For almost two years now the COVID-19 pandemic impacted in most different forms habits, models of organization, socio-political dynamics and economic assets. Arrangements and orders taking decades to reach stabilization have demonstrated an unsuspected precarity, demanding a profound reorganization of dynamics we had been long accustomed to. As the distant, sanitized character of interaction, transmission, fruition and creation processes has turned from a contingent measure into the unamenable norm of these days’ routine, every aspect of social interaction is changing accordingly. (...) “Contact”, “contagion”, “proximity” and “distance” are not features of a transient period anymore: they are keywords of today’s experience. Indeed, while these concepts were already at stake in masscommunication and social media, it was not before nowadays that their precipitate on art forms could be taken into account more pristinely, for especially performative arts never had to amend their “familiar ground” in order to pursue their goals. Hence, how did artforms adjust themselves to wholly new forms of participation? What are we supposed to expect next? The main aim of this paper is to sketch out, relying on some classical loci of the history of Western aesthetics such as Plato, Aloïs Riegl, Walter Benjamin, this new, re-configured notion of aesthetic and artistic experience in the time of the COVID-19 pandemic. (shrink)

Is the ubiquity of contemporary popular music akin to a deliberate aggression to the hearing, making the listening experience devoid of any sense? If so, is there any strategy to morph this supposed confusion into meaningful stimuli? Relying on epistemology, we attempt at promoting the act of listening as a proper way of world-making and refer to Mark Reybrouck, Bruno Nettl, Steven Brown and Joseph Jordania—among others—to gather appropriate heuristic tools. In the last part of the essay, we advance the (...) concept of timbral quotation as an additional means to grasp meaningful cues in the timbrical richness of contemporary popular compositions. We shall sustain the particular fitness of this tool especially with regard to nowadays’ Western popular music, more and more timbre-centered rather than harmony-centered. (shrink)

This article aims at sketching a philosophical theory of sound based on the perspective of sound designers: unique agents blurring the boundaries between engineering, music, acoustics and sound-based art. After having introduced the general framing in Section 1, focusing on a short history of the theory and practice of sound design, in Section 2 we propose a reading of sound as monad. We derive such intuition from the technology of digital sampling of audio signals, based on the decomposition of complex (...) sound waves in a number of elementary sinusoidal waves. Thus, in Section 3, we attempt at grounding the resulting “sound-atom” on Leibniz’s notion of monad, intended both as a “simple substance without parts” and as a “nucleus of forces in statu possibilitatis.” The insight is resumed and further discussed in Section 4, where we draw our conclusions by demonstrating the fitness of such framing with regards to the standpoint of sound design, while accounting for the work of sound artists Carsten Nicolai and Ryoji Ikeda. (shrink)