This dissertation is concerned primarily with the body of workwhich has eme~ged from the author's project with endangered click-languages in the Kalahari Desert. It looks at the development of his sound art practice by tracing the work leading up to Hearing Voices and by discussing the directions it has taken since the completion of that project. Itexamines the dichotomy in contemporary (sound) art betweenwork which deals with ethnic identity and otherness and that which does not and outlines the ways in which the author's practice attempts to bridge this gap. Detailed examination of the socio-linguistic context ofhis work with Khoisan languages leads to an investigation of the issues and ethical responsibilities of cross-cultural practice. Links between acoustic ecology and language ecology are explored and consideration given to the way Hearing Voices and other works explore the boundaries between language and music, documentary and abstraction. The possibilities for new relationships between sound and (still) image are assessed through the author's use ofnew flat speaker technology and, through an examination of the differences in approach required for the various media used in the Hearing Voices project (installation, radiophonic work, CD-ROM and work for multi-channel co1!cert diffusion), the roles each of these forms can play in research-led sound art projects will be considered.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:485559 |
| Date | January 2007 |
| Creators | Wynne, John Peter |
| Publisher | Goldsmiths College (University of London) |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
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