Mendeley出力
＜研究報告書＞
Field Recording and the Reenchantment of the World: an intercultural and interdisciplinary approach
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| 概要 | Non-fictional field recording is a genre of music (sound art) which offers a glimpse of art beyond our late-capitalist age. The ongoing ecocide which we, in a state of abject detachment, are witnessin...g and abetting calls out for artists to reconnect and reengage with the non-human world that has been deemed valueless by our civilisation. Countering the disenchantment of nature wrought by scientism, human-centrism, and above all capitalism necessitates a dissolving of the barriers we set up between ourselves and our environment, a task which can be only accomplished via religion or art: an art – like field recording – which affords reconnecting its audience with the enchantment of the ignored world surrounding them. In this paper, Toshiya Tsunoda’s exemplary Somashikiba (2016) – recorded in locations forgotten by civilisation – will be examined via interpretive tools adapted from Ueda Shizuteru’s Kyoto School aesthetics and Takahashi Mutsuo's poetics. Ueda’s philosophy offers a way of understanding perception which eliminates the subject-object division. Takahashi’s project of recovering the spirituality of place through poetry is a model of historically- and politically-engaged art. Looking, as these contemporary Japanese thinkers have done, to the pre-capitalist, pre-formalist past to rediscover (sound) art’s function as a medium which reconfigures the listener’s perception of reality, I will argue for the urgency of sound art such as Tsunoda’s which aids in the reenchantment of the world to a future beyond capitalist, humanist ‘civilisation’.続きを見る |
| 目次 | 1. Disenchantment 2. Non-fictional Sound 3. Hollow language and poetics of place 4. The non-fictionality of magic; or, the magic of reality 5. Conclusion: Reenchantment |
本文ファイル
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Field Recording and the Reenchantment of the World - final revision
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376 KB | 417 |
詳細
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| 登録日 | 2021.02.02 |
| 更新日 | 2021.03.01 |