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

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

      Media Art, Science, and Technology

      August 20-23, 2019

      listener, curator, composer, amateur, general organology, acoulogy, sound art practices, attention

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          There is no author summary for this article yet. Authors can add summaries to their articles on ScienceOpen to make them more accessible to a non-specialist audience.

          Abstract

          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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          Most cited references 15

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          Uncured Lunatics, Sounds Are Still Bleeding

           C. Maridet (2010)
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            Caylus, l’Amateur Crépusculaire

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              Vers une Musique Expérimentale. Revue musicale

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                Author and article information

                Contributors
                Conference
                August 2019
                August 2019
                : 161-164
                Affiliations
                Hong Kong Baptist University

                Academy of Visual Arts

                5 Hereford Road, KowloonTong

                Kowloon, Hong Kong SAR
                Article
                10.14236/ewic/RESOUND19.25
                © Maridet. Published by BCS Learning and Development Ltd. Proceedings of RE:SOUND 2019

                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/

                RE:SOUND 2019 – 8th International Conference on Media Art, Science, and Technology
                RE:SOUND 2019
                8
                Aalborg, Denmark
                August 20-23, 2019
                Electronic Workshops in Computing (eWiC)
                Media Art, Science, and Technology
                Product
                Product Information: 1477-9358BCS Learning & Development
                Self URI (journal page): https://ewic.bcs.org/
                Categories
                Electronic Workshops in Computing

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