Browsing Ausgabe 1.2020 / Auditive Perspektiven by Title
Now showing items 1-15 of 15
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2020-01-28ZeitschriftenartikelA Matter of Fidelity The phrase “high fidelity” might be said to be “tuned to moralist resonances”. The promise of technological transparency implies that sounds and images should not be altered during translations between recording, restitution ...
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2020-01-28ZeitschriftenartikelAkustische Räume, Für Augen und Ohren, Musique en conteneur, Der befreite Klang: Retracing the Heard and Unheard Curatorial Practice of René Block from the 1960s to the 1980s The starting point of this article is the exhibition Der befreite Klang, Kunst für Augen und Ohren (Liberated Sound, Art for the Eyes and the Ears) conceived by the German curator René Block in 1986 for a castle in Austria ...
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2020-01-28Zeitschriftenartikel“Dissolving your Ear Plugs”: The Unheard in Pauline Oliveros’ Deep Listening Practice This article explores Pauline Oliveros’ practice of Deep Listening and argues that it is inherently concerned with the experience of the “unheard”. Deep Listening involves “going below the surface of what is heard”, not ...
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2020-01-28ZeitschriftenartikelÉchos magnétiques: Christina Kubisch at the Musée des beaux-arts de Rennes The exhibition Échos magnétiques — Christina Kubisch took place at the Musée des beaux-arts de Rennes /France from 15 February to 14 April 2019. It was curated by Damien Simon and Anne Zeitz in collaboration with Clélia ...
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2020-01-28Zeitschriftenartikel“Écouter par les yeux” (Listening with the Eyes): Reflecting on exhibitions, sound works and archival documents with René Block and Christina Kubisch The seminar “Écouter par les yeux” (Listening with the Eyes), Reflecting on exhibitions, sound works and archival documents with René Block and Christina Kubisch took place on 15 October 2019 at the German Center for Art ...
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2020-01-28ZeitschriftenartikelInaudible Matters Inaudible Matters, a project including Electrical Walks Paris by Christina Kubisch as well as a programme of lectures and performances, took place at the Gaîté Lyrique Paris from 12 September to 12 December 2019. Inaudible ...
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2020-01-28ZeitschriftenartikelMedia Parasites, Specificity and the Unheard The auditory experience of technical mediation is related to certain perceptual techniques we have developed in order to differentiate between meaningful sound and undesired parasitic artefacts. The act of ‘unhearing’ ...
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2020-01-28ZeitschriftenartikelQuiet Discomfort: On Silence as Aural Discrimination In 1970 the artist Markus Raetz imagined a device for capturing and listening to silence, through headphones connected to a soundproofed space. A few years later, in 1978, an “audio epiphany” inspired Amar Bose, during a ...
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2020-01-28ZeitschriftenartikelRodney Graham’s Unexpected Interrupters The works of Rodney Graham that are analysed in this article, Phonokinétoscope (2001), Super-Heavy Flute (2012) and The King’s Part (1999), are invitations to multiple understandings, references which are pointed to or ...
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2020-01-28ZeitschriftenartikelSound Unheard – An Exhibition at the Goethe-Institut Paris The exhibition Sound Unheard took place at the Goethe-Institut Paris/France from 13 September to 27 October 2019. It was curated by Daniele Balit, Katharina Scriba and Anne Zeitz. The exhibition connects the foundational ...
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2020-01-28ZeitschriftenartikelSound Unheard: Editorial and Contents The unheard often remains unnoticed. What we hear and what we do not, what we notice and what we do not is determined not only by our physiological aural capacities but by a complex intermingling of social, cultural, ...
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2020-01-28ZeitschriftenartikelTemporal Drag – Scores for Memory: Reflections on an Interview with Christina Kubisch Focused on Christina Kubisch’s performance art works in the1970s, the article gives an account of Kubisch’s interview with Clélia Barbut, recorded during the artist’s exhibition at the Musée des beaux-arts de Rennes, Échos ...
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2020-01-28ZeitschriftenartikelThe Inaudible as an Effect: Tactics of Sound Erasure in Max Neuhaus About his sound installation presented at MoMA in 1978, Max Neuhaus explained: “the sound itself was inaudible; what was audible was its effect on other sounds. It was a terrain of an inaudible sound which modified all the ...
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2020-01-28ZeitschriftenartikelThe Muted Sound of Speaking Silence The Middle Passage, the transatlantic slave trade, gives rise to a number of reflections on how African slavery between the fifteenth and nineteenth centuries was the beginning of a turning point in history. The one-way ...
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2020-01-28Zeitschriftenartikel[Un]performing Voice: Simnikiwe Buhlungu / Euridice Zaituna Kala Two unspectacular interventions performed in central Johannesburg by Simnikiwe Buhlungu and Euridice Zaituna Kala evidence the performativity of voice in public space, addressing the unheard in contemporary society, operating ...
