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Lilian Campesato

Resumen

I establish a reflection about the psychoanalytic concepts of repression and death drive. Within this framework, these concepts are linked to the process of rejection, acceptance and transgression of some elements that constitute the basis of artistic creation. The relationship between transgression and acceptance of noise can be understood as a dialectical and dynamic process. On the one hand, noise can be understood as a disturbing, not desirable, suppressed and repressed event; on the other hand, can become something acceptable and desirable when incorporated as an aesthetic element. This oscillatory process of acceptance and rejection may be related to two concepts of Freudian psychoanalytic theory: repression and the death drive. These concepts may help to understand the return of what was repressed, what is to be avoided, and what is perceived as noise, connecting this “return” to the idea of remembering something that has been repressed. In an aesthetic context this remembrance binds to a dynamic motion within the artistic transformations, pointing out to two seemingly paradoxical situations: repression noise (prostration) and its recall (drive). By pursuing this parallel between noise and psychoanalysis, I intend to understand the mechanism from which an uncomfortable, noisy and sometimes destructive element becomes crucial to overcome a conservative inertia and thus set in motion a spring that propels the cultural dynamics. Although denoting a paradox, this dynamic, allows the incorporation of what is considered to be undesirable, and consists in an essential operation in the transformative processes of music.

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Keywords

ruido, estetización del ruido, represión del ruido, pulsión de muerte, transformación artística, psicoanálisis

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Cómo citar
Campesato, L. (2018). La paradoja de las transgresiones musicales: el ruido como energía libidinal. Cuadernos De Música, Artes Visuales Y Artes Escénicas, 14(1), 103 - 114. https://doi.org/10.11144/javeriana.mavae14-1.tpom
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