Východiska: Umenie hluku

Pôsobí na holandskom Sandberg Institute a koncom minulého roka strávila istý čas v Csepeli, 21. okrsku Budapešti. Táto pozoruhodná oblasť je situovaná v severnej časti rovnomenného ostrova. Známa je hlavne vďaka svojmu industriálnemu dedičstvu. Stále tam nájdete továrne a cítite sa, ako keby ste sa prepadli v čase do 19. storočia. Podčiarkuje to aj všadeprítomný hluk strojov, ktorý inšpiroval aj samotnú Martinu Raponi, aby založila de facto fiktívne vydavateľstvo výhradne orientované na túto oblasť.

Tak vznikol Csepel Industrial Music Label. Je to vydavateľstvo, ale nie v tradičnom zmysle slova. Nič sa nesnaží predávať. Jeho úloha je skôr dokumentačná. “Je to label, ktorý sa snaží zbierať rôzne zvuky a hluky z tovární a robiť z toho hudbu. Tiež sa snaží vytvoriť určitý zmysel spolupatričnosti s ľuďmi, ktorí tu pracujú. V centre mesta je množstvo zvukov a harmonických systémov, ktoré vyjadrujú určitú prítomnosť alebo zvyk. Napríklad označenie lístka v električke má svoj typický zvuk. Spoznáte ho, a máte pocit, že na to miesto patríte,” hovorí Martina Raponi.

Pri jej skúmaniach noise music ju inšpiroval aj Jacques Attali a jeho kanonické dielo o hluku, Noise: The Political Economy of Music. “Attali hovorí o skladateľovi ako o niekom, kto má radikálnu spoločenskú úlohu. Je to niekto, kto môže existovať mimo kapitalistickú logiku produkcie. A to je ten moment, kedy sa hluk stane politickým.”

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Východiska: The Art Of Noise

Martina Raponi is an Italian academic researching noise as a specific kind of music from an aesthetical and anthropological perspective – noise, for some an unpleasant atonal gathering of sounds, for others a subversive and welcome antithesis to the harmonic conventions in music. She is the author of the book on noise called 'Le strategie del Rumore'. She is based at the Dutch Sandberg Institute and at the end of last year, she stayed in Csepel, Budapest's 21st district. This remarkable area is situated in the northern part of the island which bears the same name. It is renowned particularly thanks to its industrial heritage. You can still find factories there, and feel as if you were transported back in time into the 19th century. This is accentuated by the omnipresent noise emitted by the machines, which inspired Martina Raponi to dedicate a fictive label to it, exclusively focused on this geographical area.

Thus, Csepel Industrial Music Label was born. It is a label, but not in the traditional sense of the word. It doesn't strive to sell anything. Its role is more of a documentation. “It's a label which aims to collect noises and sounds from factories in order to create music out of it and also build a sense of belonging for the people who work there,” says Raponi. “Since in the city centre, there are lots of sounds and harmonic systems which somehow signal a presence or a habit. For example, validating a ticket on the tram has a certain sound and you can recognise it and feel like you belong to that specific place.” During her research, she was inspired by Jacques Attali and his canonical work Noise: The Political Economy of Music. “Attali talks about the composer as a radical social role, somebody who actually can position himself outside of the capitalistic logic of production. This is exactly where noise can become political.”

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