能指的过剩:汉斯-约阿希姆·赫斯波斯《Weiβschatten》中的Derridean Play

IF 0.3 2区艺术学 0 MUSIC

Contemporary Music Review Pub Date : 2021-07-04 DOI:10.1080/07494467.2021.2001947

Clare Lesser

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引用次数: 0

摘要

汉斯·约阿希姆·赫斯波斯的《Weiβschatten》和雅克·德里达的《人文科学话语中的结构、符号和游戏》(《写作与差异》，1967)交织阅读。我研究了即兴创作对表演的影响，并考虑了信息过载如何创造了不断变化的参考层。我探索Hespos将信息系统和无限或“过剩”的能指链结合在一起的方式，这些能指链允许合作和表演者代理的空间，从而保持表演者/作曲家/观众的界面不断移动。

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An Overabundance of Signifiers: Derridean Play in Hans-Joachim Hespos’ Weiβschatten

An interwoven reading of Hans Joachim Hespos’ Weiβschatten and Jacques Derrida’s ‘Structure, Sign, and Play in the Discourse of the Human Sciences’ (Writing and Difference, 1967). I examine the impact that improvisation has on performance and consider how an information overload creates shifting layers of reference. I explore the ways in which Hespos combines information systems, and infinite, or ‘overabundant’, chains of signifiers, which allow the space for collaboration and performer agency, thereby keeping the performer/composer/audience interface in constant movement.

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来源期刊

Contemporary Music Review MUSIC-

CiteScore

1.00

自引率

25.00%

发文量

期刊介绍： Contemporary Music Review provides a forum for musicians and musicologists to discuss recent musical currents in both breadth and depth. The main concern of the journal is the critical study of music today in all its aspects—its techniques of performance and composition, texts and contexts, aesthetics, technologies, and relationships with other disciplines and currents of thought. The journal may also serve as a vehicle to communicate documentary materials, interviews, and other items of interest to contemporary music scholars. All articles are subjected to rigorous peer review before publication. Proposals for themed issues are welcomed.