to be our self to what truly is our self. What the mantras really means is "Lead me to the understanding that I am not the limited body, mind and intellect, but am, was and always will be that eternal, absolute, blissful consciousness that serves as their substratum." Once, when discussing these mantras, Amma said the first step in attaining the knowledge for which one is praying when they chant these mantras is satsang: listening to spiritual talks, reading spiritual books and being in the company of spiritual seekers and, of most importantly, spiritual masters. "We need to continuously be fed the knowledge that our true nature is the Atma and not the body mind and intellect," Amma said. Through satsang, our attachment to the asat gradually lessens. "Slowly as you understand that everything in the world—all worldly relationship, all worldly things—are ever-changing an impermanent, your attitude towards the world changes. We gain detachment." As we become more and more detached, our desires also naturally decrease, because we know that the things of the world are impermanent and cannot bring us lasting happiness. As the desires decrease, the mind becomes less and less agitated. It obtains serenity, stillness, peace. Then, with this stilled, subtle, penetrating mind we can finally come to realize our true nature. —Vedarat * 1 In Vedanta, heaven—or rather heavens—are accepted as part of the lower reality. Unlike in other religions, going to heaven is not the professed to be the ultimate goal of life. According to Vedanta, heaven can be likened to a vacation resort. After death, if one has done enough good deeds in life, one can go to heaven for a very long time. But eventually he will have to return to the earthly plane. Thus even though one may be in heaven, he is still bound and mired in ignorance to his true nature. [As it says in the Bhagavad-Gita: From Brahma Loka to the lowest world, all are places of misery wherein repeated birth and death take place O Arjuna. But one who comes to me, O son of Kunti, never takes birth again. (Gita 8:16) The human goal according Vedanta is Self-realization. The Atma is the ultimate reality. When one realizes his true nature, he attains spiritual fulfillment in this life itself. Then, upon death, he does not go to any heavenly abode but simply merges into the supreme reality.


Buddha’s Brain: The New Neuroscience and the Path of Awakening Inquiring Mind

"In a way, the methodologies of Buddhist thought and science are essentially similar". The Dalai Lama 

We all want to be truly happy. The question is, how? 
In Buddhist practice, the “how” includes gradually transforming the mind – the seat of clinging in all its forms – to increase the causes of happiness and reduce the causes of suffering – ultimately, to complete Awakening. But what does it mean actually, to transform the mind? (We mean “mind” in the ordinary sense, as the realm of awareness, thoughts, feelings, sensations, images, desires, personality patterns, etc.)

Mind and Brain
In terms of Western science, changing your mind means changing your brain. Many people, including ourselves, believe that there are transcendental factors at work in the mind outside of the realm of matter and energy. But apart from those potential influences, mind must be what the nervous system does. What else could it be possibly be?

While acknowledging the possibility of the transcendental, for the rest of this article, we’ll stay within the framework of what’s known scientifically about the mind and brain, and explore how you can use that information to support your own path of practice. For example, psychology, neurology, and “contemplative neuroscience” have recently made discoveries about attention, cultivating positive emotions, and controlling craving that support the development of virtue, concentration, and wisdom. Further, the growing synergies between science and contemplative practice are a vital resource for a world poised on the edge of the sword, since the way it tips will depend a lot on whether enough people become more skillful at managing the reactive patterns of their minds – and thus, their brains…

Continue reading here
Source: wisebrain.org - ©Rick Hanson, PhD and Rick Mendius, MD, 2007


Experimentación Sonora: Contenidos del Seminario

Atari NoiseLab Kabinett


- Composición en tiempo real mediante la improvisación musical libre y pautada
- Entrenamiento intensivo en el sistema de improvisación con dirección asistida por sistema de señas.
- La improvisación como práctica integradora grupal. Búsqueda del espacio propio y reconocimiento del ajeno.
- Modos de participación en el espacio sonoro, funciones alternadas de soporte y protagonismo.
- Evolución de una performance: gestación, desarrollo, estructura y culminación de una idea rectora.

