neurologists and Real Tones Rock the party Ciemmona - Ex-snia May 29
On May 29 the ex-CSOA Snia, via prenestina 175, Rome
Ciemmona at the big party and a 33 th birthday of ROR neurologists and Real Tones Rock presented an evening of dub reggae and very participatory and fun with a nice atmosphere and sometimes sensual. Strange but did not seem to be almost in the shadow of cuppolone ... African guests will be on the former snia or the massive presence of French riders ... however, between the dinner with hundreds of people, la murga, il coro, le danze, non c'è stato tempo per la filosofia orizzontale. Alla prossima. Peccato avevamo preparato una poesia di Pablo Neruda:
Ode alla bicicletta - 1956
Andavo per la strada crepitando: il sole si sgranava come mais ardente la terra era calda un infinito circolo con cielo in alto azzurro, disabitato.
Passarono vicino a me le biciclette, gli unici insetti di quel minuto secco dell’estate, riservate, veloci, trasparenti: mi sembrarono soltanto movimenti dell’aria.
Operai e ragazze alle loro fabbriche andavano consegnando gli occhi all’estate, le teste al cielo, seduti sulle elitre delle vertiginose biciclette che fischiavano attraversando ponti, rosai, rovi e mezzogiorno.
Pensai al pomeriggio quando i ragazzi si lavano, cantano, mangiano, alzano una coppa di vino in onore dell’amore e della vita, e alla porta aspettava la bicicletta immobile perché soltanto di movimento è la sua anima e lì caduta non è insetto trasparente that runs through the summer, but
neurologists and Coxs have joined forces to create an experiment: Philosophy for a session within a session with Community dub mix of the music of Neurologists. E 'occurred for the first time Saturday, April 24 in the mental and physical space of the Creative Lab Fusolab (VG Pitacco 29 - Rome). The setting included in the lower hall of Fusolab, 20 sedili bassi in circolo. Su uno di questi il fonico del collettivo musicale de I Neurologici, con davanti un piccolo tavolino da salotto con sopra il mixer, effetti e le varie macchine per suonare, eseguiva i missaggi dub delle tracce.
Su una parete della sala veniva proiettato il monitor del computer su cui girava il multitraccia, in questo caso Protools, utilizzato anche come lavagna luminosa per scrivere le domande della sessione filosofica.
Luce soffusa e un impianto audio di buona qualità dotato di subwoofer.
La Dub 4 Community è stata strutturata in questo modo:
- una breve introduzione di circa 5 minuti del facilitatore who explained the program activity. Above all, this introduction was intended to prepare the reflection on the music, taking into account the fact that it was just a pre-text for discussion. (In fact, usually using a written text, philosophical or literary). The intention was not to be interpret or comment on the music, but take inspiration from their emotional experience to formulate thoughts and ask questions, to which the entire research community could respond. - listening to 3 tracks of dub mixed in real time. About 15 min. Music. - about 15-20 minutes dedicated to questions that the participants posed to the community. As the applications were made, sometimes translated in the form of a question of participant observation, they were written on the projected screen, next to the name of the person who had formulated. - about 30 to 40 minutes of group discussion, coordinated by the facilitator, whose purpose would be regular rounds of intervention and clarify confusing concepts, asking for further information. - A discussion concluded, the facilitator summarized the topics discussed trying to find a common sense and administrative attention to summing up the positions reached with special appearance metacognitive experience.
1. we are a declining living memories and we have an opportunity to build?
2. svuotare è un bene?
3. si può presumere un'oggettività dagli stimoli musicali?
4. c'è un modo di esprimersi migliore?
5. we miss the simple ways of communicating?
6. there are multiple defenses in verbal communication than in other forms? (Tiziana) 7
7. we can transform the movement into thought? (Alexander) 7
8. movement distracts the mind?
9. movement restrictions affect verbal communication?
10. what are our roots?
11. How can the community help us to rediscover the values \u200b\u200bof our tradition?
Discussion topic chosen:
"empty place that is our purpose, we can do with movement or thinking? "
The discussion obviously opposed those who believed this emptying (the mind of negative thoughts and insistent) a process entirely within the mind and those who emphasized how fondametale the role of the physical body as an alternative to consciousness. In listening to this music could be seen both as a physical activity (to be moved by vibration, dance, be saturated by the perception) and as an activity of thought, it sounds to play on his ideas, processes and alterations. Here a lot of reflection concerns the issue of verbal and nonverbal human communication with the obvious differences singular. Opiate use also of music, such as drugs evasive, and the ritual music (or at least as orgiastic releases) the tradition that has always expected as a cure, ritual, celebration or spell.
A note suggested that the effect of emptying dei pensieri non necessariamente doveva comportare l'eliminazione totale dei pensieri, ma anche una trasformazione, elaborazione degli stessi, verso una forma non dolorosa, e spiacevole.
