+1 Recommend
1 collections
      • Record: found
      • Abstract: found
      • Conference Proceedings: found
      Is Open Access

      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



            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.


            Author and article information

            August 2019
            August 2019
            : 161-164
            [0001]Hong Kong Baptist University

            Academy of Visual Arts

            5 Hereford Road, KowloonTong

            Kowloon, Hong Kong SAR
            © 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
            Aalborg, Denmark
            August 20-23, 2019
            Electronic Workshops in Computing (eWiC)
            Media Art, Science, and Technology
            Product Information: 1477-9358BCS Learning & Development
            Self URI (journal page): https://ewic.bcs.org/
            Electronic Workshops in Computing


            1. 1995 La Forme du Disque, Instruments, Cahiers de l’lrcam 7 143 147

            2. 1977 Image Music Text Fontana, London

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

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

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

            6. 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. 2003 Ce que ne Disent pas les Chiffres. Vers une Pragmatique du Goût Le(s) Public(s) de la Culture. Politiques Publiques et Equipements Culturels Presses de Sciences Po

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

            9. 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. 2010 Uncured Lunatics, Sounds Are Still Bleeding Who Cares, 16 essays on curating in Asia, Alvaro Rodriguez Fominaya Para/Site Art Space

            11. 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. 1966 Traité des Objets Musicaux. Essai interdisciplines Seuil Paris

            13. 1957 Vers une Musique Expérimentale. Revue musicale 236 Paris

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

            15. 2009 Repenser l’Esthétique, Pour une Nouvelle Epoque du Sensible Esthétique et Société, Actes L’Harmattan Paris 97 120

            16. 2017 The Quarrel of the Amateurs Boundary 2 44 1 35 52

            17. 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


            Comment on this article