The aim of this essay is to study the political and aesthetical qualities in Lawrence Abu Hamdans sound piece. In Saydnaya (the missing 19db) former detainees from the infamous Syrian prison Saydnaya are interviewed about the many sounds, silences and emotions that circulated in the prison. Since they were kept in total darkness during their stay in Saydnaya, their memories and impressions are sonic. The piece can therefore be called a sonic testimony and the detainees are referred to as earwitnesses. The methodological framework of this study is outlined by Salomé Voegelin in her book Listening to Noise and Silence. In the core of this method lies the notion of deep listening (also called sonic sensibility). From listening noise and silence naturally unfold. In order to define and discover the affects of the artwork and its sonic material, the theoretical work of Gilles Deleuze, Brian Massumi and Sara Ahmed is applied. More specifically the concepts of lines of flight and affect. Emotions and sound seem to blend in the most peculiar ways. This essay is just a suggestion of how that blend might look... or should I say sound? And most importantly this essay will investigate how these non-visual forces work, stick and flow. How they can be used and what they produce. Some of the questions that this essay will touch upon are: what are the sonic affects that this artwork produces? And how does the artist use noise and silence in the construction of Saydnaya?

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O presente trabalho se trata de uma reflexão teórica localizada na intersecção entre os campos da música, das artes sonoras e dos estudos do som, que pretende discutir os limites da escuta a partir de formulações teóricas de um grupo selecionado de autores. Nele comento diferentes posições sobre a escuta e o som, com enfoque em questões epistemológicas, estéticas e políticas, surgidas em diferentes contextos. O primeiro deles é o contexto da música concreta no GRM de Paris entre as décadas de 1950 e 1960, discutido a partir do trabalho de Pierre Schaeffer, que tornou-se um paradigma para o campo da música eletroacústica. O segundo capítulo trata do trabalho de Michel Chion, a partir da década de 1980, que até hoje é fundamental para o pensamento sobre som no audiovisual, de maneira bastante acrítica. Outro contexto, discutido no terceiro capítulo é o dos estudos da paisagem sonora desenvolvido na Simon Fraser University, na década de 1970 e que se torna um conceito chave para o campo de estudos do som, passando por diversas revisões. Faço a discussão a partir de textos de Murray Schafer e também do grande conjunto de trabalhos críticos a noção de paisagem sonora desenvolvidos desde então no campo dos estudos do som. Por fim, trago para a discussão o contexto atual de debate de teorias do som, bastante rico, que se dá no meio acadêmico internacional ligado a arte sonora e aos estudos do som. Este contexto atual é representado aqui por quatro autores de destaque: Christoph Cox, Marie Thompson, Steve Goodman e Rodolfo Caesar. Espero, através desta revisão crítica de conceitos, contribuir com o debate crítico neste campo híbrido da Sonologia no Brasil. / The presente research amounts to a theoretical inquirie localized in the interseccion between the fields of music, sound arts, and sound studies, which intends to discuss the limits of listening parting from theoretical formulationsby a select group of authors. Here I discuss different positions on regard to listening and sound, with an emphasis on matters of epistemology, aesthetics and politics, brought by in different contexts. The first of these contexts is concrete music at the Paris GRM, between the decades of 1950 and 1960, drawing from the work of Pierre Schaeffer, which became a paradigm for the field of electroacoustic music. The second chapter delas with the worl of Michel Chion, following from the 1980s, which, until today, is a fundamental work for the thought in the audiovisual arts, in a rather acritical way. Another context, discussed in the third chapter, is the study of the soundscape, developed at the Simon Fraser University, through the 1970s, and which became a key concept for the field of sound studies, passing through several revisions. I\'ll discuss following from Murray Schafer\'s texts, but also from the great amount of critical work that has been done in the last decades. Finaly, I\'ll bring to the discussion the contemporary context of the debate of sound theories, quite rich, that happens in the international academic context, connected to sound art and sound studies. This contemporary context is presented here with four authors of prominence: Christoph Cox, Marie Thompson, Steve Goodman e Rodolfo Caesar. I hope, with this discussion, to contribute with the critical debate in this hybrid field of Sonologia in Brazil.

