This April forum, Acts of Sonic Intervention, explores what we over here at Sounding Out! are calling “Sound Studies 2.0”–the movement of the field beyond the initial excitement for and indexing of sound toward new applications and challenges to the status quo.
Today Salomé Voegelin, treats us to a multimedia re-sonification of the keynote she gave at 2014’s Invisible Places, Sounding Cities conference in Viseu, Portugal, “Sound Art as Public Art,” which revivified the idea of the “civic” as a social responsibility enacted through sound and listening. Available for download here as a podcast is an audio recording of the keynote as well as a transcription of its accompanying score. In this final entry of the series, Vogelin shares her insight about how sound can act as intervention, disruption, and resistance.
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Sound Art as Public Art
Sit down on a chair
Read: Listening to Noise and Silence: Towards a Philosophy of Sound Art, pp126-127, line 5 to line 5
Play: Clare Gasson, Thought and Hand 53”
Get up, walk a square around your location, singing each side of the square at a different pitch – step back into the middle of the space and grunt loudly.
Read: Sol leWitt The Location of a Circle, 1974
Read: Listening to Noise and Silence: Towards a Philosophy of Sound Art pp130-131, line 20 to line 3, 3rd word
Read: endnoted text [see endnotes below], alternating between life and pre-recorded voice.
Read: Sonic Possible Worlds, Hearing the Continuum of Sound, pp49-50, line 1 to line 12
Read: Maurice Merleau-Ponty, Nature from Course notes from the Collège de France pp68-69, line 32 to line 17, 7th word
Read: from soundwords.tumblr.com: The waterjet, April 09, 2013, 09:39am
Read: Patrick Farmer Try I Bark from ‘fire turns its back to me…’ to ‘ i have no desire too name’
Play: The Red Hook High School Cheerleaders by Jeremy Deller, 2 min excerpt
Read: Sarah Jackson Silent Running from her collection of poems Pelt
Play: Lawrence Abu Hamdan, Marches 2008, Track 2, 3 min excerpt
Read: Henri Lefebvre, Rhythmanalysis, pp19-21, line 8 to line 6 (with a slight edit), and p55, line 17 to line 31
Play: Simon-Steen Anderson Pretty Sound (Up and Down) for priano, from LP Pretty Sound, 3 min excerpt
Read: Listening to the Stars from Noch (What Matters Now? What can’t you hear?)
Read: Sonic Possible Worlds pp157-158, line 1 to line 34
Play: Eisuke Yanagisawa Ultrasonicscapes track 10 streetlight 2, 3 min excerpt.
Read: Sonic Possible Worlds pp165-166, line 29-4 + p166-167, line 40 line 6 word 6 and pp 168-169, line 33 to line 2, and p174, line 18 to line 34
Read: credits while playing Salomé Voegelin: exactly 3 minutes
Life voice [lv]: This is a performance of my sonic possibilities in a public context.
Recorded voice [rv]: Sounds invisible mobility makes accessible, thinkabe and sensible, different and pluralized notions of publicness.
lv: My public performance invites you to consider your own public performance in this same context.
rv: The sonic public is a participatory possibility, whose actuality is not a matter of truth and untruth, but of sonic fictions: personal narrations that realize the invisible and conjure the inaudible, rather than settle on what appears to be there visibly and audibly.
lv: Together we make a civic performance – creating an ephemeral exchange of invisible things that reframe our visible form, relationship and organization.
rv: Listening challenges the designation of private and public. It overhears their distinction and does not follow the functional architecture of place and civic purpose but proposes formless and invisible alternatives.
lv: I am performing my private sonic life-world that meets yours in passing, at moments of coincidence, to create not one appreciable entirety, one actuality, but fragmented possibilities of what our shared space is, or could be.
rv: Sound is not necessarily harmonious, nor definitively antagonistic, but generates the space of an agonistic play: no ideal objective guides or precedes the action that it is.
lv: I sang a square and talked a circle.
rv: The public is not a visual concept, a permanent institution and infrastructure, but a transitory practice.
Iv: made room in the visible space for my invisible possibilities
rv: Sound makes apparent the frames, edges and boundaries of what is considered the actual place, and implodes the singularity and permanence of that perception through an invisible duration.
lv: I made an artistic space,
I made a social space
I made a political space
They reveal the limits of actuality, produce possibilities, and hint at the possibility of impossibilities.
Salomé Voegelin is a Swiss artist and writer engaged in listening as a socio-political practice of sound. She is the author of Listening to Noise and Silence: Towards a Philosophy of Sound Art (Continuum, 2010) and Sonic Possible Worlds: Hearing the Continuum of Sound (Bloomsbury, 2014). She maintains the blog SoundWords and has curated the exhibition clickanywhere, an online exhibition of spoken and written work. Voegelin is a Reader in Sound Arts at London College of Communication, UAL and has a PhD from Goldsmiths College, London University.
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Sounding Out! Podcast #23: War of the Worlds Revisited – Aaron Trammell