Tese de Doutorado / Doctoral Thesis by Henrique Souza Lima
Este trabalho tem como objetivo principal posicionar o conceito de desenho de escuta. Para tal, a... more Este trabalho tem como objetivo principal posicionar o conceito de desenho de escuta. Para tal, articula-se uma composição teórica situada na convergência entre estudos do som, etnografia de mídias, pesquisa em criação artística, e filosofias críticas da representação. Neste início de século XXI, a escuta é empregada explicitamente como um bem material e imaterial distribuído entre mercantilização de audiências, pesquisa em arte e debate ético. Para situar a noção de desenho de escuta como um operador conceitual que responde a este contexto, o trabalho divide-se em duas grandes partes: a primeira parte posiciona o problema geral da tese mediante a descrição de dispositivos de poder que formam políticas majoritárias da auralidade; a segunda parte desdobra o conceito de desenho de escuta como um operador e um designador de variações do agenciamento aural. Na primeira parte, descreve-se uma variedade de situações materiais de consumo de áudio no contexto do complexo militar-entretenimento, particularmente no ambiente de consumo fonográfico online. Neste contexto, analisa-se um dispositivo paradigmático de racionalização instrumental da escuta, e apresenta-se a necessidade teórica de se pensar uma áudio virologia. Na segunda parte, aprecia-se uma transformação epistêmica em curso no âmbito da pesquisa em música no Brasil; e descreve-se a noção de otografia, núcleo conceitual da produção artística que desenvolvi ao longo desta pesquisa de doutorado. A metodologia analítica permite constatar, na primeira parte, a transição de um regime de regulação moral da escuta musical baseado na disciplina para um regime baseado no controle; Na segunda parte, o assunto principal é uma diversidade de pesquisas artísticas que ativam o particular e o local como dimensões a serem recontextualizadas no âmbito da pesquisa em arte. O pressuposto básico desta tese é o de que a escuta é uma prática a ser pensada primordialmente em termos de agenciamento de desejo. Tal pressuposto conduz o trabalho a eleger a esquizoanálise como o seu principal aliado teórico, o que lhe permite esquivar-se de uma série de binarismos usualmente pressupostos pela discursividade acadêmica, tais como natureza e cultura, local e global, musical e extramusical. O desenho de escuta é necessariamente uma prática e um conceito: uma prática de consolidação de territórios existenciais específicos em função dos meios materiais agenciados; e um operador de linguagem, mediante o qual se pode elaborar um saber enunciado a partir do corpo, de ações particularmente significativas, de devires.
[English]:
Abstract:
This thesis aims to position the concept of listening design. For this, it articulates a theoretical composition situated in the convergence between sound studies, media ethnography, practice-based research, and philosophies critical to representation. At the beginning of the twenty-first century, listening is explicitly used as a material and immaterial good distributed among audience commoditification, art and ethical debate. In order to situate the notion of listening design as a conceptual operator responding to this context, this work is divided into two main parts: the first part poses the general problem of the thesis by describing a set of power apparatuses that form majoritary policies of aurality; the second part unfolds the concept of listening design as both an operator and designator for practices transforming aural assemblages. In the first part, I describe a variety of material situations of audio consumption in the context of the military-entertainment complex, mainly the environment of online audio consumption. In this context, I analyze a paradigmatic apparatus for instrumental rationalization of the listening activity, and I assess the theoretical need to think in terms of an audio virology. In the second part, I discuss an ongoing epistemic transformation in the field of music research in Brazil; followed by a description of notion of otography, which is the conceptual nucleus of the artistic production that I developed throughout this doctoral research. The analytical methodology carried out here allows us to verify, in the first part, the transition from an economic-political regime of musical listening based on the discipline to a regime of regulation based on control; In the second part, the focus is on instances of artistic research that activates the particular and the local as dimensions to be recontextualized in the scope of academic art research. The core of this thesis is based on the argument that listening is a practice to be thought primarily in terms of assemblage of desire. This presupposition leads the work to take schizoanalysis as its main theoretical ally, which allows it to dodge a series of binarisms usually presupposed by academic discursiveness, such as nature and culture, local and global, musical and extramusical. Listening design is necessarily a practice and a concept: a practice of consolidation of specific existential territories in function of assembled material media; and a language operator through which one can elaborate a particular knowledge enunciated from the body, from particularly meaningful actions, from becomings.
