Geräusch as Presentness: the Critique by Stockhausen and Eisenman | Zendy

Francisco Palmeira Lucena | Zendy

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Geräusch as Presentness: the Critique by Stockhausen and Eisenman

Author(s) -

Francisco Palmeira Lucena

Publication year - 2014

Publication title -

journal of science and technology of the arts

Language(s) - English

Resource type - Journals

SCImago Journal Rank - 0.13

H-Index - 3

eISSN - 2183-0088

pISSN - 1646-9798

DOI - 10.7559/citarj.v6i2.111

Subject(s) - metaphysics , architecture , autonomy , connection (principal bundle) , philosophy , art , art history , epistemology , mathematics , visual arts , geometry , political science , law

This paper proposes an idea of noise [Geräusch] as presentness in order to think about the critical works of Karlheinz Stockhausen (1928-2007) and Peter Eisenman (1932-). This idea implies that there is a connection between these both aspects: Geräusch [noise] in relation to Stockhausen’s work, and presentness, linked to the displacement of what Eisenman called the metaphysical presence of architecture. In a strict sense, we must show how noises are draw out in Stockhausen’s music and how Eisenman deals with the metaphysical presence of architecture – articulating them beyond the limits of both areas, i.e., noise with architecture and presentness with music. In general terms, when we articulate theses concepts beyond the limits of music and architecture, paradoxically, we are focusing on the critique of their internal autonomy. Thus, when we are approaching Eisenman’s and Stockhausen’s works in terms of the subjects noise and presentness, we are talking about the relationship between music and architecture.

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