QUIES


9. READING…


Blesser, Barry & Salter, Linda-Ruth: Spaces Speak, Are You Listening?

17: In a very real sense, sound is time.

18: Just as silence gives us a better appreciation for sound, and just as darkness is a prerequisite for understanding light, so “spacelessness” highlights the experience of a real space.

20: In an open field, we hear the absence of enclosing boundaries.


8. READING…


Salomé Voegelin’s Listening to Noise and Silence:

81: Silence is about listening, listening to small sounds, tiny sounds, quiet and loud sounds out of any context, musical, visual or otherwise. Silent sounds can be loud, as much as noisy sounds can be quiet, but they do not deafen my body to anything but themselves, and instead include me in their production.

82: When there is nothing to hear, you start hearing things.

83: Silence is not the absence of sound but the beginning of listening.

90: […] silence places the composer and the listener in corresponding locations: he is the composer as producer and I am the composer as listener.

93: Silence is a mirror […].

99: Being a critical listener is listening to silence and being able to bear to hear yourself. If I cannot listen to silence  I cannot really listen to anything but only hear stuff […].

 


5. READING…


Salomé Voegelin’s Listening to Noise and Silence:

xi: If I notice a concurrent sound, I most likely subsume that heard into the appreciation of the seen: sound fleshes out the visual and renders it real; it gives the image its spatial dimension and temporal dynamic. But these are attributes of the object seen, ignoring the event heard. This impulse to subsume sound into the visual is so ingrained as to blight music criticism and the discourse of sound art, whose focus is invariably on the score or the arrangement, on the orchestra or the performer, the sound source, the installation view or the documentation of the sonic event, in short the visual manifestation rather than the sounds heard.

xii: By contrast, hearing is full of doubt: phenomenological doubt of the listener about the heard and himself hearing it. Hearing does not offer a meta-position; there is no place where I am not simultaneous with the heard. However far its source, the sound sits in my ear.

27: Listening is a subjective task that demands an attending engagement with the work for the time it plays rather than for the time I am prepared to listen, and grasps my being to understand that of the work. I am producing the work in my temporal presence, and that might take a while. This while is lonely and there is no guarantee that any  judgement formed will be lasting or communicable.

30: Listening is contextual but its context is fleeting.The time and space of my listening is permanently displaced by the sound heard. I cannot freeze sound, there is no room for contemplation, narration of meta-position, there is only the small sliver of now which is a powerful influence but hard to trace.

© 2009 QUIES. All Rights Reserved.

This blog is powered by Wordpress. The theme is based on Magatheme by Bryan Helmig.