Dissertação de Mestrado / Master Thesis by Henrique Souza Lima
A dissertação consiste em uma investigação de caráter simultaneamente técnico e ensaístico a resp... more A dissertação consiste em uma investigação de caráter simultaneamente técnico e ensaístico a respeito da relação produzida entre a filosofia de Deleuze e Guattari e a música. A investigação proposta aqui se faz por meio do conjunto de temas e conceitos trabalhados no livro Mil platôs (1980). A relação entre filosofia e música produzida em Mil Platôs se mostra peculiar na medida em que este livro produz seus conceitos em continuidade com um universo nocional – prático, técnico, abstrato, experimental – da música. Do primeiro ao terceiro capítulo nossos assuntos são: no primeiro, o problema do tempo em Deleuze; no segundo, os devires da música, o caráter histórico e o caráter "trans-histórico" da experiência musical, textos e composições musicais que colocam em questão as noções de silêncio e escuta, e a música pensada como ―captura de forças‖; no terceiro, este último tema é desdobrado em meio a uma investigação do conceito de ritornelo. Tendo feito este percurso, o texto propõe uma retomada do problema do tempo e uma incursão no corpo de um sintetizador de sons. Ao final, o assunto é a síntese, de sons e de pensamento.
This work consists of an investigation about the relationship produced between the philosophy of Deleuze & Guattari and the art of music. The research proposed here is done through the set of themes and concepts worked in the book A Thousand Plateaus (1980). The relationship between philosophy and music produced by this book is quite peculiar because of a continuity between his concepts and a musical – practical, experimental, technical, abstract – notional universe. From the first to the third chapter our issues are: at first, the problem of time in Deleuze; second: the becomings of music, the historical and "trans-historical" character of the musical experience, texts and musical compositions that call into question the notions of silence and listening, and the music conceived as "force capture"; on the third place, the latter theme is unfolded amid an investigation on the concept of refrain. Having done this route, this text proposes a return to the problem of time, and a foray into the architecture of a sound synthesizer. In the end, our issue is the synthesis, of sound and thought.
Papers by Henrique Souza Lima
The New Soundtrack - Edinburgh University Press, 2017
Some cinema theories conceive film as a kind of cartographic technology. This status is attribute... more Some cinema theories conceive film as a kind of cartographic technology. This status is attributed to the film's capacity to trigger a specific mode of logical reasoning, which is based on the semiotic category of diagram (Conley 2007; Deleuze 1985). This paper focuses on the status of sound within these theoretical perspectives, in which the soundtrack is conceived as an expansion of the space implicated in the image, implying an expansion of narrative potential. The concept of cartographic soundtrack here refers to the soundtrack's potential to map the elements of a 'mental geography' (Conley 2007). This concept is articulated as a critical operator in an analysis of the soundtrack of Birdman (2014), a film that performs diverse modes of placing voice, sound design and music in the context of a soundtrack. The analysis approaches the soundtrack from both compositional and aesthetical points of view, by evaluating a set of intrinsic features of this soundtrack, as well as some controversies involving its reception by institutional contexts, namely the Academy of Motion Picture Arts and Sciences. The paper intends to contribute with a discussion on the problem of the need for suitable criteria when it comes to evaluate soundtracks, as well as to new ways to think cinematic listening.
Interference - A Journal of Audio Cultures
This paper addresses the possibility of an epistemological shift in the praxis of sonic philosoph... more This paper addresses the possibility of an epistemological shift in the praxis of sonic philosophy through the transposition of the concept of sound from the speculative regime of panaurality to that of aural specificity. The discussion gravitates around a critique of theoretical assumptions automatically imported by sonic philosophies when gravitating around the notion of 'sound itself', either to affirm and to deny it. The discussion explores this hypothesis through the description of a conceptual and problematic framework operating in contemporary philosophies centred on issues of particularity, becoming, processes and individuation. The main point here is that the binary theoretical distribution around the notion of 'sound itself' is detrimental to sonic philosophy, in the extent that it submits speculation to generalist terms, which in turn prevents the analytical agency on sound to engage more deeply and accurately with issues of locality and specificity.
AM Journal of Arts and Media Studies, 2021
This paper presents an investigation into the relationship between listening and power in the con... more This paper presents an investigation into the relationship between listening and power in the context of information warfare through the theoretical framework of speculative pragmatism. The main objective is to investigate the possibility of thinking of the listening activity as a particular act of thought through the concepts of lived abstraction and subject-less individuation. For doing this, the first part of the article describes the relationship of reciprocal presupposition between current online information warfare and the production of a subjectivity tied to a narcissistic regime of subjection. The second part of this article describes the concept of lived abstraction, such as elaborated by philosopher Brian Massumi. The third part of this article consists of investigating the epistemological core of speculative pragmatism through Deleuze and Guattari's concept of subjectless individuation, particularly the individu-ation of an event. In the last part, we speculate a possible understanding of listening as an act of thought that is potentially articulated outside the noological register of narcissism through the appreciation of a mode of artistic operation that work in a way of designing listening experiences .
