The Clerk of the Foresters Records: John Berger, the Dead, and the Writing of History

Hudson, Martyn

doi:10.1080/136425200456967

Cited by 6 publications

(6 citation statements)

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“…In relation to Shaw’s Sound and Seclusion , the spatio-temporal origin of the materials that are reworked is a dead, pre-compositional world in which the compositional and performative use of those collected materials continues. Hudson has noted the immense power of the idea of the dead and the dead world in art and the way in which art uses the forms and artefacts of ‘dead generations’ (Hudson 2000, 2002). The pre-compositional world included the hedge borders of fields, the seams and the geological meeting spaces of sandstone rock formations.…”

Section: Understanding Sound Art As Knowledge: Three Processesmentioning

confidence: 99%

“…They are knowledge formations in and of themselves. In fact the whole question of knowledge displays the problem with the human observation of the object, something which a variety of new materialisms have questioned (Hudson 2000, 2002; Harman 2002, 2011; Brassier 2007; Meillassoux 2008). Object-oriented ontologies within philosophy have attempted to eliminate that privileged observational position and to displace it with the materiality of the inhuman object (Bryant, 2011: 268).…”

Section: Understanding Sound Art As Knowledge: Three Processesmentioning

confidence: 99%

“…The territorial distance is that of what might be called the world of the ‘dead’. As Hudson has noted, the remembrance of origin, of capture, of past being and moments is itself an act of ‘Disclosing the dead’ (Hudson, 2000: 274).…”

Section: Dead Logics and Worlds: Traces And Ethnographiesmentioning

confidence: 99%

“…It is a disclosing, a document, an artefact, a track of something, a peculiar fragment thrown before our eyes for a moment and a reminiscence and a residue of another previous moment. It is a discursive phenomena which can disclose the extra-discursive moment of its capture.(Hudson 2000: 263–4)…”

Section: Dead Logics and Worlds: Traces And Ethnographiesmentioning

confidence: 99%

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Dead Logics and Worlds: Sound art and sonorous objects

Hudson

Shaw

2015

Org. Sound

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From the early experimentation with specific sounds in musique concrète (Palombini 1999) to the ‘anecdotal’ music of Luc Ferrari (1996) and the ecological sound activism of Hildegard Westerkamp (2002), the collecting, composition and recomposition of sonorous objects has been central to sound practice. Some sound art has privileged a relationship with visual arts and the structuring of objects in curated spaces (Licht 2007), others with the sound worlds beyond the exhibition (Schafer 1994). By examining a specific sound art installation, Sound and Seclusion by Tim Shaw, this article reworks the idea of sonorous objects as artefacts displaying different kinds of representations, knowledges or data. This question of sonorous ‘knowledge-objects’ is particularly important as ‘collected sounds’ become incorporated into compositions away from their, often remote, spatio-temporal origin out there in the landscape. This article raises three areas for discussion. First, what can sonorous objects tell us about the pre-compositional world (Impett 2007)? Second, in what ways can we understand sonorous objects as they are reworked in compositions which re-narrate them? Third, how can we understand sonorous objects as traces and pieces of data as well as aesthetic productions? The article concludes with a case for reworking the very idea of a sonorous object in sound practices as a product of dead logics and dead worlds as it emerges in new ensembles of composition away from its origin.

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Section: Understanding Sound Art As Knowledge: Three Processesmentioning

confidence: 99%

Section: Understanding Sound Art As Knowledge: Three Processesmentioning

confidence: 99%

Section: Dead Logics and Worlds: Traces And Ethnographiesmentioning

confidence: 99%

Section: Dead Logics and Worlds: Traces And Ethnographiesmentioning

confidence: 99%

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Dead Logics and Worlds: Sound art and sonorous objects

Hudson

Shaw

2015

Org. Sound

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“…This is totally different from, say, an orchestral performance as object, where meaning, history, intersubjectivity is already entwined within that performance even before the sociologist of music comes along and adds to this. It is also different from sound art which partakes of both processes -it adds the mediation of the aesthetic to the capture of natural sound and human sound -whether mechanical, conversational -or the voices of the 'dead' , inhuman voices of profound relevance for sociological practice (Hudson 2000 and2002). A focus on the mediated, natural object is significant for sociology if we are attempting to explicate the nature of an object, text or template.…”

Section: Sociology Materiality and Soundmentioning

confidence: 99%

Music, Knowledge and the Sociology of Sound

Hudson

2014

Sociological Research Online

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The sociology of music has often concentrated less on analysing and understanding the specificity and meanings of musical material culture as both an object and a process and more about ransacking music for insights into wider social relations like class, race and gender. The social constitution of music and the musical constitution of the social deserve a more sustained attempt at explicating relations and musical forms. This paper looks at the literature on what is specifically sociological about music and why music is important for sociology but also begins to problematize the relationship between social science and material culture by moving beyond popular music studies and the study of music more generally to examine the sociology of sound and sound art. We argue that this raises difficulties for the whole concept of the social as part of a human science and that new sound studies have to have a more nuanced and critical understanding of sociological epistemologies and the objects and processes they seek to explicate at the same time as understanding the material formation of music. Questions of knowledge and meaning are embedded in music and the paper concludes by thinking about knowledge and the materiality of music as knowledge.

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