The Sound of Music

When a healthy young woman trains to become a nun, a family of eight or seven children, and a tutelary arrogant father's tutor, her happy personality soon gets tight, restricted around her I conflict with the atmosphere. Because of the conflict she began to doubt the investment in the monastery where the environment was suppressed as much as the family home. Nonetheless, during her trip, a young tutor enjoys a carefree lifestyle in her case, and the resulting conflict has become the subject of visual expression.

I have studied the use of sound and music in the basic feminist's new materialism (such as writing by Elizabeth Gross and Rosie Bradetti). Here, sound and music are used as an example of metaphor and importance (usually embodied in importance). However, the importance of the sound itself is hardly noticed in most cases. "Healthy" or "language" is a "material" metaphor that feminist 's new materialists attempt to recover from the existence of philosophy and / or the so - called metaphysics of feminism text. For example, in chaos, territory, art, Groz considers "music can not be heard and can not be heard" before and after the traditional Western philosophy system (- μ 7). The substance philosophy of realization is ambiguous. Why (ironically) the new materialist feminist is not about research on their sounds and music? What if you seriously consider the importance of sound music?

In the 1950 's, in collaboration with Fluxus, I saw the resurrection of experimental symbols that cast doubt on the various concepts of "music" after the war, after nuclear power, and the present age. Is it music? Are the two sounds music? What happens if you hear a sound from striking the two tubes so that the inner air column is arranged in such a way that two consecutive blows produce a perfect genuine cadence? These ideas are still controversial, but traditional notation still exists, and all music that is recorded and played today uses the symbolic techniques and products made in the Renaissance. Instead of inventing new symbols, we need a way to exploit the constraints of classical symbols to allow access to the symbols of all sound events inside and outside the metric domain.