Towards a Phenomenology of the Acoustic Image

Filimowicz, Michael; Stockholm, Jack

doi:10.1017/s1355771809990215

Cited by 6 publications

(4 citation statements)

References 8 publications

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“…In attempting to define sound within acousmatic music, Pierre Schaeffer, who was heavily influenced by Edmund Husserl's phenomenological principles [23,31,33,54] suggested removing the sound from its original context. Through his concepts of the sonic object, reduced listening and idée fixe, Schaeffer suggested we should rely purely on the acoustic qualities of sound to gain a deeper understanding.…”

Section: Influential Artists On Sound Artmentioning

confidence: 99%

Acetate - Impermanence and Destruction Within Sound Art

Eadie

2021

Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering

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This paper will discuss two installation pieces created for acetate vinyl and multiple turntables. The two works Wow&Flutter and Collision should be considered as spatially immersive, generative, and interactive sound sculptured objects that investigate degrading surface material and remediation as the basis for a structural composition. The turntable has been regarded as a legacy technology but has recently seen a resurgence even among emerging technologies such as 'XR' 'Network Art' and 'Live Coding'. This paper will discuss how the turntable is itself a dialogic key between mediation and materiality of sound. It's tactile and kinaesthetic nature invite interactivity in a very unique and singular manner. Firstly, I will address correlational aspects by developing the conceptual and aesthetic context in an effort to delineate and explain the term Sound Art before addressing the affordances of the creative use of the turntable. I will then explore how prominent artists conflated this medium's initial purpose and telos before going on to discuss the concept of Repetition as Aesthetic. This will be followed by an in-depth commentary of the use of acetate material in terms of investigating real-time recursive disintegration of analogue sound recording on this soft and malleable material. Intermediality and reappropriation of sonic material will also be discussed in relation to the compositional approach with a particular emphasis on Plunderphonics.

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Section: Influential Artists On Sound Artmentioning

confidence: 99%

Acetate - Impermanence and Destruction Within Sound Art

Eadie

2021

Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering

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“…Elsewhere I have used the term imago mundi (Filimowicz and Stockholm 2010: 10) to mean a ‘world image’ or image of worldliness, to describe the production of acoustic images that are devoid of or attenuated in subjective investment. Data sonification has the potential to offer us percepts that are uninvested by subjectivity, through the production of ‘world images’ that can decentre or displace our general egocentrism with regards to our world.…”

Section: Peircean Triadsmentioning

confidence: 99%

Peircing Fritz and Snow: An aesthetic field for sonified data

Filimowicz

2014

Org. Sound

Self Cite

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This essay elaborates a field of general aesthetic considerations relevant to the sonification of data. A set of dialectical tropes are introduced to define the possibility space for organised sonified data: data-in-itself and the listener-for-itself; cognitive support and sabotage; and the Peircean triad of rheme–dicisign–argument. Taken together, these three dialectical parameters elaborate a conceptual space in which strategies can be sought for mapping acoustic parameters to data features, data structure and sonic transformations, all with respect to listener reception. A work-in-progress is discussed in connection with this general aesthetic field, and considerations of the aesthetic space are applied to several works. Finally, the notion of data verité is explored in connection to ‘big data’ and issues related to the transformation of data into information generally.

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“…Acoustic imagery (Filimowicz and Stockholm 2010) and its articulation have been an integral part of the electroacoustic arsenal throughout the history of the genre, its effect being particularly compelling in works constructed with anecdotal material causally rooted in our experience of the real world. In fact, the cliché cinéma pour l'oreille (cinema for the ears), initially coined by Canadian composer and electroacoustic guru Francis Dhomont (1996: 23) was, and still is, a popular epithet to subtitle electroacoustic works and concert presentations.…”

Section: The Hybrid Nature Of the Electroacoustic Artsmentioning

confidence: 99%

From Sonic Art to Visual Music: Divergences, convergences, intersections

Garro

2012

Org. Sound

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This paper introduces strategies for the electroacoustic community to relate to, and engage with, the visual music phenomenon. It addresses technological, historical, cultural and idiomatic intersections between the two art forms. From the personal viewpoint of a trained synaesthete of acousmatic origin, the boundaries between sonic and audiovisual compositional practices appear somewhat porous. The electroacoustic language is intrinsically visual, even within its acousmatic paradigm. Visible morphologies acquire a sonorous dimension as soon as we uproot them from their cinematographic habitat and plunge them into the cauldron of a new alchemy. Multi-disciplinary lines of enquiry are essential to elucidate the workings of complex multimediatic interactions such as those at play in visual music. Yet, a holistic view of the creative and technological pathways is equally significant so that artistic truths, and myths, can be (re)discovered amidst lines of code or loops of wire connecting our computer peripherals. Thus this article is written both with the language of an analyst and, perhaps more, with the expressions and idiosyncrasies of an academic composer. A few selected examples from the contemporary repertoire are discussed to exemplify a variety of approaches to visual music composition, including extracts from the work Patah (Garro 2010).

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Towards a Phenomenology of the Acoustic Image

Cited by 6 publications

References 8 publications

Acetate - Impermanence and Destruction Within Sound Art

Acetate - Impermanence and Destruction Within Sound Art

Peircing Fritz and Snow: An aesthetic field for sonified data

From Sonic Art to Visual Music: Divergences, convergences, intersections

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