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Ramón Andrés National Essay Award: “We live in a deafening world that breeds nothing but unnecessary consumerism”



Writer and poet Ramon AndresAnd the National Essay Award 2021 by Philosophy and Consolation of Musichas just been published Cellar and sounds about the composer Josquin Desprez, “Bach Renaissance”This week in Mallorca, has participated in the XXIV edition of Mediterranean Poetry Festival.

Question: What was the slogan of the festival? rainy hair. Do you feel this way?Response: It has always been a fight. Not only because of a social question, as it might be interpreted today, but also because poetry is primarily a struggle for fate. In essence, fear of death, and this is why we find it in all civilizations since their inception. It is a kind of spell against the limited. Originally, it had a function similar to that of religions, representing the need of human beings to ensure survival and the ability to dialogue with the transcendent.

Q: Have you read the poems? books s Lofts in the audience instead of on stage. Is this genre approach necessary?a: Always, like culture in general, and also physically. I am increasingly relegated to today’s technological world, which rejects other languages, such as poetry, and boasts of having conquered humanity.

Q: Do you live poetry and music in the same way?a: In the same way. I was born into a home where music was very important and that definitely led me to poetry. They have complemented each other all my life, they are part of the same thing.

Q: In your last book, you asserted that Bach and Beethoven exist because of Josquin Despres. Why did the protagonist fall into oblivion?a: He was a Renaissance Bach, very important, though a very reclusive, secretive person, a little friend who frequented the courts, despite the fact that he worked with them, as did all the composers of the time, since they were the ones who had the money. , with the church. Despres was not known personally and for this reason may have fallen into oblivion.

Q: What sparked your interest in it?a: Especially his way of processing the sound. In his time, he was closely associated with architecture, interior spaces, where music must sound, and he creates in a way that quickly envelops you, with a sound that transports you. He interested me because he was able to convey to the listener the feeling of weightlessness and being in an architectural nave, a cathedral, as if I were slightly elevated.

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Q: You link Al-Nahda society to the present through your memoirs during the pandemic. What parallels do you draw?a: Like all composers of his time, Josquin Desprez was a recluse in the world of music, so to bring him closer to the public, I happened to create an effect for five centuries, following him on his walks with Leonardo da Vinci, Lucrecia Borgia … talk to him and return to the reflection of the present from the private studio BV Elizondo (Navarra) during the pandemic. He was fleeing a plague that killed a third of Europe’s population, utter devastation. To compare the coronavirus to this would be disrespectful to the past, no matter how important the pandemic. But there is a coincidence in that the Renaissance was the emergence of a new world and we are also now in the genesis of a new age, due to many circumstances.

I thought that if the plague of the fourteenth century and others, as well as the two world wars, did not improve us, why would it be different now?

Q: Just two months after you booked, I already warned that we were going back to our old ways. Did you ever believe that the virus would make us better like they said?a: It was easy to see. I thought that if the epidemic of the fourteenth century and others, such as the Spanish flu, which, in addition to two world wars, also caused many deaths, did not improve us, why would it be different now? Our human condition is what it is and we have to accept it. Nothing will ever improve us, because we have some universals rooted in us and we always end up being the same being.

Q: Last month you sponsored the prestigious Pamplona meetings with thinkers from around the world, including the Nobel Prize for Literature. In Palma, the Biennale of Thought was held for the first time. What do these sayings mean?a: Celebrating this kind of event is a breath of fresh air for the community, because so much information, so much thoughtfulness, leaves important relics in the city and increases its cultural self-esteem. Residents have the opportunity to see, hear, ask and converse with all kinds of thinkers, writers, etc. First class, something invaluable to the citizens.

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Q: In one of your posts on The Formentor Talk, you said, “Culture can be a barrier.” Are the walls falling?a: some falls. others are essential. I am not a supporter of walls, but I consider culture a source of resistance, a large chain that includes writer, editor, bookseller, cultural journalist and other disciplines. I imagine the barrier to a very hostile world. We live in a society that is quite impervious to certain ideas and I think the work done from culture has a heroic point of view.

Q: The National Essay Award you received last year was the first ever awarded for a work on music. Isn’t it given the importance it deserves?a: We have had and still have great musicians, composers and performers, but politically this country was completely deaf to music. It’s a bit of the poor sister of culture, a pity.

Q: Why do you say it is the most indomitable art?a: Because of its abstract language, music has the virtue of escapism, and is difficult to master. By being able to say things without the need for words, he does so in a freer way. It is an art that can be closer to vandalism than written language.

Any subsequent music can be used as an ally of the system and even of oppression.

Q: On the other hand, you don’t look very positively at Trap and reggaeton that tames the youth.a: Everything is said. When I talk about music, I mean music that is critical and intelligent, not music that is destined for mass consumption and heavily manipulated. In any case, any music can be used suffix As an ally of the regime and even of oppression. Let us think, for example, of the role played in death camps, such as Beethoven’s overtures played in Auschwitz. They were used to intimidate and enhance punishment.

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Q: What do you think of a popular phenomenon like Rosalia?a: Everything has its advantages and place. I have now touched Rosalía as he would have touched another producer, so to speak.

Q: Do we live in a world full of noise?a: We live in a world that does nothing but generate and generate things we don’t need. It is a mechanical world in which we are asked to consume ourselves in a noisy whirlwind that deafens us all and where silence loses its credibility. Silence is neither produced nor born, but ceases. Therefore, the question; And this is an important thing to think about, because if we don’t know how to shut up, we never stop questioning things.

Silence is neither produced nor born, but ceases. Therefore, the question; And that’s an important thing to think about, because if we don’t know how to shut up, we won’t stop questioning things.”

Q: What do you contribute?a: An opportunity to empty the mind, a moment of reflection and contemplation and thus freedom. I am talking about secular silence, because religion has appropriated silence. I always refer to the spirit and silence understood from the secular world. It is a renewal of the interior, opening the window of a room, the room of our individuality, which smells closed.

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Q: Do you hear it?a: One of the many problems in our society is that we receive many discourses that we do not absorb, because we are not used to really listening to others. We just hear it, but we don’t pay due attention. Listening means being attentive to what is coming at you from somewhere else, which is essential for yourself and understanding where we are and what the world is telling us.

Q: Your aphorisms in exterior corridors They deplore with irony what they hate in the present times. What hurts the most?a: Impulsiveness, individualism, narcissism, consumerism and cowardice, above all.

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