Sound is Silence

2021 ◽  
pp. 254-272
Author(s):  
Greg Hainge
Keyword(s):  
Otoacoustic Emissions ◽  
Human Subject ◽  
Sound Art ◽  
The World ◽  
Physiological Phenomenon ◽  
Phenomenological Perspective

This chapter investigates the possibility of talking about the fabric of sound. The claim is made that sound has no fabric of its own and is extended only through other sites and media. It is suggested, however, that we might talk about sound not as a fabric but as un fabriquer, a term that brings with it something of the asubjective, relational, and operational nature of sound. When thinking through this in terms of sound art, greater complexity arises since a human subject is necessarily interpolated into the relation, and the fabric of sound (which is to say its ontology) must be thought of from a phenomenological perspective. To do this, I use the philosophy of Merleau-Ponty, in particular his concept of a chiasmic relation out of which the perceptible world is produced as what he terms ‘the flesh of the world’. I contend that this concept, as outlined in his late philosophy, is problematic because it is hard to see how it can lead to the kind of experiential intersubjectivity that it argues for. This argument is unpacked through a consideration of the physiological phenomenon of otoacoustic emissions before going on to argue that art, and in this specific case sound art, may provide a solution to the conundrum of how such necessary intersubjectivity can arise, a suggestion that is prosecuted via a consideration of Jacob Kirkegaard’s Labyrinthitis, a work of sound art constructed out of otoacoustic emissions.

scholarly journals Uma Reflexão sobre a Fenomenologia da Experiência Estética: O Caso do Teatro

2021 ◽  
Vol 27 (2) ◽  
pp. 242-251
Author(s):  
Jenifer Cortes Demeterco GEROMINI
Keyword(s):  
Human Subject ◽  
Aesthetic Experience ◽  
Extensive Study ◽  
Main Work ◽  
The World ◽  
Phenomenological Perspective ◽  
Important Field ◽  
The Aesthetic ◽  
The One ◽  
Two Stages

Art, a fundamentally human subject, has become an important field of study in both philosophy and psychology. It is deemed relevant to think of it from a phenomenological perspective, that regards artistic activities not as a representation, but as an expression. This study aims to consider the actor's/actress's activities based on the book Phénoménologie de l'experience esthétique, the main work by Mikel Dufrenne, a phenomenologist who wrote the most extensive study regarding aesthetics in phenomenology. This task has been accomplished in two stages: a possible explanation about the aesthetic experience as proposed by Dufrenne and, from it, the construction of a reflection about a theater artist's work. The role that art and, above all, the artist plays in the resignification of the world becomes evident, as he is the one who offers the viewer, through an immanent intersubjectivity, a world expressed as a novelty. It is understood that, in addition to the study of specific topics, the study of aesthetic experience in phenomenology, from the Dufrennian perspective, may prove relevant to the comprehension of the human phenomenon in general. Palavras-chave : Aesthetic experience; Phenomenology; Art; Theater.

Deleuze and Italian Thought

2019 ◽  
Vol 13 (4) ◽  
pp. 495-507 ◽  
Author(s):  
Felice Cimatti
Keyword(s):  
Human Subject ◽  
Gilles Deleuze ◽  
The Political ◽  
The World ◽  
Giacomo Leopardi ◽  
The One

The tradition of Italian Thought – not the political one but the poetic and naturalistic one – finds in the philosophy of Gilles Deleuze a way to enter into the new century, the century of immanence and animality. In fact, Deleuze himself remained outside the main philosophical traditions of his own time (structuralism and phenomenology). The tradition to which Deleuze refers is the one that begins with Spinoza and ends with Nietzsche. It is an ontological tradition, which deals mainly with life and the world rather than with the human subject and knowledge. Finally, the text sketches a possible dialogue between Deleuze and the poet-philosopher Giacomo Leopardi, one of the most important (and still unknown) figures of Italian Thought.

Responsibility before the World: Cinema, Perspectivism and a Nonhuman Ethics of Individuation

2021 ◽  
Vol 15 (3) ◽  
pp. 386-410
Author(s):  
Andrew Lapworth
Keyword(s):  
Social Sciences ◽  
Human Subject ◽  
Ethical Responsibility ◽  
Experimental Film ◽  
World Cinema ◽  
The World ◽  
The Subject ◽  
Points Of View ◽  
Humanities And Social Sciences

