SOBRE A SONICIDADE
Palavras-chave:
Arqueologia das mídias, temporalidades midiáticas, epistemologia do som, tecnocultura audiovisualResumo
Neste texto, através do conceito de sonicidade, Wolfgang Ernst procura repensar o som tanto em suas propriedades estéticas, como um fenômeno temporal inscrito em certo ambiente tecnocultural, quanto em sua dimensão epistemológica, enquanto objeto de informação e conhecimento. Além de apresentar os desdobramentos teóricos de sua pesquisa sobre as expressões sonoras das mídias, Ernst demonstra como opera sua abordagem particular sobre o proeminente campo da Arqueologia das Mídias. Através do que chama de um interesse tecnomatemático sobre tais objetos, Ernst evidencia uma das principais implicações metodológicas de sua pesquisa: produzir insights a partir do interior dos agentes tecnológicos. O presente artigo trata-se da tradução parcial do primeiro capítulo de seu livro Sonic Time Machines: Explicit Sound, Sirenic Voices, and Implicit Sonicity, em que tais questões são abordadas.
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Referências
ALT, Casey. Objects of our affection. In: HUHTAMO, Erkki; PARIKKA, Jussi. Media archaeology: approaches, applications, and implications. Berkeley: University of California Press, 2011.
ANGERER, Marie-Luise. Vom begehren nach dem affekt. Zürich: Diaphanes, 2007.
AVRAAMOV, Arseny. Upcoming science of music and the new era in the history of music. Musical Contemporary Magazine, v. 6, 1916.
BARTHELMES, Barbara. Raum und klang. Das musikalische und theoretische schaffen Ivan Wyschnegradskys. Hofheim: Wolke, 1995.
BERGSON, Henri. Èvolution créatrice. Paris: PUF, 1948.
_________. Matéria e memória. São Paulo: Martins Fontes, 1999.
BOLZ, Norbert. Die wiederkehr des mythos in der medienwirklichkeit. In: First Europeans, frühe kulturen: moderne visionen. Exhbition catalogue Schloß Charlottenburg, oct. 1993 – feb. 1994, Berlin: Exter & Exter, 1993.
BORCK, Cornelius. Blindness, seeing, and envisioning prosthesis: the optophone between science, technology, and art. In: DANIELS, Dieter; SCHMIDT, Barbara. Inventors as artists. Ostfildern: Hatje Cantz, 2008.
DAVIS, Erik. Subject: acoustic cyberspace. In: OSMA, Josephine et al. Readme! Filtered by nettime. ASCII Culture and the Revenge of Knowledge. Brooklyn, NY: Automedia, 1999.
DEFOREST, Lee. The phonofilm. Transactions of the society of motion picture engineers, v.16, 1923.
DELEUZE, Gilles. Schizophrenie und Gesellschaft. Frankfurt: Suhrkamp, 2003.
DIERKSEN, Sebastian. Elektromagnetische emissionen von computer-bildschirmen als sonifikation. Media Studies, sep 2013, Berlin: Humboldt University, 2013.
ENDERS, Bernd. Lexikon musikelektronik. Mainz: Schott, 1997.
FLUSSER, Vilém. Ins universum der technischen bilder. Göttingen: European Photography, 1985.
________. Gesten: versuch einer phänomenologie. Düsseldorf: Bollmann, 1991.
FOURIER, Jean-Babtiste. Théorie analytique de la chaleur. Paris: Firmin Didot, 1822.
GOODMAN, Steve. Sonic warfare: sound, affect and the ecology of fear. Cambridge: MIT Press, 2009.
HAUSMANN, Raoul. Dada-wissenschaft: wissenschaftliche und technische schriften. Hamburg: Philo Fine Arts, 2013.
HEIDEGGER, Martin. The question concerning technology and other essays. New York: Harper and Row, 1977.
HENTSCHEL, Frank. Sonus. In: RIETHMÜLLER, Albrecht (org.). Handwörterbuch der musikalischen Terminologie, Ordner VI: Si–Z. Stuttgart: Verlag, 2000.
KAY, Alan. User interface: a personal view. In: PACKER, Randall; JORDAN, Ken. Multimedia from Wagner to virtual reality. New York: W.W. Norton, 2001.
KOHL, Jerome. The evolution of macro and micro-time relations in Stockhausen’s recent music. Perspectives of New Music, v. 22, n. 1, 1983.
KURENNIEMI, Erkki. Oh, human fart. Framework: The Finnish Art Review, n. 2, 2004.
LEVIN, Thomas. Tones from out of nowhere: Rudolf Pfenninger and the archaeology of synthetic sound. Grey Room, n. 12, 2003.
