Micro-ecologies of sound: Elemental dialog at work

This article aims to investigate interactions between biologic elements of human bodies and soundwaves, paying attention to both the appropriate material of theoretic research and the artistic practices of recent years. Starting from the specificity of sound perception and its difference from visual one, thus highlighting the immediacy of soundwaves and their immersive cosmic character, the author goes on with consideration of approaches which try to operate with these features of sound equalizing humans with other «objects» on the planet as subjects of sound affection. Giving soundscape practices their due, the author demonstrates their still «all too human» intention to reorder «natural» sound assemblages to the please of human ear and suggests to explore artworks which immerse «listening bodies» into technically supported interaction with sound structures on the elemental level causing their modulations and mutations.

Content

Author and article information

Contributors

Nina Sosna

Conference

Publication date: August 2019

Publication date (Print): August 2019

Pages: 145-151

Affiliations

[0001]Institute of Philosophy, Russian Academy of Sciences

12/1 Goncharnaya Str., Moscow, 109240, Russian Federation

Article

DOI: 10.14236/ewic/RESOUND19.23

SO-VID: 31cdbf90-95a8-49a1-a3d9-9ca93cfd041f

License:

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

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/RESOUND19.23

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

REFERENCES

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P-L. CapucciF. Torriani 2016 Preface Eduardo Kac Telepresenza e Bioarte, Interconnessioni in rete fra umani, conigli e robot Bologna CLUEB
P. Cassou-Noguès 2003 La définition du sujet dans Le Visible et l’invisible Merleau-Ponty aux frontières de l’invisible Milan Mimesis
M. Chion 1990 L’audio-vision. Son et image au cinéma Paris Editions Nathan
M. Donnarumma 2015 Nigredo: Configuring Human and Technological Bodies T. SchubertA. Adamatzky Experiencing the Unconventional: Science in the Art Singapore World Scientific Publishing
R. Gély 2006 Le pli et le toucher à distance chez Merleau-Ponty G. CormannS. LaoureuxJ. Hildesheim Pieron Différence et identité. Les enjeux phénoménologiques du pli Zürich, N.Y Georg Olms Verlag
S. Helmreich 2016 Sounding the Limits of Life Essays in the Anthropology of Biology and Beyond Princeton Princeton University P
R. Krauss 1986 The Originality of the Avante-Garde and Other Modernist Myths Cambridge MIT P
Ph. Lacoue-Labarthe 1998 Typography: Mimesis, Philosophy, Politics Christopher Fynsk Stanford University P
M. Lista 2006 L’OEuvre d’art totale à la naissance des avant-gardes, 1908-1914 Paris Institute national d’histoire de l’art
W.J.T. MitchellM. Hansen 2010 Critical Terms for Media Studies Chicago, IL U of Chicago P
T. Morton 2013 Hyperobjects. Philosophy and Ecology after the End of the World Minneapolis U of Minnesota P
T. Morton 2016 Dark Ecology: For a logic of future coexistence New York Columbia UP
J-L Nancy 2003 Au fond des images Paris Seuil
A. Negri 2009 The labour of Job Foreword by M. Hardt M. Mandarini Durham and London Duke University Press
P. Oliveros 2010 Sounding the Margins: Collected Writings 1992-2009 Lawton Hall Kingston, New York Deep Listening Publications
Walter J. Ong 1991 Orality and Literature — The Technologizing of the World London, New York Routledge
T. PearsonP. Walde 2017 Music for Natural History, multichannel sound and video installation 2012-2017, the performance program
N. Rea 2017 Paci’s Collage in Istanbul Artnet ext-link-type="uri" xlink:href="https://news.artnet.com/exhibitions/istanbul-adrianpaci-interregnum-protocinema-1079087">https://news.artnet.com/exhibitions/istanbul-adrianpaci-interregnum-protocinema-1079087 14 September 2019
E. Tacker 2011 In the Dust of This Planet Horror of Philosophy 1 New York Zero Books
R. M. Schafer 1977 The Tuning of the World The Soundscape New York Alfred Knopf
M. Thompson 2017 Beyond Unwanted Sound. Noise, Affect and Aesthetic Moralism New York, London Bloomsbury
H. Westerkamp 2017 The practise of listening in unsettled times Invisible places. Sound, urbanism and sense of place

