Any Place Whatever: Schizophonic Dislocation and the Sound of Space in General

Research output: Contribution to journalArticle

Abstract

Distinct from the tendency for field recording to be understood as a veridical act of documentation—faithfully recording the sonic specificities of a given place—there exists a complementary tendency towards abstraction, emerging from the ‘schizophonic’ dislocation implicated within phonographic practices. This tendency emphasises the mutability of space in general rather than the identifiable specifics of place. This ‘lack’ of specificity is understood to expose an underlying productivity or generative capacity only accounted for in a more abstract notion of space. This paper focuses on the extent to which field recording practices are heard to occupy a point of tension between the identifiable fixity of the site-specific and the generative mutability of space in general, a point of tension that is audibly manifest in the work of artists such as Francisco López and Asher Thal-Nir.
Original languageEnglish
JournalInterference
Issue number2
Publication statusPublished - 2012

Fingerprint

Dislocation
Sound
Generative
Field Recording
Specificity
Mutability
Artist
Fixity
Productivity

Cite this

@article{5f6e8529a50c4adaa3ebf4fdba8ec0f3,
title = "Any Place Whatever: Schizophonic Dislocation and the Sound of Space in General",
abstract = "Distinct from the tendency for field recording to be understood as a veridical act of documentation—faithfully recording the sonic specificities of a given place—there exists a complementary tendency towards abstraction, emerging from the ‘schizophonic’ dislocation implicated within phonographic practices. This tendency emphasises the mutability of space in general rather than the identifiable specifics of place. This ‘lack’ of specificity is understood to expose an underlying productivity or generative capacity only accounted for in a more abstract notion of space. This paper focuses on the extent to which field recording practices are heard to occupy a point of tension between the identifiable fixity of the site-specific and the generative mutability of space in general, a point of tension that is audibly manifest in the work of artists such as Francisco L{\'o}pez and Asher Thal-Nir.",
author = "William Schrimshaw",
year = "2012",
language = "English",
journal = "Interference",
issn = "2009-3578",
publisher = "Graduate School of Creative Arts and Media, Trinity College, Dublin",
number = "2",

}

Any Place Whatever: Schizophonic Dislocation and the Sound of Space in General. / Schrimshaw, William.

In: Interference, No. 2, 2012.

Research output: Contribution to journalArticle

TY - JOUR

T1 - Any Place Whatever: Schizophonic Dislocation and the Sound of Space in General

AU - Schrimshaw, William

PY - 2012

Y1 - 2012

N2 - Distinct from the tendency for field recording to be understood as a veridical act of documentation—faithfully recording the sonic specificities of a given place—there exists a complementary tendency towards abstraction, emerging from the ‘schizophonic’ dislocation implicated within phonographic practices. This tendency emphasises the mutability of space in general rather than the identifiable specifics of place. This ‘lack’ of specificity is understood to expose an underlying productivity or generative capacity only accounted for in a more abstract notion of space. This paper focuses on the extent to which field recording practices are heard to occupy a point of tension between the identifiable fixity of the site-specific and the generative mutability of space in general, a point of tension that is audibly manifest in the work of artists such as Francisco López and Asher Thal-Nir.

AB - Distinct from the tendency for field recording to be understood as a veridical act of documentation—faithfully recording the sonic specificities of a given place—there exists a complementary tendency towards abstraction, emerging from the ‘schizophonic’ dislocation implicated within phonographic practices. This tendency emphasises the mutability of space in general rather than the identifiable specifics of place. This ‘lack’ of specificity is understood to expose an underlying productivity or generative capacity only accounted for in a more abstract notion of space. This paper focuses on the extent to which field recording practices are heard to occupy a point of tension between the identifiable fixity of the site-specific and the generative mutability of space in general, a point of tension that is audibly manifest in the work of artists such as Francisco López and Asher Thal-Nir.

M3 - Article

JO - Interference

JF - Interference

SN - 2009-3578

IS - 2

ER -