LONDON, Barbara et al. Bill Viola: installations and video tapes. New York: The Museum of Modern Art, 1987.
MACKENZIE, Adrian. The technicity of time: from 1.00 oscillations/sec. to 9,192,631,770 Hz. Time and Society, v. 10, n. 2, 2001.
MARBURGER, Marcel René. Revealing and concealing: on ambiguous cut into space of conjecture. In: Translife: International Triennial of New Media Art. Liverpool: Liverpool University Press, 2011.
MCLEAN, Donald. Restoring Baird’s image. London: The Institution of Electrical Engineers, 2000.
MCLUHAN, Marshall; CARPENTER, Edmund. Explorations in communication: an anthology. Boston: Bacon Press, 1960.
__________. The Gutenberg galaxy: the making of typographic man. Toronto: University of Toronto Press, 1962.
__________. Understanding media: the extensions of man. Toronto: University of Toronto Press, 1964.
__________. Letters of Marshall McLuhan. Oxford: Oxford University Press, 1987.
MILLS, Mara. Deaf Jam. From inscription to reproduction to information. Social Text, n. 102, v. 28, 2010.
MOEBUS, Oliver; WILKE, Annette. Sound and communication: an aesthetic cultural history of sanskrit hinduism. Berlin: De Gruyter, 2011.
PARIKKA, Jussi. Of queues and traffic: network microtemporalities. Lecture at the Glasgow memory group symposium Digital/Social Media and Memory, 17 April 2013.
PETERS, John Durham. Helmholtz, Edison, and sound history. In: RABINOVITZ, Lauren; GEIL, Abraham. Memory bytes: history, technology, and digital culture. Durham: Duke University Press, 2004.
PIAS, Claus. The game player’s duty: the user as the gestalt of the ports. In: HUHTAMO, Erkki; PARIKKA, Jussi. Media archaeology: approaches, applications, and implications. Berkeley: University of California Press, 2011.
PIGGOTT, W.R. Ionospheric research in the past, present and future. In: Institut für Ionosphärenphysik im Max-Planck-Institut für aeronomie 1946-1971. Göttingen: Hubert, 1972.
ONG, Walter. Orality and literacy: the technologizing of the word. New York: Methuen, 1982.
ORESME, Nicole. The Medieval geometry of qualities and motions. Madison: University of Wisconsin Press, 1968.
OTT, Michaela. Affizierung. Zu einer ästhetisch-epistemischen figur. Munich: Text + Kritik, 2010.
RHEINBERGER, Hans-Jörg. Experiment, differenz, schrift. Zur geschichte epistemischer dinge. Marburg: Basilisken, 1991.
SAENGER, Paul. Space between words: the origins of silent reading. Stanford, CA: Stanford University Press, 1997.
SCHNEBEL, Dieter. Karlheinz Stockhausen. Texte zur elektronischen und instrumentalen musik, v. 1. Cologne: DuMont, 1963.
SHELDRAKE, Rupert. The Presence of the past. New York: Time Book, 1988.
SIEGERT, Berhard. Passage des digitalen. zeichenpraktiken der neuzeitlichen wissenschaften 1500-1900. Berlin: Brinkmann & Bose, 2003.
SMIRNOV, Andrey. Sound in Z: experiments in sound and electronic music in early 20th Century Russia. London: Koenig Books, 2013.
SNELL, Bruno. Die ausdrücke für den begriff des wissens in der vorplatonischen philosophie (sophia, gnome, synesis, historia, mathema, episteme). Berlin: Weidmann, 1992.
STOCKHAUSEN, Karlheinz. Die reihe: information über serielle musik. Vienna: Universal Edition, 1957.
STRAWSON, Peter. Individuals: an essay in descriptive metaphysics. London: Methuen, 1959.
SUBOTNIK, Rose. Deconstructive variations: music and reason in western society. Minneapolis: University of Minnesota Press, 1996.
THOMPSON, Emily. The soundscape of modernity: architectural acoustics and the culture of listening in America, 1900-1933. Cambridge: MIT Press, 2002.
URICCHIO, William. Television’s first seventy-five years: the interpretive flexibility of a medium in transition. In: KOLKER, Robert. The Oxford Handbook of Film and Media Studies. Oxford: Oxford University Press, 2008.
VAN ECK, Wim. Electromagnetic radiation from video display units: an eavesdropping risk?,Computers and security, v. 4, 1985.
VIOLA, Bill. The sound of one line scanning. In: LANDER, Dan; LEXIER, Micah. Sound by artists. Toronto: Art Metropole & Walter Phillips Gallery, 1990.