The recent ‘nonhuman turn’ in the theoretical humanities and social sciences has highlighted the need to develop more ontological modes of theorising the ethical ‘responsibility’ of the human in its relational encounters with nonhuman bodies and materialities. However, there is a lingering sense in this literature that such an ethics remains centred on a transcendent subject that would pre-exist the encounters on which it is called to respond. In this essay, I explore how Gilles Deleuze's philosophy offers potential opening for a more ontogenetic thinking of a ‘nonhuman ethics’. Specifically, I focus on how his theory of ‘individuation’ – conceived as a creative event of emergence in response to immanent ontological problems – informs his rethinking of ethics beyond the subject, opening thought to nonhuman forces and relations. I argue that if cinema becomes a focus of Deleuze's ethical discussions in his later work it is because the images and signs it produces are expressive of these nonhuman forces and processes of individuation, generating modes of perception and duration without ontological mooring in the human subject. Through a discussion of Verena Paravel and Lucien Castaing-Taylor's experimental film –  Leviathan (2012)  – I explore how the cinematic encounter dramatises different ethical worlds in which a multiplicity of nonhuman ‘points of view’ coexist without being reduced to a hierarchical or orienting centre that would unify and identify them. To conclude, I suggest that it is through the lens of an ethics of individuation that we can grasp the different sense of ‘responsibility’ alive in Deleuze's philosophy, one oriented not to the terms of the already-existing but rather to the nonhuman potential of what might yet come into being.

Introduction

2019 ◽  
pp. 1-24
Author(s):  
Monika Szuba
Keyword(s):  
Human Subject ◽  
The Body ◽  
The World ◽  
Body Subject

Poïesis – production, creation, making – transforms and continues the world where thought, matter and time are mediated and attuned in and for the human subject. Following a certain phenomenological discourse, about which there is more to be said in this Introduction, what I will be calling throughout this study the body–subject becomes integrated with the world. Thus, through making, ...

scholarly journals Poetic Storytelling in Contemporary Photography. Relation to Nature and the Poesis of Everyday Life in Works of Selected Artist in Iceland and Other Nordic Countries

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 129
Author(s):  
Sigrún Alba Sigurðardóttir
Keyword(s):  
Everyday Life ◽  
Nordic Countries ◽  
The Other ◽  
The Past ◽  
The World ◽  
Phenomenological Perspective ◽  
The One ◽  
Climate Crisis ◽  
The Relationship ◽  
Narrative Medium

The past 20 years have seen a shift in Icelandic photography from postmodern aesthetics towards a more phenomenological perspective that explores the relationship between subjective and affective truth on the one hand, and the outside world on the other hand. Rather than telling a story about the world as it is or as the photographer wants it to appear, the focus is on communicating with the world, and with the viewer. The photograph is seen as a creative medium that can be used to reflect how we experience and make sense of the world, or how we are and dwell in the world. In this paper, I introduce the theme of poetic storytelling in the context of contemporary photography in Iceland and other Nordic Countries. Poetic storytelling is a term I have been developing to describe a certain lyrical way to use a photograph as a narrative medium in reaction to the climate crisis and to a general lack of relation to oneself and to the world in times of increased acceleration in the society. In my article I analyze works by a few leading Icelandic photographers (Katrín Elvarsdóttir, Heiða Helgadóttir and Hallgerður Hallgrímsdóttir) and put them in context with works by artists from Denmark (Joakim Eskildsen, Christina Capetillo and Astrid Kruse Jensen), Sweden (Helene Schmitz) and Finland (Hertta Kiiski) artists within the frame of poetic storytelling. Poetic storytelling is about a way to use a photograph as a narrative medium in an attempt to grasp a reality which is neither fully objective nor subjective, but rather a bit of both.

Hearing How It Feels to Listen: Perception, embodiment and first-person field recording

2019 ◽  
Vol 24 (1) ◽  
pp. 30-40
Author(s):  
Iain Findlay-Walsh
Keyword(s):  
Virtual Environments ◽  
Auditory Perception ◽  
Sound Art ◽  
Practice Research ◽  
First Person ◽  
Art Practice ◽  
Auditory Space ◽  
Field Recordings ◽  
Field Recording ◽  
The World

This article explores recent theories of listening, perception and embodiment, including those by Mark Grimshaw and Tom Garner, Salomé Voegelin, and Eric Clarke, as well as consequences and possibilities arising from them in relation to field recording and soundscape art practice. These theories of listening propose auditory perception as an embodied process of engaging with and understanding lived environment. Such phenomenological listening is understood as a relational engagement with the world in motion, as movement and change, which grants access to the listener’s emerging presence, agency and place in the world. Such ideas on listening have developed concurrently with new approaches to making and presenting field recordings, with a focus on developing phonographic methods for capturing and presenting the recordist’s embodied auditory perspective. In the present study, ‘first-person’ field recording is defined as both method and culturally significant material whereby a single recordist carries, wears or remains present with a microphone, consciously and reflexively documenting their personal listening encounters. This article examines the practice of first-person field recording and considers its specific applications in a range of sound art and soundscape art examples, including work by Gabi Losoncy, Graham Lambkin, Christopher Delaurenti and Klaysstarr (the author). In the examination of these methods and works, first-person field recording is considered as a means of capturing the proximate auditory space of the recordist as a mediated ‘point of ear’, which may be embodied, inhabited, and listened through by a subsequent listener. The article concludes with a brief summary of the discussion before some closing thoughts on recording, listening and the field, on field recording as practice-research and on potential connections with other fields in which the production of virtual environments is a key focus.

