‘Patterns of Ecological and Aesthetic Co-evolution’: Tree-guitars, River-violins and the Ecology of Listening

Hogg, Bennett; Östersjö, Stefan

doi:10.1080/07494467.2016.1140867

Cited by 1 publication

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“…Glaveanu's cultural-psychological account of the role of affordances in facilitating creativity finds support in a number of aesthetic studies that explore the creative opportunities that specific materials, objects or environments afford to an artist or musician (Hogg & Östersjö, 2015;Maier & Schulze, 2017;Samson & Soon, 2015;Strachan, 2013). At the same time, other studies have explored the affordances of the artworks, developing the idea of art as a quality, or an affordance, of art objects that allows aesthetic engagement with them (Brincker, 2015;Leduc, 2013).…”

Section: Creativity Affordance Mediationmentioning

confidence: 99%

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Keylin

2020

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Audience participation is a prominent thread running through much of sound art practice, yet it remains largely absent from the sound art scholarship. In this article, I argue that the most widespread methodologies employed in sound art research – roughly split into the phenomenological branch and the object-oriented branch – are ill equipped to tackle the questions of sociality and participation. Instead, I offer a framework for the study of participation in sound art – and, more broadly, for sound aesthetics in general – rooted in the pragmatist tradition. My starting point is John Dewey’s conceptualization of an artwork as an aesthetic experience developing in cycles of doing and undergoing – a structure, he claims, present in both the creative process and the reception of artworks, putting them on equal footing. I then expand this notion by turning to the contemporary pragmatist trends in creativity studies, ANT and affordance theory, introducing the concepts of we-creativity, mediation and affordance. The second half of the article focuses specifically on affordance – a relationship between a sound artwork and its audience delimiting and facilitating the possibilities for participation. I discuss the low-level affordances (facilitating elementary action) for creative listening and soundmaking and high-level affordances (facilitating complex behaviors) for creativity, experimentation and connectivity. I conclude that the pragmatist framework allows to go beyond the subject- or object-centeredness of phenomenological or object-oriented methodologies, bringing to the foreground the relational and social character of sound art.

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Section: Creativity Affordance Mediationmentioning

confidence: 99%

Crash, boom, bang

Keylin

2020

SoundEffects

View full text Add to dashboard Cite

show abstract

‘Patterns of Ecological and Aesthetic Co-evolution’: Tree-guitars, River-violins and the Ecology of Listening

Cited by 1 publication

References 3 publications

Crash, boom, bang

Crash, boom, bang

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