WELLS, H.G. The time machine. London: Heinemann, 1895.
WYSCHNEGRADSKY, Ivan. La loi de la pansonorité. Geneva: Contrechamps, 1996.
ZAKHARINE, Dmitri; MEISE, Nils. Electrified voices: medial, socio-historical and cultural aspects of voice transfer. Konstanz: Unipress, 2012.
ANGERER, Marie-Luise. Vom begehren nach dem affekt. Zürich: Diaphanes, 2007.
AVRAAMOV, Arseny. Upcoming science of music and the new era in the history of music. Musical Contemporary Magazine, v. 6, 1916.
BARTHELMES, Barbara. Raum und klang. Das musikalische und theoretische schaffen Ivan Wyschnegradskys. Hofheim: Wolke, 1995.
BERGSON, Henri. Èvolution créatrice. Paris: PUF, 1948.
_________. Matéria e memória. São Paulo: Martins Fontes, 1999.
BOLZ, Norbert. Die wiederkehr des mythos in der medienwirklichkeit. In: First Europeans, frühe kulturen: moderne visionen. Exhbition catalogue Schloß Charlottenburg, oct. 1993 – feb. 1994, Berlin: Exter & Exter, 1993.
BORCK, Cornelius. Blindness, seeing, and envisioning prosthesis: the optophone between science, technology, and art. In: DANIELS, Dieter; SCHMIDT, Barbara. Inventors as artists. Ostfildern: Hatje Cantz, 2008.
DAVIS, Erik. Subject: acoustic cyberspace. In: OSMA, Josephine et al. Readme! Filtered by nettime. ASCII Culture and the Revenge of Knowledge. Brooklyn, NY: Automedia, 1999.
DEFOREST, Lee. The phonofilm. Transactions of the society of motion picture engineers, v.16, 1923.
DELEUZE, Gilles. Schizophrenie und Gesellschaft. Frankfurt: Suhrkamp, 2003.
DIERKSEN, Sebastian. Elektromagnetische emissionen von computer-bildschirmen als sonifikation. Media Studies, sep 2013, Berlin: Humboldt University, 2013.
ENDERS, Bernd. Lexikon musikelektronik. Mainz: Schott, 1997.
FLUSSER, Vilém. Ins universum der technischen bilder. Göttingen: European Photography, 1985.
________. Gesten: versuch einer phänomenologie. Düsseldorf: Bollmann, 1991.
FOURIER, Jean-Babtiste. Théorie analytique de la chaleur. Paris: Firmin Didot, 1822.
GOODMAN, Steve. Sonic warfare: sound, affect and the ecology of fear. Cambridge: MIT Press, 2009.
HAUSMANN, Raoul. Dada-wissenschaft: wissenschaftliche und technische schriften. Hamburg: Philo Fine Arts, 2013.
HEIDEGGER, Martin. The question concerning technology and other essays. New York: Harper and Row, 1977.
HENTSCHEL, Frank. Sonus. In: RIETHMÜLLER, Albrecht (org.). Handwörterbuch der musikalischen Terminologie, Ordner VI: Si–Z. Stuttgart: Verlag, 2000.
KAY, Alan. User interface: a personal view. In: PACKER, Randall; JORDAN, Ken. Multimedia from Wagner to virtual reality. New York: W.W. Norton, 2001.
KOHL, Jerome. The evolution of macro and micro-time relations in Stockhausen’s recent music. Perspectives of New Music, v. 22, n. 1, 1983.
KURENNIEMI, Erkki. Oh, human fart. Framework: The Finnish Art Review, n. 2, 2004.
LEVIN, Thomas. Tones from out of nowhere: Rudolf Pfenninger and the archaeology of synthetic sound. Grey Room, n. 12, 2003.
LONDON, Barbara et al. Bill Viola: installations and video tapes. New York: The Museum of Modern Art, 1987.
MACKENZIE, Adrian. The technicity of time: from 1.00 oscillations/sec. to 9,192,631,770 Hz. Time and Society, v. 10, n. 2, 2001.
MARBURGER, Marcel René. Revealing and concealing: on ambiguous cut into space of conjecture. In: Translife: International Triennial of New Media Art. Liverpool: Liverpool University Press, 2011.
MCLEAN, Donald. Restoring Baird’s image. London: The Institution of Electrical Engineers, 2000.
MCLUHAN, Marshall; CARPENTER, Edmund. Explorations in communication: an anthology. Boston: Bacon Press, 1960.