Sound in our human world is broken down into two general types : desirable and undesirable. Unwanted sounds in our lives, that we also call “noises”, induce diverse kinds of physical and psychological reactions, many of them unhealthy. As humans living in the Anthropocene, we bring noise with us everywhere we go, creating soundscapes of random sources that we either enjoy or find annoying, while masking more aesthetically resonant sounds. As our modern society is moving faster, the urban soundscape becoming noisier, and our attention taken by technology, we forget to pay attention to our surrounding world. By questioning noise and collaborating with it, this present work aims to give other qualities, sonorities and colors to sound, to change our perception of noise pollution within an urban acoustic context. How does our perception of noise impact our behaviors ? Our social and spatial interactions and our attention towards our surrounding environment ?  Could we find oher qualities that used to be invisible if we would approach the world with our sense of hearing ?

On appelle installation sonore une forme d'art multimédia dans laquelle l'accent est mis en particulier sur l’aspect sonore, sans pour autant ignorer toutes les autres composantes qui constituent l’installation. Bien qu’elle soit une forme classée parmi les arts plastiques, l’installation sonore se rapporte plutôt à l’art sonore. En effet, l’art sonore se caractérise par la prééminence de l’usage du son comme moyen d’expression et comme préoccupation artistique (le grand nombre de manifestations, de blogs et de festivals d’art sonore en témoignent). Parmi les pratiques expérimentales ayant trait à l’art sonore, une nette préférence va à l’installation sonore et il semblerait qu’elle devienne une forme d’art en soi. On peut s’interroger sur la possibilité d’envisager ceci de cette manière. Dans cette thèse, il faut comprendre l’installation sonore comme une pratique artistique hétérogène, interdisciplinaire, expérimentale et hybride, pratique qu’on retrouve dans l’installation artistique en général. Cependant, on peut constater que des préoccupations reviennent souvent : la visualisation du son, la perception de l’espace à travers le sonore, l’écoute et sa relation avec la position et le déplacement du corps de l’auditeur. Afin de contribuer à une plus grande compréhension d’une culture sonore contemporaine qui est largement partagée, le propos de cette thèse est d’étudier les divers domaines auxquels l’installation sonore appartient et ceci à partir de plusieurs points de vue : historique, esthétique, culturel et médiatique. / Sound installation is an inter media-based art form that draws particular attention to the component of sound, although not at the expense of its visual underpinnings. Considering that it is a form of art, sound installation refers to sound art, an area that requires separate recognition and independence among existing art forms, due to the use of sound as a means of expression as well as the current artistic preoccupation with it (as reflected in the growing number of sound art demonstrations, blogs and festivals).Among the different experimental practices within sound art, sound installation is clearly favored, thus it would appear that it is becoming an art form in itself. Could it be seen in this way? In this thesis, Sound Installation is viewed as a current art form connected to “Art installation”, a field with its own characteristics: heterogeneous, multi-disciplinary, experimental and hybrid. However, as a singular art form, it is a source of insight, which emerges repeatedly and is amplified by the exploration of both sound and sound perception; for example, sound imaging, the perception of space through sound, listening and its relationship to the position of the listener’s body in space. The purpose of this thesis is to approach the field in which Sound Installation belongs from different perspectives such as history, aesthetics, culture and media. With the question of how to conceptualize sound components always in mind, we intend to contribute to the understanding of an ever –growing contemporary culture of sound.

This thesis describes questions of combination of recording and visual arts by means of sound objects creation. The theoretical part deals with the function of arts as a common sphere of musical and creative expression. In particular chapters there are described the essence of visual and auditory perception from a viewpoint of psychology and the interconnection of a creative and a music medium within the selected periods, whose solution are sound objects in visual arts. The last chapter of the theoretical part is about permeation of the music medium to the school subject named Art Education. The project part shows the practical outcome of the thesis- it presents methodically compiled file of creative activities connected with the creation of sound objects within art education at primary school.