LA DELEUZIANA – ONLINE JOURNAL OF PHILOSOPHY, 2019
This article discusses the place that the concept of rhythm occupies within Gilles Deleuze’s phi... more This article discusses the place that the concept of rhythm occupies within Gilles Deleuze’s philosophy. I present a panorama of different ways to conceptualize thought throughout Deleuze’s writings from 1960’s to 1990’s, emphasizing the discussion about the threshold of thought. In the writings in partnership with Félix Guattari, Deleuze understand thought as an act of confronting chaos, what makes the problem of consistency a point of extreme relevance within his philosophical system. In this framework, the concept of thought is described as a tension between consistency and infinite speed (chaos). In order to elaborate this concept of thought, Deleuze resumes his conceptualization of the three syntheses of the time and formulates with Guattari the concept of refrain. I will show that the refrain is at the axis of an epistemological shift in the whole program of transcendental philosophy, by affirming a necessarily heterogeneous and aberrant Time, which features the concept of rhythm as the genetic element of difference. Within this conceptual framework, I follow the authors’ suggestion that the logic of schizoanalysis is analogous to the logic of subtractive sound synthesis. The main goal is to demonstrate that rhythm is at the core of Deleuzian concept of difference and sound is at the core of Deleuzian concept of thought.
Revista Vórtex, 2021
This paper presents an experimental methodology developed by the collective Laura: Place for Rese... more This paper presents an experimental methodology developed by the collective Laura: Place for Research on Aurality for approaching listening as a shared experience. As a motif for the application of this methodology, we take the work Mar Paradoxo (Raquel Stolf, 2016) as a proposition for experiencing multiple modes of listening. To contextualize our understanding of Stolf’s work, we refer to the concept of otography as a way of approaching the listening experience as something that makes and is made out of traces. By means of the production, sharing, and analysis of listening reports, we outline different modes through which our listening navigates. These modes help us understand listening as an experience that is multi-mediated and relational, singular and situated. In the end, we emphasize the presence of the other in the listening subject, resonating the thesis that the listening activity is driven by a desire of making one’s listening listened.
Norient - Sampling Politics Today, 2020
Norient - Sampling Politics Today, 2020
Norient - Sampling Politics Today, 2020
To what extent do sampling practices maintain or disrupt an exoticized ideal of indigenous popula... more To what extent do sampling practices maintain or disrupt an exoticized ideal of indigenous populations? In this article, the Brazilian research collective Laura (Lugar de Pesquisas em Auralidade) confronts two sampling strategies performed by different artists in Brazil. On one hand, a worldwide EDM artist who repeats the clichés of exotizing cultural appropriation through an usual strategy of sound sampling. On the other hand, indigenous artists who use rap as a mode of enunciation, in a process that the authors understand not as sound sampling, but as cultural sampling.
In 2016 we had the first edition of SONOLOGIA: International Conference on Sound Studies, a trans... more In 2016 we had the first edition of SONOLOGIA: International Conference on Sound Studies, a transdisciplinary event attended by researchers from seventeen countries and five continents with contributions from fields of study as broad as music, sound art, anthropology, visual arts, theatre, literature, architecture, history, sociology, media studies, gender studies, among others. This second edition of the event proposes the theme I/O. An acronym which, metaphorically mobilized, provides a powerful way of addressing the diverse and problematic relations between the “I” and the “other”, as well as “inside” and “outside”.
This second edition of SONOLOGIA: International Conference on Sound Studies proposes the theme I/O. An acronym which, metaphorically mobilized, provides a powerful way of addressing the diverse and problematic relations between the “I” and the “other”, as well as “inside” and “outside”. By focusing on matters of alterity, subjectivities, limits, boundaries and crossings – either cultural, territorial or disciplinary – we invite papers devoted to particular and contingent relations that take to task hegemonic theories and practices in sound studies. Although the pairing of categories may indicate opposing notions, by retaining the slash [/] we intend to focus on inquiries that disrupt the limits of each category and suggest possible continuities, exchanges and intertwinements between the terms of the relation.