__________. The Gutenberg galaxy: the making of typographic man. Toronto: University of Toronto Press, 1962.
__________. Understanding media: the extensions of man. Toronto: University of Toronto Press, 1964.
__________. Letters of Marshall McLuhan. Oxford: Oxford University Press, 1987.
MILLS, Mara. Deaf Jam. From inscription to reproduction to information. Social Text, n. 102, v. 28, 2010.
MOEBUS, Oliver; WILKE, Annette. Sound and communication: an aesthetic cultural history of sanskrit hinduism. Berlin: De Gruyter, 2011.
PARIKKA, Jussi. Of queues and traffic: network microtemporalities. Lecture at the Glasgow memory group symposium Digital/Social Media and Memory, 17 April 2013.
PETERS, John Durham. Helmholtz, Edison, and sound history. In: RABINOVITZ, Lauren; GEIL, Abraham. Memory bytes: history, technology, and digital culture. Durham: Duke University Press, 2004.
PIAS, Claus. The game player’s duty: the user as the gestalt of the ports. In: HUHTAMO, Erkki; PARIKKA, Jussi. Media archaeology: approaches, applications, and implications. Berkeley: University of California Press, 2011.
PIGGOTT, W.R. Ionospheric research in the past, present and future. In: Institut für Ionosphärenphysik im Max-Planck-Institut für aeronomie 1946-1971. Göttingen: Hubert, 1972.
ONG, Walter. Orality and literacy: the technologizing of the word. New York: Methuen, 1982.
ORESME, Nicole. The Medieval geometry of qualities and motions. Madison: University of Wisconsin Press, 1968.
OTT, Michaela. Affizierung. Zu einer ästhetisch-epistemischen figur. Munich: Text + Kritik, 2010.
RHEINBERGER, Hans-Jörg. Experiment, differenz, schrift. Zur geschichte epistemischer dinge. Marburg: Basilisken, 1991.
SAENGER, Paul. Space between words: the origins of silent reading. Stanford, CA: Stanford University Press, 1997.
SCHNEBEL, Dieter. Karlheinz Stockhausen. Texte zur elektronischen und instrumentalen musik, v. 1. Cologne: DuMont, 1963.
SHELDRAKE, Rupert. The Presence of the past. New York: Time Book, 1988.
SIEGERT, Berhard. Passage des digitalen. zeichenpraktiken der neuzeitlichen wissenschaften 1500-1900. Berlin: Brinkmann & Bose, 2003.
SMIRNOV, Andrey. Sound in Z: experiments in sound and electronic music in early 20th Century Russia. London: Koenig Books, 2013.
SNELL, Bruno. Die ausdrücke für den begriff des wissens in der vorplatonischen philosophie (sophia, gnome, synesis, historia, mathema, episteme). Berlin: Weidmann, 1992.
STOCKHAUSEN, Karlheinz. Die reihe: information über serielle musik. Vienna: Universal Edition, 1957.
STRAWSON, Peter. Individuals: an essay in descriptive metaphysics. London: Methuen, 1959.
SUBOTNIK, Rose. Deconstructive variations: music and reason in western society. Minneapolis: University of Minnesota Press, 1996.
THOMPSON, Emily. The soundscape of modernity: architectural acoustics and the culture of listening in America, 1900-1933. Cambridge: MIT Press, 2002.
URICCHIO, William. Television’s first seventy-five years: the interpretive flexibility of a medium in transition. In: KOLKER, Robert. The Oxford Handbook of Film and Media Studies. Oxford: Oxford University Press, 2008.
VAN ECK, Wim. Electromagnetic radiation from video display units: an eavesdropping risk?,Computers and security, v. 4, 1985.
VIOLA, Bill. The sound of one line scanning. In: LANDER, Dan; LEXIER, Micah. Sound by artists. Toronto: Art Metropole & Walter Phillips Gallery, 1990.
WELLS, H.G. The time machine. London: Heinemann, 1895.
WYSCHNEGRADSKY, Ivan. La loi de la pansonorité. Geneva: Contrechamps, 1996.
ZAKHARINE, Dmitri; MEISE, Nils. Electrified voices: medial, socio-historical and cultural aspects of voice transfer. Konstanz: Unipress, 2012.
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Publicado
2019-07-19
Como Citar
ERNST, W.; LUERSEN, E. H. SOBRE A SONICIDADE. Revista GEMInIS, [S. l.], v. 10, n. 1, p. 4–26, 2019. Disponível em: https://www.revistageminis.ufscar.br/index.php/geminis/article/view/398. Acesso em: 26 abr. 2024.
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Copyright (c) 2019 Eduardo Harry Luersen; Wolfgang Ernst
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