Constellations and Properties

Three constellations

1. What are the constitutive properties of sound—the modalities by which it operates effectively—that significantly challenge the historical preponderance of visuality?

2. How might sound and its perpetual becoming and fluxional change—its intrinisic temporality—function as a model for intuiting alternate political dispositions? Here we mean political both in terms of organizational and informational structures as well as and perhaps more importantly in terms of abstract philosophical models.

3. How can sound accelerate an expansion of art practice beyond the realm of the palpable, both sensorially and temporally, given the massive world objects, ungraspable processes of climate change, globalization, networked communication, deterritorialized financial capitalism, the anthropocene and the anthroposonic? How might sound productively accost the non-human, the inhuman, and affective, transpersonal, preconsious forces?

We can’t talk about sound’s potential and what it can do concretely within any of these domains without attending to its constitutive properties, through a materialist approach which accounts for bandwidths both accessible and inaccessible to perception.

Four properties

1. SPATIAL IMMERSION – sound immersive / proximal in contrast to visual subject/object separation (Duchamp: “one can look at seeing; one can’t hear hearing”)

Max Neuhaus – Times Square

2. TEMPORAL FLUX -” Sounds support an ontology of events” (Cox)

Sonic process is compatible with an ontology not rooted in transcendental entities, but in immanent flux: for Karen Barad, relations precede relata; for philosopher of technics Gilbert Simondon, individuation happens through the appropriation of elements of a pre-individual fund which are then modulated and spun back out into the flux.

John Cage – Imaginary Landscape IV

3. SCHIZOPHONIA / CHRONOPORTATION (via technology / phono-graphy (sound+writing)

recording = medium for transformation / transmutation (ALCHEMY)

schizophonia: sound separated from the space/time of its production

chronoportation: time-travel


Serres: “Being-in-the-world never before heard the world. (FEEDBACK within FLUX)”

Also beyond the purely audible, involving also a transindividual vibrational continuum (Goodman).


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