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- W4384697834 abstract "Abstract This chapter argues that some sound art can provide bridges, opening dwelling structures for new relational possibilities. Sound art can connect and transform us, even as it reveals the limits of such connections and the structures that work to colonize them. Considering the critical qualities of sound art, the chapter thinks alongside three works by Jules Gimbrone. It then critiques neo-materialist and postmodern approaches to sound art and explains why a critical phenomenological approach best clarifies the embodied ideas Gimbrone’s sound art reveals. Finally, the chapter turns a critical ear to Martin Heidegger to better understand how sound art contributes to dwelling. At stake are different ontological approaches—different relational ways of being, relational ways of engaging place, world, and other beings. Sound art can help us engage different relational ways of being; but the move too often made of collapsing distance—of not respecting place—does not, as xwélméxw (Stó:lō) musicologist Dylan Robinson points out, accomplish this goal." @default.
- W4384697834 created "2023-07-20" @default.
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- W4384697834 date "2023-07-18" @default.
- W4384697834 modified "2023-10-17" @default.
- W4384697834 title "A Critical Phenomenology of Sound Art" @default.
- W4384697834 cites W4239587943 @default.
- W4384697834 doi "https://doi.org/10.1093/oxfordhb/9780197577844.013.24" @default.
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