Revista Música - Revista do Programa de Pós-Graduação em Música da USP, 2020
que é sonologia? Por que usar um termo novo para falar de temas tão presentes como a música, a es... more que é sonologia? Por que usar um termo novo para falar de temas tão presentes como a música, a escuta, as artes do som? Por que não incorporar as pesquisas em Sonologia dentro de campos já estabelecidos como a teoria da música, a etnomusicologia, ou a sociologia da arte? Haveria espaço dentro desses campos para os "estudos dos sons"? Certamente sim. Mas nos parece evidente também que há sob o termo sonologia uma proposta de remodelar não só o que pensamos sobre o som, mas especialmente como entendemos o domínio sonoro no contexto atual. Trata-se de um deslocamento de ordem epistemológica, em que as perguntas que se estabelecem em torno do som surgem a partir de um ethos e de uma sensibilidade pouco presentes em disciplinas já consolidadas em torno da música, da acústica e do que poderíamos chamar de antropologia sonora. É também um deslocamento de ordem política, pois pretende mudar os pesos e as medidas que essas outras disciplinas tradicionalmente conferem ao som como agente de formação da cultura. Por exemplo, ao invés da abordagem expressamente voltada para questões internas da música elaborada pelas teorias da música, nos modelos de análise, ou nos formalismos da composição, a sonologia sugere um movimento centrífugo, que vai do som e da música para o que se encontra fora deles.
Apresenta-se a noção de mapa sonoro mediante uma composição teórica que desloca o entendimento da... more Apresenta-se a noção de mapa sonoro mediante uma composição teórica que desloca o entendimento da prática cartográfica do âmbito da representação para o da operação. Subtraída às pretensões de representação, a prática de mapeamento sonoro pode ser pensada como elaboração de ferramentas tecnopolíticas para a atuação em contextos locais. Tal atuação pode facilitar processos de transculturação aural. Por transculturação aural me refiro a um processo de variação estrutural de sistemas de sentido e valor, experimentado de modo recíproco por duas culturas de escuta postas em contato. O foco do artigo é, portanto, o mapa sonoro como um artifício capaz de transformar padrões e condutas de escuta. A discussão envolve o conceito de sujeito entendido como efeito de práticas de habitação, bem como efeito da performance de ferramentas midiáticas. Neste contexto, apresento uma crítica a dois regimes majoritários de produção e compartilhamento de informação na internet mediante uso de tecnologias digitais, pensados aqui como regimes selfie e hater. Tais regimes são discutidos a partir de caracterizações etológicas da subjetividade, feitas à luz do conceito esquizoanalítico de ritornelo e do eco-epistemológico de ecognose. Apresenta-se, portanto, a categoria de mapa sonoro como um dispositivo tecnopolítico de intervenção crítica no fisiologismo dos regimes hegemônicos de auralidade, de modo a facilitar casos particulares de desterritorialização das práticas de escuta em relação a um regime contemporâneo de controle aural. A tese é a de que tal desterritorialização é condição necessária para um aprimoramento do senso de espaço público e do cuidado com espaços comuns.
[English]:
I present a notion of sound map through a theoretical framework that shifts the understanding of the cartographic practice from the scope of representation to that of the pragmatic operation. Subtracted from the pretensions of representation, the practice of sound mapping can conceived as an elaboration of technopolitical tools for acting in local contexts. Such action may facilitate aural transculturation processes. By aural transculturation I refer to a process of structural variation of meaning and value systems, experienced reciprocally by two listening cultures put in contact. The focus of the paper is, therefore, the sound map as an artifice capable of transforming listening patterns and behaviors. The discussion involves the concept of subject understood as the effect of dwelling practices, as well as the effect of the performance of media tools. In this context, I present a critique of two major regimes of production and sharing of information on the Internet through the use of digital technologies, thought here as the selfie and hater regimes. Such regimes are discussed on the basis of ethological characterizations of subjectivity, made in the light of the schizoanalytic concept of refrain and the eco-epistemological concept of ecognosis. Therefore, the category of sound map is presented as a technopolitical tool for critical intervention in the physiology of hegemonic regimes of aurality, in order to facilitate particular cases of deterritorialization of listening practices. The thesis is that such deterritorialization is a necessary condition for an improvement of the sense of public space and the care of common spaces.