Alla fine della discussione, un'osservazione sulle riflessioni fatte poneva l'accento sulla continuità negli anni delle questioni che assillano gli individui e che in gruppo vengono ricercate come soluzioni. Questa osservazione metacognitiva permetteva alla comunità di chiarire meglio le modalità di condivisione delle idee in questa attività filosofica e di sottolineare il ruolo di crescita ed elaborazione che, al di la dei contenuti, l'attività stessa permetteva.
Session No.2 Music in : Radio GAP Dub 02 New Resistance
1. As the images can distract from listening?
2. because the visual impact is stronger?
to these questions are answered with experience. We listened to a piece of music with closed eyes to see. Each of these has been able to respond to the questions above and was able to comment on the different perceptions had. In general it was clear that removing the visual perceptual channel, amplifies the other channels of perception. The session was discontinued due to bleeding of participants.
1. is difficult to be with my eyes closed the music sharing?
2. the music is doping?
3. Why all this?
4. music leads to questions?
5. music from the answers?
6. music is an end or a tool against the thought?
question
music is an end or a tool against the thought?
After a brief comment, which expressed the satisfaction of participating in a music initiative that finally we took a time to listen in comfort and attention to the music together, as one might do in the privacy of your own home, they arrived to the debate itself.
Here two opposing factions claiming a record. For some, music is a border area, something preconscious which can not be translated into thought. So in a sense, music and thoughts do not meet, either as an end or as means. For others, especially in the intention of the person who makes music, music is born from a project, if only by an intention to play, from a will and a purpose of playing, so it should always be an instrument (such as implementation and expression ) of thought. The settlement proposal was to emphasize the role of its subject that produces or listens to music. If the produce, the music instrument, if the listener, this is an end. The search for a preconscious state of the non-verbal communication is the goal of making and listening to music.
Le tre sessioni, svolte nell'arco di 4 ore ci hanno lasciati molto soddisfatti anche per una conferma di coerenza nei temi suscitati nelle discussioni. Pur senza l'ambito racchiuso di un testo scritto, le riflessioni dei diversi partecipanti che si sono succeduti, ruotavano attorno ad alcuni temi costanti che cercavano risoluzione. Questo dava anche ai musicisti de I Neurologici la conferma di una struttura di significato coesa nei vari brani musicali.
Ringraziamo tutti coloro che hanno partecipato e il Fusolab che ha permesso lo svolgimento di una così piacevole serata.
Se qualcuno ricordasse qualcosa di omesso, avesse da aggiungere riflessioni o precisazioni, può do so in the comments or by sending an email cone additions to this text.
I: Saturday 24 - at the neurological Fusolab - In a dub session
Hello filisofe s h or spoken with those of Fusolab (where we play for an aperitif the first 8.30 and 21) on April 24.
The idea is this: do the P4C session during the concert and music as a pre-text for discussion.
We have chairs in a circle. (A maximum number of participants: type 20) is one of the chairs in a circle of sound engineer who mixes the table.
The session should not be an attempt to explain music, but take a cue from music to tackle a topic that will be more by emotions than by ideas. (The music is instrumental)
We follow the pattern of P4C to decide the issue to be addressed and confronted him .. We can also do two sessions with different people and facilitated by two different people.
We are the only ones to play, we will settle it, he'll play live instruments and make a philosophical session during the concert (live dub mixing of 16 tracks).
from 19 appetizer.
5 min introduction
So music 15 min. , speaking 40 min ,
It cambiamno participants
5 min introduction
music 15 min. , speaking 40 min , conclusion, end.
appunrtamento them to Fusolab (by Giorgio Pitacco 29 - prenestina villa near Gordian) to 18 per us, to 18.30 for all other .
March 21, PrimaveraRomana will recover on their way to discover, share, and invent a different Rome. This year we will cross - with the idea of \u200b\u200bknowing, recognizing and "establishing" - those seven cities that have been the first port outside the city, the beginning of the exodus che da più di un secolo sta allontanando la cittadinanza dalla città storica ormai ridotta a simulacro di una millenaria convivenza. Questo esodo lungo le principali vie consolari ha fatto nascere 7 città fuoriporta, già periferie degradate ed oggi uniche dimensioni propriamente urbane, luoghi di confronto e conflitto sociale, sopravvissuti al dissolversi della città. Sono gli spazi più vitali e ricchi di pratiche di cittadinanza, anche se pure qui la gran parte dei beni pubblici non costituiscono dei beni comuni ma sono piuttosto in abbandono o oggetto di speculazioni private. Qui sono tanti i beni da sottrarre alla speculazione e alla cecità amministrativa, scuole, ospedali, aree archeologiche, militari, industriali e ferroviarie, largely underutilized, abandoned or managed in a private law and speculative, with no consideration for the collective interest and the aspirations of citizenship. Commons to be taken care of, and rethink all gathering places such as political, social and cultural, according to "civic uses, once invented, practices founding of a new statute of cohabitation nell'Oltrecittà.
