“Bailando en la Disco (8D)” is the twelfth (12th) song of the Avant-garde 20|XX album, in which we use the 8D audio technique to open the portal to the Avant-garde dimension, and offer the listener an immersive experience in this parallel world.
Although this surround sound technique is not new, its application in the urban music genre is. “Bailando en la Disco (8D)” is the first 8D reggaeton song and we can say that we are pioneers in making inroads into this fusion.
Learn more about this technology by listening to the video blog 8D Audio: A Sound that Plays with the Mind
Experimenting with 8D audio was really fun and we managed to simulate a three-dimensional sensation so that the chemistry between two people who attract each other on the dance floor echoes in the body of the listener.
But going a little further and fulfilling our philosophy of “creating to destroy and destroying to create,” we decided to put forth this 8D song as a critique of hyperrealism and hyper consumption in current society.
Here we go!
What is hyperrealism?
Hyperrealism is a radical trend in painting and sculpture, among other arts, that seeks to copy reality in a precise and objective way through technical methods, as photography does.
Its antecedents are Precisionism and Photorealism.
Another precursor of hyperrealism is Pop Art, since many consider that it resembles the reproduction of banal images and icons.
One of the maxims of hyperrealism is to achieve perfection, which is why it is not surprising that painters and sculptors of this style fully master their technique.
A clean finish and meticulous reproduction are very important Because of this, the smallest details are polished, including the details of color and light.
In hyper-realistic art, the artist’s fingerprints are conspicuous by their absence, since their brushstrokes are erased when the works are covered with a layer of paint that is then scraped off with a knife to avoid reliefs.
Criticism of hyperrealism
Very few critics have been interested in talking about hyperrealism and those who have expressed themselves agree that it is an impersonal “art” that blurs any intention.
Antonio García Villarán, a famous art youtuber, dedicates a video titled “Hyperrealism or Hyper-more-of-the-same? Criticism of this boring art” to express his opinion on this trend.
García says it is “Hyper-more-of-the-same” because the artists erase their brushstrokes and repeatedly brush the colors. “I think that one of the most important things for painters and visual artists is precisely their brushstroke, their gesture, because that is what sets them apart from others.”
He continues his appraisal by wondering what hyperrealism has to do with an artistic work, since he considers it absurd to make paintings from photographic reproductions when one already has the photograph itself.
On the other hand, he debates one of the most important features of hyperrealism: perfection:
“If we have to understand hyperrealism as the search for perfection in the definition of the image, that is very boring for me; I really like imperfection, what I don’t get to know deeply, what I can interpret, those works in which not everything is said, but you have to invent something.”
Given all this, he recognizes the work of Richard Estes, a painter who reproduces pictures of the city with many lights as well as geometric images of urban settings and their inhabitants
According to García, Estes uses the hyper-realistic technique to express a message: “I think that his paintings are a social critique because everything really shines in a city in which no one greets each other, in which everyone goes only to do what they are doing, where everything is a reflection of what exists.”
Hyperrealism in Bailando en la Disco
Although it may not seem like it, Bailando en la Disco is related to some aspects of this artistic movement.
First of all, the song functions as a portal that leads to the Avant-garde universe.
There, like with hyperrealism, a utopia is reproduced, a perfect image.
But as Antonio García Villarán correctly states, a work that gives way to interpretation is much more interesting, and in this musical piece that fuses with the other songs of Avant–garde 20|XX, there is something hidden that the listener must discover.
Like Richard Estes’ work, the song uses a hyper-realistic technique: 8D audio, which sonically reproduces the way in which humans listen to the world.
Hearing aids are required to enjoy the experience and when we are constantly being exposed to commercials that sell us new speakers, the latest television or the latest computer, questions such as “What do we look for with technological devices that lead us to these virtual hyper-realities?” arise.
Are we still that mass culture that is weighed so heavily by its existence, that it needs to fill it with objects or experiences to satisfy its emptiness?
It is here where we use artistic construction as a consumer weapon, but also as a message.
Take off your headphones and open your eyes! Here, unlike hyperrealism, it is intended that each artist leaves their mark on the work of art that we have right in front of us.
And our intervention is done through Avant-garde20|XX.