Circle of associates «Sound Plasticity» is an initiative group at the initial stage consisting of young composers Olga Bochikhina, Vladimir Gorlinsky, Andrey Kuligin, Alexey Sioumak and Nikolay Khrust. The goal of the group is creating and developing New Music particularly and New Art in general. Directions of our activity could be shortly marked in five points:
1) Creating of New art objects
2) Searching and signification of New art subjects (i. e., creators: creative people, creative unions etc.)
3) Creating of connections, infrastructure among New art objects and subjects
4) Creating of conditions for New art activities
5) Making of the guide for New art.
Twenty six sentences about New Music
The term «New Music» (and more — «New Art») in our view contents the very important feature which resides in not any art work, created in nowadays. One ought to mean the phenomenon of artistic language changing under this word-group, but not some concrete «direction». From XIV century upwards the expression «New music» vocable in different languages becomes a topical issue every time when an artist understands necessity of this changing. Thus, permanent renewal, «moving», «flowing» of language testify of tradition vitality, its succession.
Forms of New music always possess some incompleteness, incertitude because New art is created now. Selection of facilities and modality happens not because of some criterions, but vice versa, rather these criterions themselves appear in process of searching of new language elements. Therefore New music in many ways is pre-sensation of not yet created, «pure possibility».
At the same time musical language acquires new quality when all its aspects adequate to each other in the expression of new idea born inside music itself. The particular contents the whole, and the whole reflects the particular: musical «matter» begets itself. Therefore our special attention is directed toward researching of nature of sound. Music comes off any functions: entertainment, «outraging» or social declaration as well as communication and aesthetization of space cannot be its exhaustive aim. Music becomes immanent and doesn?t need «justifications» of different areas of human activity; then it takes freedom: freedom from applied functions and for internal artistic essence. This feature differentiates fundamental from applied art. The immanent freedom described above is a pledge of imperishable value of fundamental art comparably with perishable context: functions changes but art work remains. So «fundamental music» is the tradition, on which an artist leans as on takeoff strip for «shooting» forward: this inheritance is a process of New art. In many ways peering into flow of heritable language is a main artist task.
From a given time (approximately from beginning of 1930s) it became very difficult, at times impossible to keep mentioned self-sufficiency in Russian situation. Living tradition got a powerful blow. As a result of social conditions, art itself often was supplanted by social gesture (or by applied functionality). And even in modern times, when there is no necessity of such gesture, in most of contemporary works in Russia «ideology» substitutes «art». Some strive to excite shock, affecting declaration of «abnormality», others harp about «the end of music», but few engage music itself.
Just fundamental autonomy of art from applicative role gives us a chance to turn into problems of musical language directly. Now there comes a «tabula rasa» time: memory of dependence from any applied functions is erased, there is no liability to prove validity of a work by special spirituality, social engagement; it is not necessary to oppose, using own protest as a surrogate of artisthood. New generation, «generation zero» comes, and high and exciting role fell to us: re-creation and continuing of language of New music.
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Sound plasticity