Este artigo apresenta uma leitura crítica da tradição de
comentários que se estabeleceu em torno ... more Este artigo apresenta uma leitura crítica da tradição de
comentários que se estabeleceu em torno do conto ―Meu tio o
Iauaratê‖ (1961) de João Guimarães Rosa. A manobra aqui realizada
consiste na crítica de uma leitura teleológica do texto em favor de
um deslocamento radical daquilo que seria o ponto problemático e
central deste, sobretudo no que diz respeito ao tratamento artístico
da linguagem. Assim, o ―interlocutor virtual‖, cuja fala não se
encontra redigida, vem para o foco da leitura. Minha hipótese é a de
que a célebre transformação em jaguar não é representada nem
mimetizada pelo texto, mas situada mediante a construção de um
espaço, em cuja questão central é a Escuta.
Resumo: Realiza-se uma exposição de questões-chave que posicionam a sonologia como campo de produ... more Resumo: Realiza-se uma exposição de questões-chave que posicionam a sonologia como campo de produção de pensamento crítico no contexto da pesquisa em música. Argumenta-se que o objeto problemático da sonologia não é apenas o som, mas também a escuta. Apresenta-se o a noção de " recontextualização sônica " como via de reprogramação epistêmica do pensamento musical. Conclui-se com uma apreciação de convergências entre Sonologia e Musica Practica como modos de produção de conhecimento musical. Abstract: This paper exposes a set of key questions that position sonology as an essentially critical field of thought production in the context of music research. It is argued that the problematic object of sonology is not only sound but also listening. The notion of "sonic recontextualization" is presented as an epistemological strategy. It concludes with an approximation between Sonology and Musica Practica as methods for producing musical knowledge.
Sonologia: International Conference on Sound Studies (2. : 2019 : São Paulo)., 2020
Proceedings of the Sonologia 2019 - International Conference on Sound Studies
Este trabalho se propõe a articular um encontro entre uma operação artística elaborada pelo c... more Este trabalho se propõe a articular um encontro entre uma operação artística elaborada pelo compositor norte-americano John Milton Cage (a composição 4’33’’) e um conceito elaborado pelo filósofo francês Gilles Deleuze (o conceito de multiplicidade/n-1). Este encontro é articulado por meio de três momentos: 1o) uma rápida problematização do status da escuta no contexto de certos discursos musicológicos; 2o) uma exposição do contexto de elaboração de 4’33’’; e 3o) uma visitação ao pensamento de Deleuze (e Guattari). O objetivo geral do trabalho é chamar a atenção para o modo como a operação de Cage articula linhas de força que são, ao mesmo tempo, linhas que mobilizam os conceitos mais distintivos da filosofia de Deleuze e Guattari, dentre os quais, multiplicidade, individuação e tempo. Palavras chave: John Cage; 4’33’’; Deleuze e Guattari; multiplicidade; n-1.
A pergunta pelas condições de realização, pelos automatismos, modos de organização e desorganizaç... more A pergunta pelas condições de realização, pelos automatismos, modos de organização e desorganização do pensamento é, sem dúvi---O questionamento de uma imagem do pensamento está presente em va--riados momentos de sua trajetória, dentre os quais Proust e os signos (1964), aparecendo também, de maneira menos evidente, mas nem por Mas a questão aparece de modo categórico, sobretudo, em Diferença e Repetição --aspecto decisivo que diz respeito ao ato de pensar: o problema da con--sistência deste ato, que está em jogo a cada momento, a cada repetição frequencial do pensamento implicando diferentes níveis de uma escala ---Carvalho, M.; Fornazari, S. K.; Haddock---Lobo, R. Coleção XVI Encontro ANPOF: ANPOF, p. 192---207, 2015.
O artigo propõe uma abordagem da noção de velocidade na obra do filósofo Gilles Deleuze e sua imp... more O artigo propõe uma abordagem da noção de velocidade na obra do filósofo Gilles Deleuze e sua implicação nos conceitos de corpo e pensamento por meio de um confronto com a experiência empírica de manipulação sonora. Dividido em duas partes, a primeira dedica-se a apresentar um argumento e propor uma experiência estética. A condição para que qualquer amostra sonora aconteça e seja apreendida pela percepção é o seu desenrolar temporal. A experiência empírica dá a perceber que uma amostra sonora qualquer pode ter suas qualidades sensíveis inteiramente reconfiguradas por meio de um único procedimento: a variação da velocidade por meio do qual o som acontece. O artigo apresenta oito amostras sonoras dedicadas a tornar esta ideia evidente, e passa à segunda parte, dedicada à abordagem de alguns contextos de operação da noção de velocidade no texto de Deleuze e da colaboração Deleuze-Guatatri. Por fim, veremos que, nem o conceito de corpo, nem o de pensamento, alcançam seu sentido conceitual se a variação de velocidade não for considerada como elemento constituínte.
