The civilization of high technology, the world market and digital medias are now organized around this new type of concerns. Time becomes an emergency sequence in which the perception itself is fragmented and dispersed. What does it mean, then, to be entertained ?
What do exactly reflect the strength and value of this kind of digital entertainment ? And what will be the place and perception of music in that context ? At a time when the Société du Spectacle (Debord) extends the empire of standardized entertainment, our user consciousness is hashed,
overgrown, filled with a mass of information flows and, sometimes, oppressive occupation. Zapping has indeed become one of our most common ways of relating to things and people. Primarily because we have a choice : the choice of products available for consumption, choice among continuous information offered on countless channels, choice of occupations on computer (email, chat, pornography, games, news, curiosity, forum), choosing among the people (relatives, friends, strangers encountered on forums or dating sites).
From smartphones to tablets, through home automation and robotics, our ecosystem changed dramatically in favour of a hyper-connected addictive world in which the existential energy that ensures the operation of the system, are the fruit of desire – libido – producers on one side and consumers on the other. Thus entertainment 2.0 means mainly addiction and endless consumption.
The consumer society appears to have become so toxic, today, to everyone, not only for the physical environment, but also for mental structures and psychic apparatuses : instinctual, it becomes massively addictogenic. What music can be in such a world, where our attention is the subject of a market economy ? How to keep listening when our perception is so fragmented ? The Biennale Musiques en Scène 2016 and its special guest Michel van der Aa will deal with all these issues related to the concept of entertainment.
Damien Pousset, Artistic Director