scholarly journals Non-ionizing radiofrequency electromagnetic waves traversing the head can be used to detect cerebrovascular autoregulation responses

2016 ◽  
Vol 6 (1) ◽  
Author(s):  
M. Oziel ◽  
M. Hjouj ◽  
C. A. Gonzalez ◽  
J. Lavee ◽  
B. Rubinsky
Keyword(s):  
Real Time ◽  
Clinical Evaluation ◽  
Electromagnetic Waves ◽  
Cerebrovascular Autoregulation ◽  
The World ◽  
Physiological Phenomenon ◽  
Vascular Component ◽  
The Brain

Abstract Monitoring changes in non-ionizing radiofrequency electromagnetic waves as they traverse the brain can detect the effects of stimuli employed in cerebrovascular autoregulation (CVA) tests on the brain, without contact and in real time. CVA is a physiological phenomenon of importance to health, used for diagnosis of a number of diseases of the brain with a vascular component. The technology described here is being developed for use in diagnosis of injuries and diseases of the brain in rural and economically underdeveloped parts of the world. A group of nine subjects participated in this pilot clinical evaluation of the technology. Substantial research remains to be done on correlating the measurements with physiology and anatomy.

Freedom and Culture

2018 ◽  
Vol 48 (2) ◽  
pp. 175-194 ◽  
Author(s):  
Shuchen Xiang ◽  
Keyword(s):  
Human Subject ◽  
Human Agency ◽  
The Self ◽  
Chinese Tradition ◽  
Symbolic Forms ◽  
The World ◽  
Book Of Changes ◽  
Philosophy Of Symbolic Forms ◽  
Symbolic Formation

Through a key passage (Xici 2.2) from the Book of Changes, this paper shows that Ernst Cassirer’s philosophy of symbolic forms shares similarities with the canonical account of symbolic formation in the Chinese tradition: the genesis of xiang (象), often translated as image or symbol. xiang became identified with the origins of culture/civilisation itself. In both cases, the world is understood as primordially (phenomenologically) meaningful; the expressiveness of the world requires a human subject to consummate it in a symbol, whilst the symbol in turn gives us access to higher orders of meaning. It is the self-conscious creation of the symbol that then allows for the higher forms of culture. For both the Xici and Cassirer, symbols and the symbolic consciousness that comes with it is the pre-condition for the freedom, ethics and the cultivation of agency. As for both the Xici and Cassirer, it is human agency that creates these symbols, it will be argued that the Xici is making a Cassirerian argument about the (ethical) relationship between human agency, symbols and ethics/freedom.

The "World" of the Enlightenment to Come (Exception, Calculation, Sovereignty)

2003 ◽  
Vol 33 (1) ◽  
pp. 9-52 ◽  
Author(s):  
Jacques Derrida
Keyword(s):  
Human Subject ◽  
Coming Of Age ◽  
Nation State ◽  
Ethical Imperative ◽  
Age Of Reason ◽  
The Enlightenment ◽  
The World ◽  
To Come ◽  
Point Of Departure

AbstractTaking as its point of departure Edmund Husserl's 1935-36 text The Crisis of European Sciences, this essay attempts to develop a new conception of reason by means of a thoroughgoing critique of some ideas often used to support and define it. Because the notion of "enlightenment" has been tied since the time of Kant to a certain coming of age of reason or rationality, the "enlightenment" to come must at once draw upon the resources of this reason and open reason to some of the aporias it has traditionally rejected. Reducible neither to a simple irrationalism nor to a mere mode of calculative thought, such reason must ultimately challenge, it is argued, not only the sovereignty and identity of the (human) subject but the very concepts of sovereignty and identity. Only such a renewed thinking of reason or of what is reasonable, the essay suggests, can help us diagnose, analyze, and help treat some of the aporias posed by a whole host of contemporary issues, from cloning to the erosion of the nation-state to globalization and terrorism. Only in this way can we at once "save the honor of reason" - to use a phrase that runs throughout the essay - and help reorient the reason of politics, of the sciences, and, indeed, of philosophy along the lines of a more fundamental and urgent ethical imperative.

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