Sonic sense
Abstract This chapter aims to set up the context for novel engagements in notions of sense, knowledge, and meaning via sound. Sound is introduced as material as well as concept, and listening is considered at once as strategy and as expanded method to engage and challenge existing notions of prehens...
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| Format: | Book Part |
| Language: | unknown |
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Oxford University Press
2021
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| Online Access: | http://dx.doi.org/10.1093/oxfordhb/9780190274054.013.25 https://academic.oup.com/edited-volume/35433/chapter/303236953 |
| Summary: | Abstract This chapter aims to set up the context for novel engagements in notions of sense, knowledge, and meaning via sound. Sound is introduced as material as well as concept, and listening is considered at once as strategy and as expanded method to engage and challenge existing notions of prehension, interpretation, and significance, and to query their rationale. The suggestion is that the sonic offers itself to experience not as meaning but as a challenge to the making of sense, and that consequently through listening we can reach a different sense, that is plural and includes what we did not expect to know. These ideas are developed by listening to Christof Migone’s work HitParade (NewYork) (2012), a group performance which sounds bodies, surfaces, and microphones through their shared rhythm, and to Jana Winderen’s The Wanderer (2015), a field recording of zooplankton and phytoplankton between the North Pole and the Equator. |
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