- Dispositivos creativos de carácter lúdico para incentivar la composición grupal
- El concepto sánscrito de ‹Lîla›, la “magia divina de la creación” y el deleite del ser en el cosmos.
- El goce de la práctica musical como experiencia liberadora. La composición lúdica y espontánea.
- Juego de roles y estrategias de interpretación para la producción colectiva. (Brian Eno)
- Generación y recepción: comunicación y diálogo musical entre los participantes.
- Desarrollo de un oído activo; analítico, desprejuiciado y creativo a la vez.
- Restablecer un vínculo personal afectivo y descontracturado con el instrumento musical.
- Conceptos de music painting, looping, musicalización de imágenes y partituras gráficas.

- Experimentación tímbrica y exploración de las múltiples posibilidades sonoras
- Nuevos abordajes de la experiencia musical a través de la exploración consciente del espacio sonoro.
- Las fronteras del sonido. Grabaciones de campo, soundscapes, ambient, drones y texturas.
- Validación de los conceptos de “ruido” y “silencio” como elementos constitutivos esenciales.
- Síntesis y diseño de la materia sonora como ente artístico autónomo: herramientas analógicas y digitales.

- Transpolación del método proyectual del campo del diseño a la performance sonora
- Diseño de instrumentos no convencionales a partir de objetos cotidianos y reciclaje de descarte industrial.
- Experimentación con material piezoeléctrico, construcción de micrófonos y osciladores analógicos.
- Instrumentos preparados (electroacústicos) e intervención de artefactos electrónicos (circuit bending).
- El proyecto audiovisual / Diseño de imagen y sonido / Instalación, Performance y Arte multidisciplinario.
- El cruce estético poético entre la música, la plástica, la danza, el teatro, la literatura, etc.
- Revalorización del proceso de trabajo como desarrollo creativo más allá del resultado.

- Brindar herramientas para la ampliación de la concepción musical y el incentivo de la reflexión crítica
- Desaprendizaje de los cánones estéticos adquiridos por herencia o convención.
- Sensibilización a nuevas formas de escucha y enfoques no tradicionales de la materia sonora.
- Interrogante sobre la inutilidad de los sistemas de composición e interpretación tradicionales.
- El artista como activista multidisciplinario y ser estético cultural / La formación comprehensiva integral.
- Las vanguardias musicales del siglo XX y los nuevos paradigmas en la experiencia posmoderna (s.XXI).
- La dimensión espiritual/experiencial de la música en contraposición con la escucha intelectualizada.

Seminario intensivo. Duración: 1 mes. Comienzo Martes 15 de noviembre de 2011
4 martes consecutivos de 19:00 a 23:00 hs. (prácticas musicales: composición en tiempo real, etc.)
2 domingos a convenir de 16:00 a 20:00 hs. (prácticas de diseño: construcción de instrumentos, etc.)
Consultar por otros días y horarios / Consultar por próximos talleres y seminarios.
Inscripción y más info enviando mail a atari.noiselab@gmail.com

Experimentación Sonora: Programa detallado por etapas

Atari NoiseLab Kabinett


tarea (previa al encuentro)
Responder al cuestionario de inscripción
Si posee, chequear y acondicionar el instrumento propio (desempolvado, afinación, cables, alimentación)
Armar un cd compilado de canciones favoritas para compartir con el resto del grupo (aprox 74')

Presentación de los participantes
Breve introducción a la metodología teórico-práctica del taller
Organizaciones no-jerárquicas, horizontales y rizomáticas
La música experimental en el arte contemporáneo
Improvisación vs. Composición en Tiempo Real
Estructuras y elementos constitutivos de la canción
La experiencia lúdica de la comunicación musical: aceptación, roles y escucha activa
Introducción a la Improvisación con Dirección Asistida por Sistema de Señas* (IDASS)
Introducción a los Dispositivos Creativos* (DC)

DC*: Ensamble de loops (concatenación evolutiva de patrones fijos)
DC*: Improvisación libre con estructuras simples (crescendo, diminuendo, meseta y parábola)
DASS*: Herramientas de edición básicas (Pulso, Compás, Alturas, Dinámica, Intensidades, Continuidad, etc.)

