Archivos sonoros o la poética de un saber inacabado
A sound archive can be considered as an unfinished, fragmentary knowledge. Different technologies, discourses and epistemologies take part in the emergence of this knowledge. More over, aesthetic decisions and ideological orientation become involvedin both conscious and unconscious manners. The aim...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2017 |
| País: | Brasil |
| Institución: | Universidade Federal de Ouro Preto (UFOP) |
| Repositorio: | Artefilosofia |
| Idioma: | portugués |
| OAI Identifier: | oai:pp.www.periodicos.ufop.br:article/596 |
| Acceso en línea: | https://periodicos.ufop.br/raf/article/view/596 |
| Access Level: | acceso abierto |
| Palabra clave: | archivo sonoro saber discurso estética ideología Argentina |
| Sumario: | A sound archive can be considered as an unfinished, fragmentary knowledge. Different technologies, discourses and epistemologies take part in the emergence of this knowledge. More over, aesthetic decisions and ideological orientation become involvedin both conscious and unconscious manners. The aim of this paper isto reflect on these topics fromtwo cases: the recordings made by German scientific Robert Lehmann-Nitsche in Argentin a between 1905 and 1909, and those made by researchers Charles Wellington Furlong, Martin Gusinde and Wilhem Koppers in Tierra del Fuego (Argentina and Chile) between 1907 and 1923. |
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