Dans cette thèse, nous souhaitons explorer la valeur heuristique des sons de pas de l'usager dans l'espace collectif urbain. Cette intention est à l'origine, celle d'un intérêt concernant les productions sonores ordinaires de l'usager, de leurs aspects productifs et actifs à l'intérieur de son expérience quotidienne de la ville. Suite à ce dessein, la notion de trace sonore a été développée afin de mieux saisir, catégoriser et caractériser ces sonorités particulières et ordinaires engendrées par l'usager via ses actions. Souvent ignorées, restant au niveau de l'inconscient de l'usager, les traces sonores de pas font partie de ces sons produits par l'usager, mais qui ne sont pas étudiés dans les domaines liés à l'aménagement. Nous souhaitons alors en connaître davantage sur la teneur des informations que peuvent contenir ces traces sonores de pas et surtout sur les potentiels d'action qui, selon nous, y sont attachés. En résumé, nous cherchons à savoir ce qu'un pas peut nous dire au travers des traces sonores qu'il laisse suite à sa production. C'est ainsi que nous énonçons l'hypothèse que les traces sonores de pas sont porteuses d'informations clés sur l'usager producteur et acteur, sur les autres usagers ainsi que sur l'espace et ce, à même l'expérience sonore en « train de se faire ». Afin de saisir et questionner spécifiquement cette dimension de la trace sonore de pas, une méthodologie singulière a été construite venant interroger l'usager directement sur son vécu sonore, au moment de sa construction. La recherche création et la recherche projet nous ont donné le cadre, mais aussi la latitude nécessaire au développement d'un outil novateur propre à notre problématique : le dispositif sonore. Le dispositif a donc été installé sur quatre sites d'intervention : une terrasse et le parvis de l'ENSAG, une passerelle à proximité des locaux d'un collectif d'artistes et une passerelle située dans un parc urbain à Nantes. Entre immersion et observation, entretien et travail vidéographique, en lien avec le domaine de l'art sonore, notre recherche croise les dimensions sonores, spatiales et usagères. Les analyses conduites s'attardent à révéler et restituer les comportements, conduites, micro-mouvements, gestes et attitudes effectués par les usagers. Les résultats intéresseront le domaine de l'environnement sonore ainsi que le milieu de la conception architecturale et urbaine. En effet, cette recherche propose une meilleure compréhension du rôle des traces sonores de pas dans la composition des espaces collectifs urbains. / In this thesis, we explore the heuristic value of a user's footstep sounds in the urban public space. This intention is originally one of a common interest in user sound productions, their productive and active aspects within the daily experience of the city. To achieve this, the concept of sound trace has been developed in order to better understand, categorize and characterize these special and ordinary sounds produced by the user. Often ignored, remaining unconscious to the user, footstep sound traces are part of the sounds he produces, but are not studied in the fields related to urban design. We thus want to learn more about the information content of footstep sound traces, and especially about the potential of action that we believe are related to them. In summary, we want to know what a footstep tells us through the sound traces it makes. We thus state the hypothesis that footstep sound traces carries key informations on its producer, the other users as well as the space, all this throughout the sound experience “in process”. To capture and question this specific aspect of the footstep sound traces, we built a unique methodology that questions the user in real-time on his sound experience. Research design and research project gave us the framework, and the flexibility to develop an innovative tool specifically designed for our problematic : the sound device. The device has been installed on three sites : a terrace and the front of the ENSAG, a footbridge near the studio of a collective of artists and a footbridge located in a city park of Nantes. Between immersion and observations, interviews and video work, in connection with the field of sound art, our research crosses sound, space, and practice dimensions. The analyses reveal the behavior, conduct, micro-movements, gestures, and attitudes made ​​by the users. The results will be of interest in the fields of sound environment as well as architectural and urban design. Indeed, this research offers a better understanding of footstep sound traces roles in the composition of urban public spaces.