Búsqueda y/o construcción de instrumentos no-convencionales a partir de elementos cotidianos.
Exploración extrema de un instrumento musical a elección / Catálogo de sonidos posibles


Avant Garde. Introducción a las vanguardias y las corrientes artísticas/musicales del siglo XX.
Dadá / Fluxus
Minimalismo / Drone / Silencio / Serialismo
Loops, Patterns, Tape music
Azar, Indeterminación y Aleatoriedad

DC: Ejercicio de escucha activa y consciente de los distintos niveles sonoros del entorno
DC: Exploración tímbrica extrema del instrumento. Modos de ejecución no convencionales
DC: Modelar el desarrollo de un “drone”: Expandir la paleta de posibilidades de un tono continuo y prolongado
DC: Trabajo de texturas. Los 3 tipos de texturas sonoras y la articulación de todas ellas combinadas
DC: Trabajo con diferentes elementos externos para intervenir un instrumento tradicional
DASS: Herramientas de edición intermedias. (Texturas, Catálogo, Planos, Matices, etc.)

Armarse de un set de intervención para instrumento preparado
Registros sonoros, grabaciones de campo


Música Tonal / Música Modal
Cromatismo / Dodecafonismo
Atonalidad / Microtonalidad
Desafinación vs. Disonancia
Compases compuestos y Polirritmia
Arte conceptual, Música Concreta y Abstraccionismo
Texturas / Ruidismo / Noise / Soundscapes / Grabaciones de campo
El color de la música. Articulación sonido-visión (Morton Feldman / Kandinski)
Partituras Gráficas no convencionales y Sistemas de Signos Referenciales
Arte Sonoro / Instalaciones / Performance / Videoarte

DC: Circulación Solapada (con crossover y stacattos) (Robert Fripp)
DC: Composición espontánea de miniaturas (Bela Bartok / New York Miniature Ensamble)
DASS: Herramientas de edición intermedias (Ruido, Drone, Cromatismo, Micro y Atonalidad, Carácter, etc.)
DC: Improvisación libre teniendo en cuenta los conceptos adquiridos DASS.
DC: Oleaje: Alternancias en los planos, rotación en los roles de apoyo y protagonismos.

Serie de miniaturas con variaciones evolutivas
Desarrollar un sistema de símbolos escritos no convencionales para la escritura musical
Diseño de una Partitura Gráfica a partir del sistema anteriormente creado


Be Bop / Free jazz
Psicodelia / Freak Folk / Collage Pop
DIY / Punk / No Wave / Lo-Fi / No-Fi
Krautrock / Avant Garde / Japanoise 
Electroacústica y Música Experimental
Música Electrónica / Ambient / IDM
Sintetizadores analógicos vs Samplers digitales
Deconstrucción, Cut and Paste y Edición Digital
Circuit Bending / Piezoelectricidad / Micrófonos caseros / Osciladores
Modernidad vs. Posmodernidad en la música y el arte

DC: Interpretación de las partituras gráficas generadas
DASS: Herramientas de edición avanzadas (Polirritmia, Géneros, Citas, Fowlies, Tonalidades, etc.)
DC: Juego de roles y estrategias para la producción (Brian Eno)
DC: Musicalización de películas y teatro en vivo / Bandas sonoras / Fowlies
Reflexión crítica sobre el desarrollo del seminario

Ensayo grupales a convenir previo al concierto


Actividad abierta
Todos los interesados pueden participar. NO es necesario saber música ni se requiere ningún conocimiento previo.
Este seminario es gratuito (con cupos limitados). Se dictará en Krauthaus (Almagro).
Como trabajo final los participantes darán un concierto abierto al público y se editará un cd con obras del taller.
Interesados enviar CV o mini-biografía (y link si es que tiene) a atari.noiselab [arroba] gmail.com

Acerca de la palabra seminario:
Un seminario es una reunión especializada que tiene naturaleza técnica y académica cuyo objetivo es realizar un estudio profundo de determinadas materias con un tratamiento que requiere una interactividad entre los participantes. El seminario implica un grupo de aprendizaje activo, pues los participantes no reciben la información ya elaborada, como convencionalmente se hace, sino que la buscan, la indagan por sus propios medios en un ambiente de recíproca colaboración. Es una forma de docencia y de investigación al mismo tiempo. Se diferencia claramente de la cátedra o clase magistral, en la cual la actividad se centra en la docencia-aprendizaje. En el seminario, el alumno sigue siendo discípulo, pero empieza a ser él mismo profesor. La ejecución de un seminario ejercita a los estudiante en el estudio personal y de equipo, los familiariza con medios de investigación y reflexión, y los ejercita en el método filosófico. El seminario es fundamentalmente una práctica crítica de caracter activo.


