The Dimension of Sound in Flusser

Flusser Studies 17 (1) (2013)
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Abstract

The dimension of sound has long been considered completely missing from Flusser's thought, thus most Flusser research has not dealt with the auditive in his work so far. This article has a two-fold approach to counter this common perception; firstly, by looking at three texts in which Flusser deals with music and sound directly – “Chamber Music”, “The Gesture of Listening To Music” and “Hörigkeit/Hoerapparate”, and secondly by looking at Flusser's key text “Crisis of Linearity” which largely ignores sound. The former tackles these lesser known texts to examine how Flusser actively applied music and sound in his work, whilst the latter uses methods of sound studies to critique the absence of sound in his important media-philosophical thesis. Flusser's writings on music and sound are both striking for the contemporaneity yet problematic for their demoded appearance of concepts such as “pure music”. Insights from contemporary sound studies question the dominance of the visual in Flusser's work and the epistemological consequences this might have.

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References found in this work

The soundscape: our sonic environment and the tuning of the world.R. Murray Schafer - 1977 - [United States]: Distributed to the book trade in the United States by American International Distribution.
Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought.Joyce Brodsky - 1996 - Journal of Aesthetics and Art Criticism 54 (2):185-188.
Feminine Endings: Music, Gender, and Sexuality.Susan Mcclary - 1992 - Journal of Aesthetics and Art Criticism 50 (4):338-340.

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