[ES] La presente tesis pone el foco en lo sonoro en un momento de cambios disruptivos operados por las tecnologías y su impacto en los globalizados sistemas sociales, culturales, políticos y científicos. La conceptualizada Industria 4.0 acelera a gran velocidad el proceso de digitalización y automatización de todas las esferas, activando nuevas relaciones humano-máquina, máquina-máquina; las ciudades modelos generalizados de vida, concentran gran parte de la actividad social y el volcado de los procesos tecnológicos, la hibridación físico-digital potenciada por la ubicuidad. Ya no se trata de la portabilidad del sonido ni de su reproducción, el cambio se produce por la colonización de nuestro tiempo y espacio, la conectividad infinita que media en todas nuestras transacciones, acontecimientos y la percepción de los lugares; las acciones de corporeización con dispositivos que se vuelven cuasitransparentes (Ihde, 2015), la conversión en cíborg al añadir nuestro cuerpo temporalmente para adaptarnos a un nuevo entorno (Case, 2018); el síndrome de atención parcial continuada (Stone, 2014) que nos mantiene en un estado de alerta, o el tiempo que, según Foucault, está gestionado como artefacto de la cultura y el resultado de las relaciones de poder. Desde el prisma del arte y su vertiente práctica, el estudio ofrece una lectura de la ciudad y los medios digitales a través de sus sonidos, un acercamiento que busca descifrar el carácter de un territorio, encontrar rastros de singularidad o de homogeneidad, la sintonía con los ambientes, y también el pensamiento de lo disruptivo. La investigación se expresa a través de propuestas sonoras y visuales, cartografías simbólicas y perceptivas, conjugadas con metodologías mestizas de estudio teórico-práctico interdisciplinario, en un proceso abierto y fluido de experimentación que se funda en la re-utilización o instanciación de medios, materiales y conceptos de manera que puedan arrojar ideas, lecturas no previstas o activar el pensamiento crítico y estético. / [EN] This thesis focuses on sound in times of disruptive changes operated by technologies and their impact on globalised social, cultural, political and scientific systems. The conceptualised Industry 4.0 accelerates the process of digitisation and automation at great speed and on all spheres, activating new human-machine, machine-machine relationships; cities, the generalised models of life, gather a large part of social activity and the dumping of technological processes, the physical-digital hybridisation promoted by ubiquity. It is no longer about the portability of sound or its reproduction, the change is takes place by the colonisation of our time and space, the infinite connectivity that mediates all our transactions, events and the perception of places; embodiment actions with devices that become quasi-transparent (Ihde, 2015), the transformation into cyborgs by temporarily adding our bodies to adapt to a new environment (Case, 2018); the syndrome of continued partial attention (Stone, 2014) that keeps us in a state of alert, or the time that, according to Foucault, is managed as a device for culture and the result of power relations. From the eyes of art and its practical side, the study offers a reading of the city and the digital media through its sounds, an approach that seeks to decipher the nature of a territory, find traces of singularity or homogeneity, the harmony with the environments, and also the thought of the disruptive. The research is expressed through sound and visual proposals, symbolic and perceptual cartographies, blended with hybrid methodologies of interdisciplinary theoretical-practical study, in an open and fluid experimentation process that is based on the re-use or instantiation of media, materials and concepts so that they can shed ideas, unforeseen readings or activate critical and aesthetic thinking. / [CA] Aquesta tesi posa el focus en allò sonor en un moment de canvis disruptius operats per les tecnologies i el seu impacte en els globalitzats sistemes socials, culturals, polítics i científics. La conceptualitzada Indústria 4.0 accelera a gran velocitat el procés de digitalització i automatització de totes les esferes, i activa noves relacions humà-màquina, màquina-màquina. Les ciutats, models generalitzats de vida, concentren una gran part de l'activitat