Laboratorio de Experimentación Sonora

Atari NoiseLab Kabinett

Taller Teórico Práctico
Seminario sobre Composición en Tiempo Real, Dirección Asistida por Sistema de Señas, Looping, Improvisación
libre y pautada, Construcción de instrumentos no convencionales, Circuit Bending, etc. [link al programa completo]
Workshop coordinado por “Atari Burroughs” e integrantes del grupo “A Los Gauchos Psicomísticos del Miasma”.

Ejercitar el concepto de Composición en Tiempo Real mediante la improvisación musical libre y pautada.
Entrenamiento exhaustivo en la Improvisación con Dirección Asistida por Sistema de Señas (escuela neoyorquina).
Incentivar la composición grupal mediante la práctica de diversos dispositivos creativos de carácter lúdico.
Generación de ideas comunitarias a partir de estructuras no-jerárquicas, anárquicas, horizontales y rizomáticas.
Trabajo de experimentación con conceptos como atonalidad, serialismo, deconstrucción, abstraccionismo, etc.
Desarrollar la exploración tímbrica extrema en las zonas fronterizas de ‹ruido›, ‹silencio›, ‹música› y ‹sonido›.
Construcción de instrumentos no convencionales a partir de objetos cotidianos y reciclado de descarte industrial.
Introducción al circuit bending, microfonía piezoeléctrica, música electrónica, editores, loops y osciladores analógicos.
Profundizar la articulación entre ‹lo visual› y ‹lo sonoro› (music painting, partituras gráficas, arte multidisciplinario).
Relevar las corrientes musicales modernas (s.XX) y los nuevos paradigmas contemporáneos (s.XXI). Post-todo.
Brindar herramientas para la ampliación de la concepción musical, la audición y el incentivo de la reflexión crítica.

Actividad abierta
Todos los interesados pueden participar. No es necesario saber música ni se requiere ningún conocimiento previo.
Este seminario es gratuito (con cupos limitados). Se dictará en Krauthaus (Almagro).
Como trabajo final los participantes darán un concierto abierto al público y se editará un cd con obras del taller.
Interesados enviar CV o mini-biografía (y link si es que tiene) a atari.noiselab@gmail.com
Seminario intensivo. Duración: 1 mes. Comienzo Martes 9 de noviembre de 2011
4 martes consecutivos de 19:00 a 23:00 hs. (prácticas musicales: composición en tiempo real, etc.)
2 domingos a convenir de 16:00 a 20:00 hs. (prácticas de diseño: construcción de instrumentos, etc.)
Consultar por otros días y horarios / Consultar por próximos talleres y seminarios.
Más info por mail, o remitirse el temario, cronograma y programa completo en www.atari-b.blogspot.com



Entrevistan al dueño del resto japonés más bizarro y antipático de Buenos Aires:
–¿Hola, señor Ito San?
–Sí, Ito San habla.
–¿Cómo le va? Lo llamamos para hacerle una entrevista por su restaurante.
–No entrevista. Ito San no va a hablar.
–Pero es una nota que va a leer mucha gente, que va a querer conocerlo.
–Usted soberbio, se manda parte y quiere cobrar a Ito San por nota.
–No, Ito, la nota es gratis. ¿Le parece si pasamos esta noche con el fotógrafo?
–No habla para nota no. Pasa no. No pasa.
–Bueno, quedamos así, nos vemos a las 20.30 en su restaurante.
–No pasa (se escucha un teléfono colgado con furia).

Imperdible esta nota del NO http://www.pagina12.com.ar/diario/suplementos/no/12-5129-2010-12-02.html para los amantes de los datos curiosos.
Evitable, desde ya, el boliche del tipo mas podrido que supo desembarcar en nuestro puerto. Yo dos veces intente ir a cenar ahi y un moderado (sinceramente) amor propio me lo impidio. Un placer exclusivo para masoquistas.


