Moving the mouse cursor over the top of the page will display the menu bar.
Can “sound” be “exhibited” at all? Isn’t that a basic fallacy, given the nature of sound? In addressing these fundamental questions from a conceptual leaning, one needs to comprehend sound’s specific problem as a curatorial artifact. In the discourse of sound art curating, instead of the “sound object,” the perspective of the project suggests exploring the cognitive-associative thought processes triggered by the process of listening, drawing lines between the source of sound and the listener’s mind that apprehends it. The curatorial process intends to frame the open-ended experience of various fertile auditory situations exploiting sound’s subjective nature at the listener’s end.
Tip
This page contains media that is intended to start playback automatically on opening. This may include sound.
Your browser is blocking automated playback. Please
click here to start media.
Can “sound” be “exhibited” at all? Isn’t that a basic fallacy, given the nature of sound? In addressing these fundamental questions from a conceptual leaning, one needs to comprehend sound’s specific problem as a curatorial artifact. In the discourse of sound art curating, instead of the “sound object,” the perspective of the project suggests exploring the cognitive-associative thought processes triggered by the process of listening, drawing lines between the source of sound and the listener’s mind that apprehends it. The curatorial process intends to frame the open-ended experience of various fertile auditory situations exploiting sound’s subjective nature at the listener’s end.