By Marcus Cheng Chye Tan (auth.)
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Additional resources for Acoustic Interculturalism: Listening to Performance
Jacques Attali iterates this ‘anti-ocular’ determination of knowledge echoed in auditory culture studies when he notes how 29 30 Acoustic Interculturalism [f]or twenty-five centuries, Western knowledge has tried to look upon the world. It has failed to understand that the world is not for the beholding. It is for hearing. It is not legible, but audible. Our science has always desired to monitor, measure, abstract, and castrate meaning, forgetting that life is full of noise and that death alone is silent: work noise, noise of man, and noise of beast.
It is contextual (social, cultural, historical, political) framework that gives meaning to any observed behaviour. A deep listening can thus be said to be a listening beyond ‘thinness’ (the sounds, genre and/or emotional association) and a listening in cultural and performative contexts. It is a listening, as opposed to a hearing, to sounds which engender consequently a ‘thickness’ of interpretation. Musicological analysis transcribes and translates musical phenomena through a visualisation of organised sounds and a semiotic reconstruction as score.
This visualism is symptomatic of the history of thought and it has dominated our thinking about reality and experience. We have forgotten how sound, hearing and listening are foundational to modern modes of knowledge, culture and social organisation. Jacques Attali iterates this ‘anti-ocular’ determination of knowledge echoed in auditory culture studies when he notes how 29 30 Acoustic Interculturalism [f]or twenty-five centuries, Western knowledge has tried to look upon the world. It has failed to understand that the world is not for the beholding.
Acoustic Interculturalism: Listening to Performance by Marcus Cheng Chye Tan (auth.)