Sonic Possible Worlds: Hearing the Continuum of Sound by Salome Voegelin
By Salome Voegelin
Encouraged via its use in literary idea, movie feedback and the discourse of online game layout, Salomé Voegelin adapts and develops “possible global theory” relating to sound. David okay Lewis' attainable global is juxtaposed with Maurice Merleau-Ponty's life-world, to supply a gathering of the semantic and the phenomenological on the position of listening.
The crucial guideline of Sonic attainable Worlds is that at the moment conventional musical compositions and modern sonic outputs are approached and investigated via separate and distinctive severe languages and histories. for that reason, no non-stop and comparative research of the sector is possible.
In Sonic attainable Worlds, Voegelin proposes a brand new analytical framework that may entry and examine works throughout genres and instances, permitting a comparative engagement the place composers resembling Henry Purcell and Nadia Boulanger stumble upon sound paintings works through Shilpa Gupta and Christina Kubisch and the place the soundscape compositions of Chris Watson and Francisco López resound within the visible worlds of Louise Bourgeois.
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Additional resources for Sonic Possible Worlds: Hearing the Continuum of Sound
Sample text
And the glove on Michham Hill. It is a psycho-geography of a very particular kind that has lost its object, the place, in the poetry of space that extends the tension of its time. It is more Arthur Machen than Iain Sinclair, more psychic than geography— generating not a truth about an actual place but inventing its possibilities that might well be an untruth that has lost its measure and now stands as the only truth available producing distress and apprehension. I hope you never may for as I saw that face at the window, with the blue sky above me and the warm air playing in gusts about me, I knew I had to look into another world – look through the window of a commonplace, brand-new house and seen hell open before me.
This geography is not that of San Cipriano Picentino and not of my living room either but that of their possibilities generated in my recentered listening, exploring the material that sounds there and bringing it back into the actuality of my present listening that is ever thicker and pluralized for it. These sonic narratives do not share in the generality of the visual map, nor in the image we might have of an area around Salerno or Italy. Instead, they produce another visualization from the delicate particularity of its sound that is a reminder of place as home, as lived in by some, in comfortable familiarity, and utterly foreign to everybody else—an unpretentious homely home that no street view on a Google map can represent but sound can communicate the exclusivity and particularity of.
Being intersubjectively in the night I do not see to know my vis-à-vis but build him in my blind perception: from the mobility of sound I build a mobile you that mirrors me in my own invisible mobility. Stability is but a shadow in these conditions, an assumption made useless in the dark, whose reciprocity leads to a different knowing: knowing about possibilities, what things could be rather than what they are apparently. Listening I hear the possibility of lifeworlds that are not delineated by the visible but conjured from the invisible in sound, whose actuality is negotiated continually rather than assumed.