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Tese de Doutorado / Doctoral Thesis by Henrique Souza Lima
[English]:
Abstract:
This thesis aims to position the concept of listening design. For this, it articulates a theoretical composition situated in the convergence between sound studies, media ethnography, practice-based research, and philosophies critical to representation. At the beginning of the twenty-first century, listening is explicitly used as a material and immaterial good distributed among audience commoditification, art and ethical debate. In order to situate the notion of listening design as a conceptual operator responding to this context, this work is divided into two main parts: the first part poses the general problem of the thesis by describing a set of power apparatuses that form majoritary policies of aurality; the second part unfolds the concept of listening design as both an operator and designator for practices transforming aural assemblages. In the first part, I describe a variety of material situations of audio consumption in the context of the military-entertainment complex, mainly the environment of online audio consumption. In this context, I analyze a paradigmatic apparatus for instrumental rationalization of the listening activity, and I assess the theoretical need to think in terms of an audio virology. In the second part, I discuss an ongoing epistemic transformation in the field of music research in Brazil; followed by a description of notion of otography, which is the conceptual nucleus of the artistic production that I developed throughout this doctoral research. The analytical methodology carried out here allows us to verify, in the first part, the transition from an economic-political regime of musical listening based on the discipline to a regime of regulation based on control; In the second part, the focus is on instances of artistic research that activates the particular and the local as dimensions to be recontextualized in the scope of academic art research. The core of this thesis is based on the argument that listening is a practice to be thought primarily in terms of assemblage of desire. This presupposition leads the work to take schizoanalysis as its main theoretical ally, which allows it to dodge a series of binarisms usually presupposed by academic discursiveness, such as nature and culture, local and global, musical and extramusical. Listening design is necessarily a practice and a concept: a practice of consolidation of specific existential territories in function of assembled material media; and a language operator through which one can elaborate a particular knowledge enunciated from the body, from particularly meaningful actions, from becomings.
Dissertação de Mestrado / Master Thesis by Henrique Souza Lima
This work consists of an investigation about the relationship produced between the philosophy of Deleuze & Guattari and the art of music. The research proposed here is done through the set of themes and concepts worked in the book A Thousand Plateaus (1980). The relationship between philosophy and music produced by this book is quite peculiar because of a continuity between his concepts and a musical – practical, experimental, technical, abstract – notional universe. From the first to the third chapter our issues are: at first, the problem of time in Deleuze; second: the becomings of music, the historical and "trans-historical" character of the musical experience, texts and musical compositions that call into question the notions of silence and listening, and the music conceived as "force capture"; on the third place, the latter theme is unfolded amid an investigation on the concept of refrain. Having done this route, this text proposes a return to the problem of time, and a foray into the architecture of a sound synthesizer. In the end, our issue is the synthesis, of sound and thought.
Papers by Henrique Souza Lima
This second edition of SONOLOGIA: International Conference on Sound Studies proposes the theme I/O. An acronym which, metaphorically mobilized, provides a powerful way of addressing the diverse and problematic relations between the “I” and the “other”, as well as “inside” and “outside”. By focusing on matters of alterity, subjectivities, limits, boundaries and crossings – either cultural, territorial or disciplinary – we invite papers devoted to particular and contingent relations that take to task hegemonic theories and practices in sound studies. Although the pairing of categories may indicate opposing notions, by retaining the slash [/] we intend to focus on inquiries that disrupt the limits of each category and suggest possible continuities, exchanges and intertwinements between the terms of the relation.
[English]:
I present a notion of sound map through a theoretical framework that shifts the understanding of the cartographic practice from the scope of representation to that of the pragmatic operation. Subtracted from the pretensions of representation, the practice of sound mapping can conceived as an elaboration of technopolitical tools for acting in local contexts. Such action may facilitate aural transculturation processes. By aural transculturation I refer to a process of structural variation of meaning and value systems, experienced reciprocally by two listening cultures put in contact. The focus of the paper is, therefore, the sound map as an artifice capable of transforming listening patterns and behaviors. The discussion involves the concept of subject understood as the effect of dwelling practices, as well as the effect of the performance of media tools. In this context, I present a critique of two major regimes of production and sharing of information on the Internet through the use of digital technologies, thought here as the selfie and hater regimes. Such regimes are discussed on the basis of ethological characterizations of subjectivity, made in the light of the schizoanalytic concept of refrain and the eco-epistemological concept of ecognosis. Therefore, the category of sound map is presented as a technopolitical tool for critical intervention in the physiology of hegemonic regimes of aurality, in order to facilitate particular cases of deterritorialization of listening practices. The thesis is that such deterritorialization is a necessary condition for an improvement of the sense of public space and the care of common spaces.
