Conference paper Open Access
THE SOUNDSCAPE OF A TERRORIST ATTACK AS MATERIOLOGY FOR LIVE PERFORMANCE AND ITS PERFORMATIVE, SOCIAL AND ETHICAL IMPLICATIONS.
Lotis, Theodoros
The paper focuses on specific issues that arise from the use of a soundscape of a terrorist attack in music composition and its performative, social and ethical implications. It examines ways of transforming a disastrous event into an artistic statement which will be communicated in the listening context of a concert space. Among these issues are: how such unfortunate and devastating events can gestate powerful expressions of sonic art? Moreover, in which ways the electroacoustic medium can communicate a catastrophic event with impact on the social psyche - such as the defacement and destruction of sites and human lives - in a meaningful and intelligible way? Do sounds exist independently of any connotations we attach to them? Shall the soundscape of a terrorist attack, as the one in Brussels, be disconnected from the terrorist act and its memory? Which ethical considerations shall guide these decisions? A case study is provided through a short analysis of a piece - entitled “Winter Landscape 1: Brussels” - that uses soundscapes of a terrorist attack in Brussels.
| Name | Size | |
|---|---|---|
|
The Soundscape of a Terrorist Attack.pdf
md5:38117c8d8db45bf3e0ccc2790112e792 |
296.5 kB | Download |
| All versions | This version | |
|---|---|---|
| Views | 64 | 64 |
| Downloads | 36 | 36 |
| Data volume | 10.7 MB | 10.7 MB |
| Unique views | 59 | 59 |
| Unique downloads | 35 | 35 |
- Publication date:
- June 7, 2018
- DOI:
-
- Keyword(s):
- soundscape, live performance, terrorist attack, live electronics, music composition
- Meeting:
- Digital culture & audiovisual challenges (DCAC), Corfu, Greece, 1-2 June 2018
- License (for files):
- Creative Commons Attribution 4.0 International