“Was not their mistake once more bred of the life of slavery that they had been living?—a life which was always looking upon everything, except mankind, animate and inanimate—‘nature,’ as people used to call it—as one thing, and mankind as another, it was natural to people thinking in this way, that they should try to make ‘nature’ their slave, since they thought ‘nature’ was something outside them” — William Morris

Friday, September 28, 2012

SLSA Liveblog 3: Ian Kennedy

“Machinic Amodality and Carsten Nicolai’s Telefunken,” SLSA (”Nonhuman”), Milwaukee, September 27–29, 2012

Chion: rendered sound--aesthetically hyperbolized
Nicolai’s Telefunken extends sound beyond human embodiment
Produced in 2000; impulse frequencies and test signals that are then fed into a TV audio input
hearing a static tone yet seeing pulsating lines; much more subtle shifts in the sonic tone
logic of translation (cross modal) is alien to human experience
what happens when rendered sound accommodates the nonhuman?
sensations of falling, air movement, changes in temperature and pressure
problems for cinema: because limitation to two sense modalities
affective palpability; the sound of what it feels like to be punched
Daniel Stern calls this affective attunement
parent tunes to infant’s affective state; downward voice for downward arm movement etc.
you have to put an affect in a multisensory experience, then sonically intensify
how affects are shared
amodality: the feeling of being alive, eg
a kind of flat ontology of a pan affect or pan aesthetics
affective encounters all the way down: Steve Shaviro

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