By Salome Voegelin
Encouraged by way of its use in literary conception, movie feedback and the discourse of video game layout, Salomé Voegelin adapts and develops “possible global theory” on the subject of sound. David ok Lewis' attainable global is juxtaposed with Maurice Merleau-Ponty's life-world, to provide a gathering of the semantic and the phenomenological on the position of listening.
The primary guiding principle of Sonic attainable Worlds is that at this time conventional musical compositions and modern sonic outputs are approached and investigated via separate and specific severe languages and histories. in this case, no non-stop and comparative research of the sphere is possible.
In Sonic attainable Worlds, Voegelin proposes a brand new analytical framework which may entry and examine works throughout genres and occasions, permitting a comparative engagement the place composers akin to Henry Purcell and Nadia Boulanger stumble upon sound artwork works by means of 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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Extra info for Sonic Possible Worlds: Hearing the Continuum of Sound
López’s rooms are textures and rhythms: sounds spinning relationships between different movements rather than toward something. The insistent stillness of these textures answers the sounds of my current habitat and takes them into its immutability that is not still but does not move somewhere, and instead expands on the spot into a place that is not here but is the possibility of here. 48 Instead, they are what is not in Schafer’s scheme of good sounds, the lo-fi drone of the industrial habitat; and what is not in Schaeffer’s system of sound classification but on his path: the experiments, the journey, full of doubt about his own project and the possibility of finding a concrete sound.
44 Rather than focusing on the logical phenomenology of Husserl, Schaeffer’s project, as a work in progress, not as finished method, has probably more in common with that of his compatriot and contemporary Merleau-Ponty, however, whose phenomenological reductions are less efforts of analysis and more a practice of perception. Merleau-Ponty brings the psychologism of the perceiving body, rejected by Husserl, into phenomenology, which 40 SONIC POSSIBLE WORLDS thus includes the outer world and the inner world of the subject equally in her sensory-motor actions toward the world, understood as the motion of being in the world of perception.
As I imagine Lidén in the wind I am in the wind too, less cold I am sure, THE LANDSCAPE AS SONIC POSSIBLE WORLD 37 but baffled and astonished by sound’s ability to move us both in space and in time around a thing that is normally still, and still does not move but sounds the potential of movement of what it did once upon a time and what it can do in our imagination now. In the gallery these mobile, churning, turning sounds are trapped in a concrete block, resting on the floor but suspended from the ceiling, from which they emerge and which in turn holds them into a visual silence a muteness even, that threatens to suffocate and yet lets go and makes apparent not the muteness of the sound but of the visual world: it is not the visual building on its stilts, swaying in the wind, but the sound and our listening that produce what is real as a fleeting materiality, a possibility heard in the cold arctic night that might never have been at all and yet it expands our actuality nevertheless.