Voces de la memoria: fonografía y sonidos de guerra = Voices of memory: phonography and sounds of war
In recent decades, we have witnessed many compositions that use sound recordings in places at war. These involve some fundamental ethical and aesthetic considerations such as the aesthetic dimension of war. Taking this as a starting point, which will serve as a background hum, this text examines the...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2017 |
| País: | España |
| Institución: | Varias* (Consorci de Biblioteques Universitáries de Catalunya, Centre de Serveis Científics i Acadèmics de Catalunya) |
| Repositorio: | Recercat. Dipósit de la Recerca de Catalunya |
| OAI Identifier: | oai:recercat.cat:10256/14965 |
| Acceso en línea: | http://hdl.handle.net/10256/14965 http://www.raco.cat/index.php/communication/article/view/329793/420407 |
| Access Level: | acceso abierto |
| Palabra clave: | Enregistraments sonors Sound recordings |
| Sumario: | In recent decades, we have witnessed many compositions that use sound recordings in places at war. These involve some fundamental ethical and aesthetic considerations such as the aesthetic dimension of war. Taking this as a starting point, which will serve as a background hum, this text examines the works of Christine Renaudat and Arsenije Jovanovic to question the following: the role of the technical means used in such recordings; the ethical and aesthetic question of the origin of sounds; and the role of montage in relation to the composition and perception of the works. The article concludes by alluding to perceptual problems involving the audibility of war compared to the audiovisual narratives of war found in the media and often also in museums |
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