Historical Imagination, Form and Aesthetic Experience in Sound Installations

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This paper reflects on the problem of form and its political implications in some specific kind of sound installations. It is argued that a historized conception of imagination allows us to tear through the detemporalized continuum of such artistic devices thus grasping the material relationships ci...

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Autor principal: Halaban, Daniel
Formato: Artículo publishedVersion
Lenguaje:Español
Publicado: Facultad de Filosofía y Letras, Universidad de Buenos Aires 2017
Acceso en línea:https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7502
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=7502_oai
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Repositorio Digital de la Universidad de Buenos Aires (UBA) de Universidad de Buenos Aires
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collection Repositorio Digital de la Universidad de Buenos Aires (UBA)
language Español
orig_language_str_mv spa
description This paper reflects on the problem of form and its political implications in some specific kind of sound installations. It is argued that a historized conception of imagination allows us to tear through the detemporalized continuum of such artistic devices thus grasping the material relationships ciphered in them. In order to do that an articulation between the empirical analysis of some sound installations and a theoretical journey is proposed. At first, Jacques Rancière’s thesis on politics of aesthetics are discussed, especially his contraposition between François Lyotard’s aesthetics of the sublime and Theodor Adorno’s stance on art as critique. Sublime art is, for Lyotard, one that allows reason to be exceeded by sensitive experience and is characterized as being “pure difference”, an indeterminate “immaterial matter” –which, in music, can be found in timbre. It is argued, however, that Pierre Schaeffer’s experiments indicate that today such an experience is not possible. This article posits that formal thought can be found in sound installations as the synthesis that reason elaborates from the fragments produced by a historical imagination, which can penetrate the “indeterminate”.
format Artículo
publishedVersion
author Halaban, Daniel
spellingShingle Halaban, Daniel
Historical Imagination, Form and Aesthetic Experience in Sound Installations
author_facet Halaban, Daniel
author_sort Halaban, Daniel
title Historical Imagination, Form and Aesthetic Experience in Sound Installations
title_short Historical Imagination, Form and Aesthetic Experience in Sound Installations
title_full Historical Imagination, Form and Aesthetic Experience in Sound Installations
title_fullStr Historical Imagination, Form and Aesthetic Experience in Sound Installations
title_full_unstemmed Historical Imagination, Form and Aesthetic Experience in Sound Installations
title_sort historical imagination, form and aesthetic experience in sound installations
publisher Facultad de Filosofía y Letras, Universidad de Buenos Aires
publishDate 2017
url https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7502
https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=7502_oai
work_keys_str_mv AT halabandaniel historicalimaginationformandaestheticexperienceinsoundinstallations
AT halabandaniel imaginacionhistoricaformayexperienciaesteticaenlasinstalacionessonoras
AT halabandaniel imaginacaohistoricaaformaeaexperienciaesteticadasinstalacoessonoras
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spelling I28-R145-7502_oai2025-11-17 Halaban, Daniel 2017-02-01 This paper reflects on the problem of form and its political implications in some specific kind of sound installations. It is argued that a historized conception of imagination allows us to tear through the detemporalized continuum of such artistic devices thus grasping the material relationships ciphered in them. In order to do that an articulation between the empirical analysis of some sound installations and a theoretical journey is proposed. At first, Jacques Rancière’s thesis on politics of aesthetics are discussed, especially his contraposition between François Lyotard’s aesthetics of the sublime and Theodor Adorno’s stance on art as critique. Sublime art is, for Lyotard, one that allows reason to be exceeded by sensitive experience and is characterized as being “pure difference”, an indeterminate “immaterial matter” –which, in music, can be found in timbre. It is argued, however, that Pierre Schaeffer’s experiments indicate that today such an experience is not possible. This article posits that formal thought can be found in sound installations as the synthesis that reason elaborates from the fragments produced by a historical imagination, which can penetrate the “indeterminate”. En este trabajo se indaga sobre el problema de la forma en un tipo específico de instalaciones sonoras y su implicancia política. Se considera que una concepción historizada de la imaginación permite desgarrar el continuum destemporalizado e indeterminado de esos dispositivos artísticos y reconstruir las relaciones materiales allí cifradas. Para esto se propone articular el análisis empírico de algunas instalaciones sonoras con un recorrido teórico. En este último se discute la lectura de Jacques Rancière sobre políticas estéticas para centrar el debate sobre el arte sublime lyotardiano y la tensión con la propuesta adorniana. El arte sublime, para François Lyotard, es aquel que posibilita el desborde de la razón por la experiencia sensible y se caracteriza por ser “pura diferencia”, una “materia inmaterial” indeterminada –en música esto se encuentra en el timbre. Se sostiene, sin embargo, que los experimentos de Pierre Schaeffer indican que en la contemporaneidad no es posible una experiencia tal. La propuesta del artículo es que se puede recuperar el pensamiento formal en las instalaciones sonoras como la síntesis que opera la razón de los fragmentos producidos por la imaginación historizada que penetra al interior de aquello “indeterminado”. Este artigo visa refletir sobre o problema da forma dentro de um tipo específico de instalações sonoras e a sua implicação política. Considera-se que uma concepção historicizada da imaginação permite romper o continuum destemporalizado e indeterminado daqueles dispositivos artísticos e reconstruir as relações materiais ali cifradas. Nesse sentido propomos articular a análise empírica de algumas instalações sonoras a partir de um enquadramento teórico baseado na proposta de Jacques Rancière sobre políticas estéticas, focando no debate lyotardiano sobre a arte sublime e na tensão com a proposta adorniana. A arte sublime, segundo François Lyotard, é aquela que torna possível o transbordar da razão pela experiência sensível, caracterizado-se por ser “pura diferença”, uma “matéria imaterial” indeterminada, que na música se encontra no timbre. Porém as propostas de Pierre Schaeffer indicam que na contemporaneidade não é possível tal experiência. Este artigo propõe que é possível recuperar o pensamento formal em instalações sonoras enquanto síntese que opera sobre a razão dos fragmentos produzidos pela imaginação da consciência historicizada que penetra ao interior do “indeterminado”. application/pdf https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7502 spa Facultad de Filosofía y Letras, Universidad de Buenos Aires https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/7502/6715 El oído pensante; Vol. 5 No. 1 (2017): Febrero 2017 - Julio 2017 El oído pensante; Vol. 5 Núm. 1 (2017): Febrero 2017 - Julio 2017 El oído pensante; v. 5 n. 1 (2017): Febrero 2017 - Julio 2017 2250-7116 Historical Imagination, Form and Aesthetic Experience in Sound Installations Imaginación histórica, forma y experiencia estética en las instalaciones sonoras Imaginação histórica, a forma e a experiencia estética das instalações sonoras info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=7502_oai

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