Songs of Consequence: The Alternative Spaces of Droning Figures / Travis R Austin.
This thesis discusses practical and conceptual approaches that arose out of my art practice in the pursuit of disrupting assumptions of visual stasis. It was undertaken in response to what philosopher and critic Christoph Cox recognizes as the marginalization of sonic discourse in canonical art theo...
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| Format: | Thesis Electronic eBook |
| Language: | English |
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Ann Arbor :
ProQuest Dissertations & Theses,
2024.
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MARC
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| 100 | 1 | |a Austin, Travis R., |e author. |1 (orcid)0009-0009-6986-3131 | |
| 245 | 1 | 0 | |a Songs of Consequence: The Alternative Spaces of Droning Figures / |c Travis R Austin. |
| 264 | 1 | |a Ann Arbor : |b ProQuest Dissertations & Theses, |c 2024. | |
| 300 | |a 1 electronic resource (112 pages) | ||
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| 590 | |a School code: 0051 | ||
| 500 | |a Source: Dissertations Abstracts International, Volume: 85-11, Section: A. | ||
| 500 | |a Advisors: Biggs, Betsey Committee members: Rueb, Teri; O'Grady, Megan; Trimpop, Thorsten; Vitiello, Stephen. | ||
| 502 | |b Ph.D. |c University of Colorado at Boulder |d 2024. | ||
| 520 | |a This thesis discusses practical and conceptual approaches that arose out of my art practice in the pursuit of disrupting assumptions of visual stasis. It was undertaken in response to what philosopher and critic Christoph Cox recognizes as the marginalization of sonic discourse in canonical art theory, and the ongoing separate historical and theoretical contexts in which sound and visual art are discussed.My line of inquiry begins with durational engagements with geometric spaces and objects, out of which arose what artist Barbara Bolt calls "material thinking." I began applying material thinking in my research, leading to the examination of geometrical spaces and objects as time-based in themselves, possessing within them material behaviors and processes that came into conjunction with my own investigative "anti-methodology": process-centered and open to philosopher Federico Campgna's concept of Magic that quantitative methods or controlled experiments are unequipped to account for.In reconsidering materials, objects and spaces usually considered to be inert as vibrational, a conceptual basis was established upon which visual and sonic discourse became intermingled within philosopher Henri Bergson's theory of duration. I first discuss duration in respect to the drone music of Eliane Radigue and Tony Conrad, the latter of which explicitly adopted Bergson's ideas. Drone music is presented as a practical expression of duration within Bergson's divergent notions of clock-time and duration to which this research draws connections to Campagna's concepts of Technic and Magic.Duration is then discussed in respect to perceivably inert objects through Jane Bennett's concept of "vibrant matter" and geologist Marcia Bjornerud's method of thinking like a geologist. Over a geological timescale, objects are better understood in terms of sound: constantly transforming, flexuous and impermanent. Such is the understanding of new materialist thinkers like Bennett, Diana Coole and Manuel Delanda who are deconstructing traditional reality systems by way of the agency and semiotic force of non-human entities. In demonstrating this deconstructive method, philosopher David Hume's centuries-old static notions of space that underlie visual artist Donald Judd's ideas are upended through the lens of sound artist Stephen Vitiello: a sonic engagement with Judd's precedent visual work that looks back in order to take steps forward. My research extends the trajectory of this deconstruction into what academic and author Jack Halberstam calls an "aesthetics of collapse," exemplified in the work of Alvin Baltrop and Gordon Matta-Clark.Like Halberstam, anarchist theorists Nika Dubrovsky and David Graeber recognize the need for alternatives to a contemporary logic system that is not working, in particular an artworld centered on finance capital and the illusory permanence of hegemonic power. Tracing a line of inquiry through a body of practical work that examines tensions between chaotic and organized forms, this thesis challenges obstructive visual impressions of stasis by inserting the characteristically impermanent time-space of sound into the presentation of materials and objects not usually discussed in terms of time. | ||
| 546 | |a English | ||
| 650 | 4 | |a Fine arts. | |
| 650 | 4 | |a Music history. | |
| 650 | 0 | |a Philosophy. |0 http://id.loc.gov/authorities/subjects/sh85100849 | |
| 650 | 0 | |a Music theory. |0 http://id.loc.gov/authorities/subjects/sh85088826 | |
| 653 | |a Anarchy | ||
| 653 | |a Minimalism | ||
| 653 | |a Spectral materialism | ||
| 653 | |a Sound | ||
| 653 | |a Henri Bergson's theory | ||
| 655 | 7 | |a Theses |x CU Boulder |x Critical Media Practices. |2 local | |
| 700 | 1 | |a Biggs, Betsey, |e degree supervisor. | |
| 773 | 0 | |t Dissertations Abstracts International |g 85-11A. | |
| 791 | |a Ph.D. | ||
| 792 | |a 2024 | ||
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