Logo of Humboldt-Universität zu BerlinLogo of Humboldt-Universität zu Berlin
edoc-Server
Open-Access-Publikationsserver der Humboldt-Universität
de|en
Header image: facade of Humboldt-Universität zu Berlin
View Item 
  • edoc-Server Home
  • Elektronische Zeitschriften
  • kunsttexte.de - E-Journal für Kunst- und Bildgeschichte
  • Auditive Perspektiven
  • Ausgabe 1.2020 / Auditive Perspektiven
  • View Item
  • edoc-Server Home
  • Elektronische Zeitschriften
  • kunsttexte.de - E-Journal für Kunst- und Bildgeschichte
  • Auditive Perspektiven
  • Ausgabe 1.2020 / Auditive Perspektiven
  • View Item
JavaScript is disabled for your browser. Some features of this site may not work without it.
All of edoc-ServerCommunity & CollectionTitleAuthorSubjectThis CollectionTitleAuthorSubject
PublishLoginRegisterHelp
StatisticsView Usage Statistics
All of edoc-ServerCommunity & CollectionTitleAuthorSubjectThis CollectionTitleAuthorSubject
PublishLoginRegisterHelp
StatisticsView Usage Statistics
View Item 
  • edoc-Server Home
  • Elektronische Zeitschriften
  • kunsttexte.de - E-Journal für Kunst- und Bildgeschichte
  • Auditive Perspektiven
  • Ausgabe 1.2020 / Auditive Perspektiven
  • View Item
  • edoc-Server Home
  • Elektronische Zeitschriften
  • kunsttexte.de - E-Journal für Kunst- und Bildgeschichte
  • Auditive Perspektiven
  • Ausgabe 1.2020 / Auditive Perspektiven
  • View Item
2020-01-28Zeitschriftenartikel DOI: 10.18452/21084
Quiet Discomfort: On Silence as Aural Discrimination
Balit, Daniele
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 flight from Zurich to Boston, for the invention of noise-cancelling headphones capable of providing a “heaven of tranquillity” to world travellers. In 2016, the artist Lawrence Abu Hamdan, reconstructed a process of “disappearance of voice” and of a decrease in the level of the aural environment of the Syrian prison Saydnaya, measuring it by a 19-decibel drop in sound. Building upon these three episodes, this article treats the way in which silence participates in the construction of social space. Post-Cagean artistic practice, in particular that of Michael Asher and Max Neuhaus, has identified in the threshold between audible and inaudible a tool for investigation and critical analysis of the conditions of perception of the institutional display, In the age in which aural technology reproduces discriminatory models of control of the environmental space and of “cancellation of unwanted perceptions”, this project will assume a specifically political connotation with the “forensic listening” of Abu Hamdan.
Files in this item
Thumbnail
7-DBalit_kunsttexte2020AP.pdf — Adobe PDF — 1.253 Mb
MD5: 0eced3a667dc1b20bff1406fbf8d6e97
Cite
BibTeX
EndNote
RIS
InCopyright
Details
DINI-Zertifikat 2019OpenAIRE validatedORCID Consortium
Imprint Policy Contact Data Privacy Statement
A service of University Library and Computer and Media Service
© Humboldt-Universität zu Berlin
 
DOI
10.18452/21084
Permanent URL
https://doi.org/10.18452/21084
HTML
<a href="https://doi.org/10.18452/21084">https://doi.org/10.18452/21084</a>