social i l'abocament de dades dels processos tecnològics, la hibridació físicodigital potenciada per la ubiqüitat. No es tracta ja de la portabilitat del so ni de la seua reproducció, el canvi es produeix per la colonització del nostre temps i espai, la connectivitat infinita que media en totes les nostres transaccions, esdeveniments i la percepció dels llocs; les accions de corporeïtzació amb dispositius que es tornen quasitransparents (Ihde, 2015), la conversió en cíborg en afegir el nostre cos temporalment per a adaptar-nos a un nou entorn (Case, 2018), la síndrome d'atenció parcial continuada (Stone, 2014), que ens manté en un estat d'alerta, o el temps que, segons Foucault, és gestionat com a artefacte de la cultura i el resultat de les relacions de poder. Des del prisma de l'art i el seu vessant pràctic, l'estudi ofereix una lectura de la ciutat i els mitjans digitals a través dels seus sons, un acostament que busca desxifrar el caràcter d'un territori, trobar rastres de singularitat o d'homogeneïtat, la sintonia amb els ambients, i també el pensament del disruptiu. La investigació s'expressa a través de propostes sonores i visuals, cartografies simbòliques i perceptives, conjugades amb metodologies mestisses d'estudi teòric i pràctic interdisciplinari, en un procés obert i fluid d'experimentació que es funda en la re-utilització o instanciació de mitjans, materials i conceptes de manera que puguen llançar idees, lectures no previstes o activar el pensament crític i estètic. / A la Universitat Politècnica de València por la beca FPI y la estancia de investigación concedidas para dar cobertura económica a este trabajo y ayudar a mi formación. / Rodríguez López, R. (2021). Prácticas experimentales e indagación sobre sonido, territorio y tecnologías contemporáneas: Cartografías, soportes de escucha y sonidos disruptivos [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/162974 / TESIS

This dissertation is a study of artistic projects that, in response to Spain’s transition into a neoliberal economy, renew the disruptive gesture of the avant-garde, from the country’s 1986 entry into the European Union, to the post-15M uprisings. To do so, I argue that Iberian artists revived strategies of sabotage typical of the 19th-century worker’s struggle, including power cuts, political infiltration, misappropriation of funds, and the destruction of property, to wield the art world’s contradictions against itself. Institutions sponsored these interventions precisely because in attempting to sabotage the art system, museums were able to marshal the idea of the artist’s freedom as a stand-in for Spain’s democratic identity, while also promoting art that fit the regime of spectacle driving the art market. Combining archival research and interviews with visual and cultural analyses of primarily conceptual art projects, each chapter focuses on a sociopolitical concern with Spain’s neoliberalization with which these artworks wrestle. The first chapter centers on imaginaries of technology given the country’s EU-imposed deindustrialization. One of the cases I examine is Catalan sound artist TRES Blackout (2000-16) concerts where he disconnected buildings from the grid, aestheticizing a pre- and post-industrial experience. The second chapter considers how the promotion of contemporary art was crucial for the State’s shift toward financialization, helping tourism and real estate markets’ development. These conditions, I argue, led to a new wave of institutional critique, questioning the museum’s social role. Among the works I analyze is Andalusian-Catalan visual artist Luz Broto’s architectural piece, Abrir un agujero permanente (2015), in which she bored a hole in the façade of the Museum of Contemporary Art of Barcelona and ran a workshop to change the museum’s bylaws for the hole to remain, without authorization, rendering institution making an artistic process in the vein of institutional critique. The third chapter addresses how artists found ways to counter the institution’s capture of cultural labor, such as Núria Güell’s manual, Cómo expropiar a los bancos (2013) —alongside others—on how to obtain bank loans and default on them. Through the lens of sabotage, we can see how artists pry open, in both symbolic and concrete ways, the increasingly nebulous relationship between labor and capital.