Read more
Zusatztext Immanence and Immersion is an important addition to ongoing debates in sound studies and sound art. Through a series of astute philosophical analyses and critical readings of artworks, Schrimshaw effectively distinguishes two terms that are often confused—immersion and immanence—and thereby opens a new path for sound artists and critics alike. Informationen zum Autor Will Schrimshaw is an artist, musician and Lecturer in Music and Sound at Edge Hill University, UK. He has published a number of articles relating to sound in the arts and exhibits his work internationally. Vorwort A critique of immersive aesthetics in the arts, with particular emphasis placed upon sound and new media art. Zusammenfassung Immersion is the new orthodoxy. Within the production, curation and critique of sound art, as well as within the broader fields of sound studies and auditory culture, the immersive is routinely celebrated as an experiential quality of sound, the value of which is inherent yet strengthened through dubious metaphysical oppositions to the visual. Yet even within the visual arts an acoustic condition grounded in Marshall McLuhan's metaphorical notion of acoustic space underwrites predispositions towards immersion. This broad conception of an acoustic condition in contemporary art identifies the envelopment of audiences and spectators who no longer perceive from a distance but immanently experience immersive artworks and environments. Immanence and Immersion takes a critical approach to the figures of immersion and interiority describing an acoustic condition in contemporary art. It is argued that a price paid for this predisposition towards immersion is often the conceptual potency and efficacy of the work undertaken, resulting in arguments that compound the marginalisation and disempowerment of practices and discourses concerned with the sonic. The variously phenomenological, correlational and mystical positions that support the predominance of the immersive are subject to critique before suggesting that a stronger distinction between the often confused concepts of immersion and the immanence might serve as a means of breaking with the figure of immersion and the circle of interiority towards attaining greater conceptual potency and epistemological efficacy within the sonic arts. Inhaltsverzeichnis List of FiguresList of TablesPrefaceAcknowledgements 0. Introduction 0.1. Immersion is the New Orthodoxy0.2. The Ideology of Immersion0.3. Immersion and Correlationism0.4. Immanence and Immersion0.5. Exteriority and the Outside0.6. Exiting Immersion 1. Decentralisation 1.1. Get Out of the Defensive Position1.2. Transcendental Empiricism: Approaching the Edge of the Circle1.3. Negative Duration1.4. Prodigious Simplification 2. Infraesthetics 2.1. Extreme Audition2.2. Rolf Julius2.3. Stephen Vitiello2.4. Nina Canell 3. Writing Out Sound 3.1. Writing and Exteriority3.2. Exteriority and the Real3.3. Sound Recording and Writing Sound3.4. Sound is Always-Already Written Out 4. Immersive Phenomenology 4.1. Husserl4.1.1 Intentionality and Direct Realism4.1.2 Realism and Reduction4.2. Merleau-Ponty4.2.1 Immersive Phenomenology4.2.2 Return to the Depth of the Pre-Objective 5. Sonic Materialism 5.1. Affective Matter5.2. Material Phenomenology5.3. Sonic-Material Phenomenology5.4. Sonic Realism 6. The Scientific Image 6.1. Ryoichi Kurokawa: Abstraction and the Lifeworld6.2. Towards a Corruption of Aesthetic Sufficiency 7. Repurposing Conceptualism 7.1. Immanence and Representation7.2. Extinction Abounds: Katie Paterson 8. The Stratification of Immanence 8.1. Immanence Contra Immersion8.2. Beyond the Circle8.3. Immanence and an Ethics of ExteriorityReferences...
