The Figure of the Amateur for a General Organology of Sound Art Practices

The development of new technologies not only contributes to a new musical organology, but also drastically changes our forms of engagement with sound. A reassessed model of acoulogy informs new listening intentions through a first-person enquiry of the listening act, to define the heterogeneity of listening intentions as a way to frame the experience of sound. In this framework, composers, listeners and curators alike are defining and promoting new sound practices through heightened attention and support a process of grammatization which calls for a general organology, as defined by Bernard Stiegler. Within this theory that articulates bodily, artificial and social organs, the figure to the amateur as listener, composer or curator proves to be central. In its qualificative definition, the amateur develops particular relations with a class of object, to experiment with aesthetics technical, social, mental and corporal bodies. Drawing upon the theory of taste of Antoine Hennion, different actors can be identified in the process: the collective as a general framework, from which the definition of a particular taste can emerge; situations, or the spatio-temporal conditions that might be required for the emergence of a particular taste or experience of the object, like a specific ritual, or ways of doing things; and of course the object itself and its effects, not as being contained in the object, but as being discovered by the attention of the amateur, in a performative meaning. Within this particular setting of experimentation with this temporal object that is sound, composers, listeners and curators can engage in the different levels of Stiegler's general organology and contribute to a de-proletarianization process by creating a positive pharmakon.

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Dr Cédric Maridet

Conference

Publication date: August 2019

Publication date (Print): August 2019

Pages: 161-164

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[0001]Hong Kong Baptist University

Academy of Visual Arts

5 Hereford Road, KowloonTong

Kowloon, Hong Kong SAR

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DOI: 10.14236/ewic/RESOUND19.25

SO-VID: 7e48c87e-c660-4df6-85eb-6ff830f9b886

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology

Conference acronym: RE:SOUND 2019

Conference number: 8

Conference location: Aalborg, Denmark

Conference date: August 20-23, 2019

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Media Art, Science, and Technology

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1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/RESOUND19.25

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

T. Adorno 1995 La Forme du Disque, Instruments, Cahiers de l’lrcam 7 143 147
R. Barthes 1977 Image Music Text Fontana, London
B. Bartok 1995 Musique mécanique 1937 Instruments, Cahiers de l’Ircam 7 27 40
M. Chion 1983 Guide des Objets Sonores : Pierre Schaeffer et la Recherche Musicale Buchet/Chastel Institut National de la Communication Audiovisuelle Paris
B. Dillet 2017 Proletarianization, Deproletarianization, and the Rise of the Amateur Boundary 2 44 1 79 105
J. L. Drever 2019 ‘Primacy of the Ear’ - But Whose Ear?: the Case for Auraldiversity in Sonic Arts Practice and Discourse Organised Sound 24 1 85 95
A. Hennion 2003 Ce que ne Disent pas les Chiffres. Vers une Pragmatique du Goût Tolila Donnat Le(s) Public(s) de la Culture. Politiques Publiques et Equipements Culturels Presses de Sciences Po
J.L. Jam 2000 Caylus, l’Amateur Crépusculaire Jam Les Divertissements Utiles: Des Amateurs au XVII lè Siècle Presses Universitaires Blaise-Pascal Clermont-Ferrand
J. Lichtenstein 2008 Les Figures de l’Amateurs,” L’Institut de Recherche et d’Innovation, Centre Pompidou web.iri.centrepompidou.fr/fonds/seminaires/seminaire/detail/1 April 2019
C. Maridet 2010 Uncured Lunatics, Sounds Are Still Bleeding Who Cares, 16 essays on curating in Asia, Alvaro Rodriguez Fominaya Para/Site Art Space
C. Maridet 2011 Reassessment of Acoulogy for the Cultivation of Sound Practices Proceedings of International Conference Pierre Schaeffer: mediArt 75 80 Museum of Modern and Contemporary Art Rijeka, Croatia
P. Schaeffer 1966 Traité des Objets Musicaux. Essai interdisciplines Seuil Paris
P. Schaeffer 1957 Vers une Musique Expérimentale. Revue musicale 236 Richard-Masse Paris
B. Stiegler 2006 L’Armement des Oreilles: Devenir et Avenir Industriels des Technologies de l’Écoute Cicuit, Musiques Contemporaines 16 3 33 42
B. Stiegler 2009 Repenser l’Esthétique, Pour une Nouvelle Epoque du Sensible C. Trom Esthétique et Société, Actes L’Harmattan Paris 97 120
B. Stiegler 2017 The Quarrel of the Amateurs Boundary 2 44 1 35 52
J. Tenney 1964 META (+) HODOS : A Phenomenology of Twentieth-century Musical Materials and an Approach to the Study of Form Inter-American Institute for Musical Research Tulane University New Orleans

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[1] T. Adorno 1995 La Forme du Disque, Instruments, Cahiers de l’lrcam 7 143 147

[2] R. Barthes 1977 Image Music Text Fontana, London

[3] B. Bartok 1995 Musique mécanique 1937 Instruments, Cahiers de l’Ircam 7 27 40

[4] M. Chion 1983 Guide des Objets Sonores : Pierre Schaeffer et la Recherche Musicale Buchet/Chastel Institut National de la Communication Audiovisuelle Paris

[5] B. Dillet 2017 Proletarianization, Deproletarianization, and the Rise of the Amateur Boundary 2 44 1 79 105

[6] J. L. Drever 2019 ‘Primacy of the Ear’ - But Whose Ear?: the Case for Auraldiversity in Sonic Arts Practice and Discourse Organised Sound 24 1 85 95

[7] A. Hennion 2003 Ce que ne Disent pas les Chiffres. Vers une Pragmatique du Goût Tolila Donnat Le(s) Public(s) de la Culture. Politiques Publiques et Equipements Culturels Presses de Sciences Po

[8] J.L. Jam 2000 Caylus, l’Amateur Crépusculaire Jam Les Divertissements Utiles: Des Amateurs au XVII lè Siècle Presses Universitaires Blaise-Pascal Clermont-Ferrand

[9] J. Lichtenstein 2008 Les Figures de l’Amateurs,” L’Institut de Recherche et d’Innovation, Centre Pompidou web.iri.centrepompidou.fr/fonds/seminaires/seminaire/detail/1 April 2019

[10] C. Maridet 2010 Uncured Lunatics, Sounds Are Still Bleeding Who Cares, 16 essays on curating in Asia, Alvaro Rodriguez Fominaya Para/Site Art Space

[11] C. Maridet 2011 Reassessment of Acoulogy for the Cultivation of Sound Practices Proceedings of International Conference Pierre Schaeffer: mediArt 75 80 Museum of Modern and Contemporary Art Rijeka, Croatia

[12] P. Schaeffer 1966 Traité des Objets Musicaux. Essai interdisciplines Seuil Paris

[13] P. Schaeffer 1957 Vers une Musique Expérimentale. Revue musicale 236 Richard-Masse Paris

[14] B. Stiegler 2006 L’Armement des Oreilles: Devenir et Avenir Industriels des Technologies de l’Écoute Cicuit, Musiques Contemporaines 16 3 33 42

[15] B. Stiegler 2009 Repenser l’Esthétique, Pour une Nouvelle Epoque du Sensible C. Trom Esthétique et Société, Actes L’Harmattan Paris 97 120

[16] B. Stiegler 2017 The Quarrel of the Amateurs Boundary 2 44 1 35 52

[17] J. Tenney 1964 META (+) HODOS : A Phenomenology of Twentieth-century Musical Materials and an Approach to the Study of Form Inter-American Institute for Musical Research Tulane University New Orleans

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