Blind Concert: The World and Its Transformation through Music

Nataša Milović

Abstract


This paper presents an analysis of a Blind Concert held in Belgrade. In a Blind Concert performance, the concept of “space” transforms not for the sake of transformation itself, but because of the effect it strives to achieve. This eliminates the predominance of an institution of art dictating how a musical work should be approached. Accompanying the interpretation of piano compositions, the vocalist let out screams, voices, and noises, which, one may say, could not be summoned inside us, because they have yet to be articulated. I will articulate the effects of the desired transitional forms that have remained trapped and unrepresented in social standardization in terms of Badiou’s inaesthetics.

Keywords


performing art, Blind Concert, affirming resistance, institution of art, inaesthetics

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References


Badiou, Alain. Theory of the Subject. London: Continuum International Publishing Group, 2009.

Badiou, Alain. Manifesto of Affirmationism. Lacanian Ink. http://www.lacan.com/frameXXIV5.htm

Badiou, Alain, and Slavoj Žižek. Philosophy in the Present. Cambridge: Polity Press, 2007.

Tasić, Vladimir. Svetovi Alena Badijua: matematika, poetika, politika. Novi Sad: Adresa, 2011.




DOI: http://dx.doi.org/10.25038/am.v0i7.91

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AM Journal of Art and Media Studies ISSN 2217-9666 - printed, ISSN 2406-1654 - online, UDK 7.01:316.774

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