Soviet Punk and Post-Punk - Revision history

Diogooutra at 16:36, 15 June 2020

2020-06-15T16:36:45Z

Diogo: Text replacement - "Russian Contributions" to "Russian Content"

2019-04-04T15:24:29Z

Text replacement - "Russian Contributions" to "Russian Content"

Diogo at 17:50, 18 March 2018

2018-03-18T17:50:57Z

Diogo at 17:49, 18 March 2018

2018-03-18T17:49:24Z

Diogo at 17:49, 18 March 2018

2018-03-18T17:49:00Z

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Diogo: Created page with "A new, previously unpublished paper by Dr. Can Batukan, a researcher at the University of Normandy Rouen, France. Abstract: What do we know..."

2018-03-18T16:21:14Z

Created page with "A new, previously unpublished paper by Dr. Can Batukan, a researcher at the University of Normandy Rouen, France. <strong>Abstract:</strong> What do we know..."

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 <strong>Abstract:</strong>
-What do we know about the punk and post-punk practices in the USSR? Inside a zone where most of the material about punk was prohibited or unknown, what was the atmosphere like? What was the general feeling of being a punk, listening and recording punk and post-punk music? What were the main differences between the West and the Soviet regime in terms of experiencing punk and post-punk? This article deals with these questions via two witnesses to this period: Alexei Borisov, the lead singer and guitar player of Notchnoi Prospekt, and Ivan Sokolovsky, synth player/philosopher. Furthermore, this article suggests a philosophical interpretation of two notions (phono-eye and atmosphere) deriving from the argumentation and the perceptive world of the Soviets, which may be linked with music theory and cinema.
+What do we know about the punk and post-punk practices in the USSR? Inside a zone where most of the material about punk was prohibited or unknown, what was the atmosphere like? What was the general feeling of being a punk, listening and recording punk and post-punk music? What were the main differences between the West and the Soviet regime in terms of experiencing punk and post-punk? This article deals with these questions via two witnesses to this period: [[Alexei Borisov]], the lead singer and guitar player of Notchnoi Prospekt, and [[Ivan Sokolovsky]], synth player/philosopher. Furthermore, this article suggests a philosophical interpretation of two notions (phono-eye and atmosphere) deriving from the argumentation and the perceptive world of the Soviets, which may be linked with music theory and cinema.
 == Soviet Punk and Post-punk: Notchnoi Prospekt and its Philosophical Interpretation ==

← Older revision		Revision as of 15:24, 4 April 2019
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	[xxxv] Vertov, ‘Kinoks: A Revolution’, In Kino-Eye: The Writings of Dziga Vertov, p. 17.		[xxxv] Vertov, ‘Kinoks: A Revolution’, In Kino-Eye: The Writings of Dziga Vertov, p. 17.

−	[[Category:Russian ~~Contributions~~]]	+	[[Category:Russian Content]]

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 The “atmosphere” is the totality of actual and potential forces in time and space that become perceptible and sensible for all living beings inside its impact area. It is the life bubble for the artist and for the musician. Space and time may be infinite but the impact area of creation will be limited.
+[[File:Batukan table 1.png|none|center]]
 Music as a totality of soundwaves produces a certain tonality. This tonality is created not only through the composition itself but also depends on performers and instruments, space (performance site) and time (day or night, season, moment in history). Therefore, we must think primarily about the atmosphere created inside a certain bubble of perception (an <em>Umwelt</em> for the receivers, listeners or spectators of a particular performance). In addition, we must consider the main atmosphere of that particular society and State, defined and determined by the rules and regulations, social codes, traditions, behaviours, habits, climate, philosophy, literature, culture, corruption, depravation, hopes, future projection, collective memory, etc.
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 Inside this affirmative <em>Mitsein</em>, all becomings (<em>devenirs</em>) are possible. It is ruled by the unity of Chaos and Cosmos that brings the possibility of an imminent <em>extase,</em> different from Heidegger’s ex-stasis which was defined for the inter-temporal being of Dasein, but identical to the Shamanic and other religious rituals that produced extase in de-subjectivation through an intertemporality inside Nature itself. So, exactly as Sokolovsky expressed it, music may become a mode of spiritual transcendence in any kind of performance if all the conditions are provided.
-[[File:BATUKAN TABLE 2.png|frameless|center]]
+[[File:BATUKAN TABLE 2.png|none|center]]
 Through Borisov and Sokolovsky’ vision, the Nightly Prospekt was a musical eye to see in the dark. It was not the <em>kino-eye </em>of Dziga Vertov but this time, another eye for music: a <em>phono-eye</em>.

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 We must think of a production where processes are not separated as radio-ear and kino-eye. This is completely different. As a machine, I can see-hear and hear-see. Different from cinema, what I suggest with Notchnoi Prospect is the latter (the primacy of the ear): “hear-see”. As a <em>phono-eye</em>: Notchnoi Prospect’s recorded concert videos (1985-1987) are a combination or a synthesis occurring through the power of a perfect gothicness of the “atmosphere”.
-References
+=== References ===
 [i] Vertov described the basis of kino-eye as follows: ‘The establishment of a visual (kino-eye) and auditory (radio-ear) class bond between the proletariats of all nations and lands on a platform of the communist decoding of world relations. The decoding of life as it is.’ Vertov D. (1984) ‘Kino-eye’, in A. Michelson, (ed.), Kino-Eye: The Writings of Dziga Vertov, 1st ed., Berkeley and LA: University of California Press, p. 66.