The Audio Paper as Affective Attunements: Thinking, Producing and Listening

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Bibtex

@inbook{b10f7cdbf35b4402982c171451ce9e01,
title = "The Audio Paper as Affective Attunements: Thinking, Producing and Listening",
abstract = "With the recent project and publication ‘Fluid Sounds’ (2015-2016) the authors suggested a new format of academic publication named ‘Audio Papers’. The present article wish to develop the audio paper format as a reflective movement in which philosophical, aesthetic and practical attributes are considered.As suggested in Groth & Samson, 2016, the audio paper is an aesthetic academic practice working with auditory, aesthetic and affective production of sensation and knowing. Following Deleuze’s depiction of affects as “blocs of sensations” (Deleuze 1994: 123), the audio paper is here suggested as an experimental encounter between the ‘blocs of sensations’ in art with a propositional mapping of concepts found in philosophy and science. In the present article we wish to develop an argument from our audio paper manifesto, that “the aesthetic, material aspects of the audio paper produce affects and sensations.” (Groth & Samson 2016). Such production of affective distributions of the sensible enables the producer and the listener to participate in an affective attunement. Following Massumi and Manning’s adaption of Sterne’s notion of ‘relational attunement’ as emergent or affective attunement (Manning & Massumi, 2014: 217), we here find a knowledge practice that allows an attunement that opens up linear knowledge towards a singular event. Such affective composition allows for heterogeneous sensations to co-exist in which the thinker, producer and listener are folded together in the temporal materiality of sound. As such, the audio paper is a practical and relational encounter between bodies (thinking, audio production, listening) and their mutual capacity to affect and to be affected (See also Deleuze 1988). It is an encounter that among others relates to the materiality of sound, the intensity and polyrhythms in dramaturgy or the enactments of environmental sounds (see Groth & Samson 2016). Affects are not divisible in themselves, but consist as affective tonalities that opens up towards timely affective attunements in A: the process of production in which the academic producer engages with the sound material and its aesthetics, and in B: in the attunements of the listener.Through such affective attunements, the article suggests that the audio paper gives rise to thinking, producing and listening through temporality and sonic material.",
keywords = "audio paper, affect, attunement",
author = "Groth, {Sanne Krogh} and Kristine Samson",
year = "2019",
month = "5",
day = "27",
language = "English",
booktitle = "A Practical Aesthetics",
publisher = "Bloomsbury Academic",

}