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New Understandings in Hearing

New Understandings in Hearing This article is not about new scientific understandings of physiological hearing. Instead it proposes that within any act of hearing listeners fall back on existing fields of understanding or they create new understandings through an attentive act of audibility. The intent is to present new ways of thinking creatively about cinematic hearing within any film's audible field of relations. This is offered through a change in emphasis, from sound to audibility. As a philosophical work, it proposes a conceptual matrix of overlapping object-events, sonic-events and audible-events. Such a matrix emphasises virtual/actual relations--the temporal `betweens' of experience that are vital to a film character's audible engagements. Arguing against materialist, reductive methods of sonic appropriation and distancing, it advocates instead for a creative ambiguity and fragmentation of existential character engagements. A key distinction is that in states of unseeing, sound is referential but audibility is inferential. Both are relations of memory; the latter moves from present event to new relations with the future, as a creative engagement toward action. Literature emphasises the relations of time, memory and perception in Gilles Deleuze, Henri Bergson, Martin Heidegger, Hannah Arendt and Charles S. Peirce while it engages ´ contemporary sound theory through Salome http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

New Understandings in Hearing

Batcho, James
The New Soundtrack , Volume 7 (1): 1 – Mar 1, 2017
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press and James Batcho
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2017.0093
Publisher site
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Abstract

This article is not about new scientific understandings of physiological hearing. Instead it proposes that within any act of hearing listeners fall back on existing fields of understanding or they create new understandings through an attentive act of audibility. The intent is to present new ways of thinking creatively about cinematic hearing within any film's audible field of relations. This is offered through a change in emphasis, from sound to audibility. As a philosophical work, it proposes a conceptual matrix of overlapping object-events, sonic-events and audible-events. Such a matrix emphasises virtual/actual relations--the temporal `betweens' of experience that are vital to a film character's audible engagements. Arguing against materialist, reductive methods of sonic appropriation and distancing, it advocates instead for a creative ambiguity and fragmentation of existential character engagements. A key distinction is that in states of unseeing, sound is referential but audibility is inferential. Both are relations of memory; the latter moves from present event to new relations with the future, as a creative engagement toward action. Literature emphasises the relations of time, memory and perception in Gilles Deleuze, Henri Bergson, Martin Heidegger, Hannah Arendt and Charles S. Peirce while it engages ´ contemporary sound theory through Salome

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2017

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