DESARTSONNANTS - CRÉATION SONORE ET ENVIRONNEMENT - ENVIRONMENTAL SOUND ART - PAYSAGES ET ECOLOGIE SONORE
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DESARTSONNANTS - CRÉATION SONORE ET ENVIRONNEMENT - ENVIRONMENTAL SOUND ART - PAYSAGES ET ECOLOGIE SONORE
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Schizophonia at CAC | e-flux

Schizophonia at CAC | e-flux | DESARTSONNANTS - CRÉATION SONORE ET ENVIRONNEMENT - ENVIRONMENTAL SOUND ART - PAYSAGES ET ECOLOGIE SONORE | Scoop.it

Schizophonia explores the histories of music, sound and speech as reinterpreted and written by artists. From Latifa Echakhch’s geopolitical scores and Adrian Piper’s funk lessons, to a concert by a group that Hiwa K has assembled in Delme, the exhibition presents works that sketch diverse aural genealogies. Many of these artists share an interest in sonic archives; they collect, revive and generate recordings—whether unconventional, popular, politicised or dormant—and examine the ways in which these are circulated.

The title of the exhibition borrows a term coined by the Canadian composer and theorist R. Murray Schafer to describe “the split between an original sound and its electroacoustical transmission or reproduction.” In his book The New Soundscape (1969), Schafer explains that schizophonia “simultaneously implicates matters of music, money, geography, time, race and social class.” He also mentions that he wanted to use a “nervous word” deliberately linked to schizophrenia: “I wanted it to convey the same sense of aberration and drama.” If sounds, music and voices are timeless travellers, how do different political, cultural and social contexts change the way people hear and receive them? And, forty years after The New Soundscape, what does Schafer’s ‘aberration’ mean today?

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