Where Is My Mind (Pixies Piano Cover)

I believe this would bring a smile to Mozart's face and perhaps a tear knowing that beautiful music still exists 200 years after his death.

Music from Maxence Cyrin's new album "Novö Piano".
Original song from the classic Pixies album "Doolittle".
Scenes taken from "The mysterious Lady" (1928) with the great Greta Garbo.
Tags: Music The Pixies Where is my mind Maxence Cyrin piano cover nouvelle vague greta garbo Doolitlle rock punk classic


Música Experimental en la Federación Libertaria Argentina

Travesti (No Wave)
Emisor (IDM)
Epiref (Experimental)
Klub Der Klang (Noise)

Ciclo Eu!zine. Sábado 24/7 19:00 horas
Federación Libertaria Argentina. FLA $5
Brasil 1551. Constitución. Buenos Aires. 
Última Sesión ///// Flyer by Yakin Bozek. 


Are You The Favorite Person of Anybody? (Miranda July)

Directed by Miguel Arteta  /  Written by Miranda July
Starring John C. Reilly, Miranda July, Mike White and Chuy Chavez.

A man with a clipboard asks passersby a survey question: “Are you the favorite person of anybody?".
The point is there are three types of people in this context: The first one assumes she is and then when she thinks about it properly, she realises she might not be; she's slightly self delusional, a bit narccisistic. The second type is the modest guy; the realist, who doesn't need to feel loved to be secure. The third guy doesn't want to think about it, 'cause the answer might annoy him. He's quite closed and bottles up emotion.

Tags: miguel arteta miranda july john reilly mike white Wholphin McSweeneys Survey Film Screening Room Film & Animation


A Los Gauchos Psicomísticos del Miasma en el ciclo Bullicio Le Bar

A Los Gauchos Psicomísticos del Miasma
+ Trostrigo y Amigos (Chile)

Martes 1 de Junio a las 22:00 hs. Gratis
en Le Bar. Tucumán 422. Buenos Aires

MySpace | Facebook  |  Bullicio  |  Le Bar

en Bullicio / Le Bar, A Los gauchos formarán así:

Yakin Bozek: sintetizador, loops y mantras
Doljanin: tetraedro, tocadiscos y artefactos del cosmos
Gómez Llambi: guitarra procesada
Llurba: guitarra acústica y ukelele
González: el bajista
Barberis: el baterista
Kehoe: flauta traversa
Marama: violín
Flores: viola da gamba
Grinspan: clarinete
García: retroproyector

Adios a Louise Bourgeois

Louise Caroline Bourgeois
(París 25 de diciembre de 1911 - New York, 31 de mayo de 2010)


A Los Gauchos Psicomísticos del Miasma en vivo en The Roxy!

Instant Kissing Party:
ALGPM (avant kraut)
Los Tiros (indie pop)
Alfonso el Pintor (dj set)
Rudie Martínez (Adicta)

Sábado 24 Abril 23:30 hs.
ALGPM @ The Roxy. Niceto Vega 5542.
Palermo. Buenos Aires, Argentina. Entrada $35

la orquesta rizomática ALGPM en su versión punk de cámara saldrá así:
Yakin Bozek: Sintetizador y Mantras
Doljanin: Texturas del Cosmos y Artedactos
Cuevas: Guitarra Criolla y TB-303
González: Bajo 
Barberis: Batería
Grinspan: Clarinete
Guañabens: Saxo Tenor
Marama: Violín Danzante
Fernández: Viollín Hindú y Tabla
Flores: Viola da Gamba
Mastromónaco: Cello

ALGPM = A Los Gauchos Psicomísticos del Miasma

Posteos anteriores:

1. Para ver posteos anteriores andá donde dice «Entradas antiguas» (en gris, justo aquí arribita y a la derecha). Y repetir así hasta el primer post del año 2004 :)

2. Para buscar contenido según la fecha de publicación andá a la sección «Archivo»;

3. Para encontrar todos los posteos archivados diferenciados por tema o categoría, buscá en el módulo intitulado «SECCIONES»

(estos 2 últimas opciones las encontrás arriba de todo, al inicio de la columna derecha).