comentários que se estabeleceu em torno do conto ―Meu tio o
Iauaratê‖ (1961) de João Guimarães Rosa. A manobra aqui realizada
consiste na crítica de uma leitura teleológica do texto em favor de
um deslocamento radical daquilo que seria o ponto problemático e
central deste, sobretudo no que diz respeito ao tratamento artístico
da linguagem. Assim, o ―interlocutor virtual‖, cuja fala não se
encontra redigida, vem para o foco da leitura. Minha hipótese é a de
que a célebre transformação em jaguar não é representada nem
mimetizada pelo texto, mas situada mediante a construção de um
espaço, em cuja questão central é a Escuta.
[English]:
Abstract:
This thesis aims to position the concept of listening design. For this, it articulates a theoretical composition situated in the convergence between sound studies, media ethnography, practice-based research, and philosophies critical to representation. At the beginning of the twenty-first century, listening is explicitly used as a material and immaterial good distributed among audience commoditification, art and ethical debate. In order to situate the notion of listening design as a conceptual operator responding to this context, this work is divided into two main parts: the first part poses the general problem of the thesis by describing a set of power apparatuses that form majoritary policies of aurality; the second part unfolds the concept of listening design as both an operator and designator for practices transforming aural assemblages. In the first part, I describe a variety of material situations of audio consumption in the context of the military-entertainment complex, mainly the environment of online audio consumption. In this context, I analyze a paradigmatic apparatus for instrumental rationalization of the listening activity, and I assess the theoretical need to think in terms of an audio virology. In the second part, I discuss an ongoing epistemic transformation in the field of music research in Brazil; followed by a description of notion of otography, which is the conceptual nucleus of the artistic production that I developed throughout this doctoral research. The analytical methodology carried out here allows us to verify, in the first part, the transition from an economic-political regime of musical listening based on the discipline to a regime of regulation based on control; In the second part, the focus is on instances of artistic research that activates the particular and the local as dimensions to be recontextualized in the scope of academic art research. The core of this thesis is based on the argument that listening is a practice to be thought primarily in terms of assemblage of desire. This presupposition leads the work to take schizoanalysis as its main theoretical ally, which allows it to dodge a series of binarisms usually presupposed by academic discursiveness, such as nature and culture, local and global, musical and extramusical. Listening design is necessarily a practice and a concept: a practice of consolidation of specific existential territories in function of assembled material media; and a language operator through which one can elaborate a particular knowledge enunciated from the body, from particularly meaningful actions, from becomings.
This work consists of an investigation about the relationship produced between the philosophy of Deleuze & Guattari and the art of music. The research proposed here is done through the set of themes and concepts worked in the book A Thousand Plateaus (1980). The relationship between philosophy and music produced by this book is quite peculiar because of a continuity between his concepts and a musical – practical, experimental, technical, abstract – notional universe. From the first to the third chapter our issues are: at first, the problem of time in Deleuze; second: the becomings of music, the historical and "trans-historical" character of the musical experience, texts and musical compositions that call into question the notions of silence and listening, and the music conceived as "force capture"; on the third place, the latter theme is unfolded amid an investigation on the concept of refrain. Having done this route, this text proposes a return to the problem of time, and a foray into the architecture of a sound synthesizer. In the end, our issue is the synthesis, of sound and thought.
This second edition of SONOLOGIA: International Conference on Sound Studies proposes the theme I/O. An acronym which, metaphorically mobilized, provides a powerful way of addressing the diverse and problematic relations between the “I” and the “other”, as well as “inside” and “outside”. By focusing on matters of alterity, subjectivities, limits, boundaries and crossings – either cultural, territorial or disciplinary – we invite papers devoted to particular and contingent relations that take to task hegemonic theories and practices in sound studies. Although the pairing of categories may indicate opposing notions, by retaining the slash [/] we intend to focus on inquiries that disrupt the limits of each category and suggest possible continuities, exchanges and intertwinements between the terms of the relation.