Comments

Comment on this article

[1] R. Barbaras 2008 Les trois sens de la chair. Sur une impasse de l’ontologie de Merleau-Ponty Chiasmi International 10 19 32

[2] H. Belting 2011 An Anthropology of Images: Picture, Medium, Body T. Dunlap Princeton Princeton University P

[3] P-L. CapucciF. Torriani 2016 Preface Eduardo Kac Telepresenza e Bioarte, Interconnessioni in rete fra umani, conigli e robot Bologna CLUEB

[4] P. Cassou-Noguès 2003 La définition du sujet dans Le Visible et l’invisible Merleau-Ponty aux frontières de l’invisible Milan Mimesis

[5] M. Chion 1990 L’audio-vision. Son et image au cinéma Paris Editions Nathan

[6] M. Donnarumma 2015 Nigredo: Configuring Human and Technological Bodies T. SchubertA. Adamatzky Experiencing the Unconventional: Science in the Art Singapore World Scientific Publishing

[7] R. Gély 2006 Le pli et le toucher à distance chez Merleau-Ponty G. CormannS. LaoureuxJ. Hildesheim Pieron Différence et identité. Les enjeux phénoménologiques du pli Zürich, N.Y Georg Olms Verlag

[8] S. Helmreich 2016 Sounding the Limits of Life Essays in the Anthropology of Biology and Beyond Princeton Princeton University P

[9] R. Krauss 1986 The Originality of the Avante-Garde and Other Modernist Myths Cambridge MIT P

[10] Ph. Lacoue-Labarthe 1998 Typography: Mimesis, Philosophy, Politics Christopher Fynsk Stanford University P

[11] M. Lista 2006 L’OEuvre d’art totale à la naissance des avant-gardes, 1908-1914 Paris Institute national d’histoire de l’art

[12] W.J.T. MitchellM. Hansen 2010 Critical Terms for Media Studies Chicago, IL U of Chicago P

[13] T. Morton 2013 Hyperobjects. Philosophy and Ecology after the End of the World Minneapolis U of Minnesota P

[14] T. Morton 2016 Dark Ecology: For a logic of future coexistence New York Columbia UP

[15] J-L Nancy 2003 Au fond des images Paris Seuil

[16] A. Negri 2009 The labour of Job Foreword by M. Hardt M. Mandarini Durham and London Duke University Press

[17] P. Oliveros 2010 Sounding the Margins: Collected Writings 1992-2009 Lawton Hall Kingston, New York Deep Listening Publications

[18] Walter J. Ong 1991 Orality and Literature — The Technologizing of the World London, New York Routledge

[19] T. PearsonP. Walde 2017 Music for Natural History, multichannel sound and video installation 2012-2017, the performance program

[20] N. Rea 2017 Paci’s Collage in Istanbul Artnet ext-link-type="uri" xlink:href="https://news.artnet.com/exhibitions/istanbul-adrianpaci-interregnum-protocinema-1079087">https://news.artnet.com/exhibitions/istanbul-adrianpaci-interregnum-protocinema-1079087 14 September 2019

[21] E. Tacker 2011 In the Dust of This Planet Horror of Philosophy 1 New York Zero Books

[22] R. M. Schafer 1977 The Tuning of the World The Soundscape New York Alfred Knopf

[23] M. Thompson 2017 Beyond Unwanted Sound. Noise, Affect and Aesthetic Moralism New York, London Bloomsbury

[24] H. Westerkamp 2017 The practise of listening in unsettled times Invisible places. Sound, urbanism and sense of place

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