Loudspeaker listening fascinates me. Loudspeakers are everywhere and mediate every daily listening experience. However, a concrete theory of loudspeaker listening is lacking. In my Master thesis I conducted cultural historical/musicological research on the reinvention of loudspeaker experience after the Second World War. In this contribution, I present some sketches of my analysis of the relations between Siegert and Sloterdijk, as an attempt to relate Siegert to a deeper and more profound analysis of Stockhausen’s loudspeaker listener, offering a starting point to dissect the loudspeaker from a media historal and media archeological perspective. Continue reading Westzaan: Loudspeaker listening, Siegert and Stockhausen (Session 8)
I wasn’t expecting to write a post here but with some holiday attrition, here we go. It seems a good opportunity to pick up on some of the questions of sound that Veit Erlmann raised in his engaging post, “The Missing Ear” just before the holiday break, and particularly those tied up with the middle section of Passage, “Riss.”
At risk of stating the obvious (ok, I definitely am), the large-scale motion of the book, as articulated by its major subdivisions, is: “The Great Bureaucracy” to “Rupture” (Riss), arriving at “Electrical Circuits.” Siegert defines the Rupture in several different places, but in broad strokes, it is the moment of passage from the varieties of proto-digital ways of processing the world into a post-Leibnizian world of strange flows that are contingent, (often) continuous, and wavelike. Yet these flows can also be subjected to analysis that reduces them to discrete, composite parts, as well, a seemingly innocuous shift but one with significant consequences.