[English]:
I present a notion of sound map through a theoretical framework that shifts the understanding of the cartographic practice from the scope of representation to that of the pragmatic operation. Subtracted from the pretensions of representation, the practice of sound mapping can conceived as an elaboration of technopolitical tools for acting in local contexts. Such action may facilitate aural transculturation processes. By aural transculturation I refer to a process of structural variation of meaning and value systems, experienced reciprocally by two listening cultures put in contact. The focus of the paper is, therefore, the sound map as an artifice capable of transforming listening patterns and behaviors. The discussion involves the concept of subject understood as the effect of dwelling practices, as well as the effect of the performance of media tools. In this context, I present a critique of two major regimes of production and sharing of information on the Internet through the use of digital technologies, thought here as the selfie and hater regimes. Such regimes are discussed on the basis of ethological characterizations of subjectivity, made in the light of the schizoanalytic concept of refrain and the eco-epistemological concept of ecognosis. Therefore, the category of sound map is presented as a technopolitical tool for critical intervention in the physiology of hegemonic regimes of aurality, in order to facilitate particular cases of deterritorialization of listening practices. The thesis is that such deterritorialization is a necessary condition for an improvement of the sense of public space and the care of common spaces.
comentários que se estabeleceu em torno do conto ―Meu tio o
Iauaratê‖ (1961) de João Guimarães Rosa. A manobra aqui realizada
consiste na crítica de uma leitura teleológica do texto em favor de
um deslocamento radical daquilo que seria o ponto problemático e
central deste, sobretudo no que diz respeito ao tratamento artístico
da linguagem. Assim, o ―interlocutor virtual‖, cuja fala não se
encontra redigida, vem para o foco da leitura. Minha hipótese é a de
que a célebre transformação em jaguar não é representada nem
mimetizada pelo texto, mas situada mediante a construção de um
espaço, em cuja questão central é a Escuta.
of musica practica within a new cultural context and through a new figure of
the musician. The DIY culture is the cultural environment approached here,
in which the figure of the musician appears as an user of different sound
devices and cultures and mediated by renewed ideas of materiality and
performativity. Materially-based practices such as experimental lutheria
(instrument building), audio hacking and zombie media, will be addressed
here through a careful reading of the philosophical concept of agency. This
concept allows us to understand more clearly that every form of material
transformation puts at stake a set of changes in the conditions of knowing the
very materiality itself, and vice-versa. The concept of agency only gains its
philosophical meaning if considered in the light of the “reciprocal
presupposition” between material (actual) and immaterial (virtual) conditions
of life (real). This theory leads us to consider any concrete agency (a musical
instrument, a musical performance, for example) as necessarily mediated and
constituted by both virtual and actual conditions. From this standpoint, we
can approach an expanded notion of "musical instrument", not only
regarding its materiality, but also its diagram. Assuming that the musical
instrument’s diagram consists of the basic triad "sound source + resonance
box + output", we will approach the relationship between some DIY
practices and the virtualization of the “resonance box” element. In this
context, the “practical music” deals with both material and immaterial
conditions set in motion by an audio culture. We will see, then, that within
audio culture two cultural practices dispersed in historical time (Practical
Music and DIY) are conjugated in a way that DIY culture is operated as a
site for actualizing differently the ancient and multifaceted concept of musica
practica.
sound work "Otographics #1 - Ouro Preto" made from heterogeneous sound material
including interviews, field recordings and authorial music collected in the historical city of Ouro
Preto, Brazil. The main theme of the work is listening as a material that can be textualised
and transmitted, and whose practical conditions of realisation are always geographically,
h,storically, corporally and symbolically situated. 'Textualisation' and 'transmission' of listening
are subjects discussed through expanded conceptions of 'phonography' and 'otography' in the
work of sound researchers such as Peter Szendy and Ana María Ochoa Gautier. ln Otographics
#1 I approach these themes through a site-responsive strategy, by recording
soundscapes in the city: native peoples comments about the typical sound experience of living
there, my own comments as a nine year old inhabitant of the city, as well as a theoretical
hypotheses found in Brazilian musicological literature on baroque Brazilian music made
between 1711 and 1822, whose main composers lived in Ouro Preto. Conceived as a radio/
podcast piece, the worked commented on here promotes an investigation of both local history
and local topography. Since 95% of the city's territory is composed of hilly and mountainous
soil. the topographical configuration of the city favors quite singular daily listening experiences.
The piece was conceived as a way to capture some of the 'traces' of local listening situations
and to deliver them to other listeners. ln short, the piece functions as a way of artistically
formulating listening, textualisation, addressing and transmission.
Check the work online: https://youtu.be/yrYzHfA_uxQ