ART - Vitor Moura
ART (Aesthetics Research Torino) Philosophical Seminar
(University of Minho, Portugal)
December 16., h 3 pm
Aula di Antica, Palazzo Nuovo
Fiona Apple’s Drumsticks and the Aesthetics of Recorded Sound.
Arguably, most of our musical transactions are experienced through recorded sounds. There is a typology of recorded music that is pretty consensual and a consistent basis for discussing some of its most important aspects. This typology consists of three main kinds of recordings roughly corresponding to the three dominant musical cultures. First, we have recordings of performances, namely recordings of live music and particularly of improvisations. Although it is a relevant kind in the realm of so-called classical music, it is abundant in jazz culture. It usually requires that a certain technical simplicity be maintained so as to allow the listener to fully engage with the performing act. The second kind corresponds to recordings of compositions and essentially includes recordings of classical music, and especially those made in the recording studio. Based on a “interpretationist” musical tradition, i.e., centered on the work, this kind of recording perceives the “realization-in-sound” of the composition, thus allowing for as more intense technical mediation. The third kind is constituted by recording-artifacts that turn the recording itself into the listener’s focus of attention. In these cases, the aesthetic object is the musical production which corresponds to the main albums of pop-rock culture. The aim of this presentation is to challenge the plausibility of this typology. We should resist assimilating the typology of recordings to the division across the different musical cultures. If we do so, then maybe there is no need to differentiate the three kinds. On the other hand, we should acknowledge the existence of a different kind of recordings, “recordings-furniture”, encompassing sound objects such as muzak, environmental music or elevator music. Their inclusion raises a number of questions concerning the definition of music and we shall address them.
Vítor Moura is the author and editor of several books and has published numerous essays on a wide range of aesthetic topics. More recently he is author of “Goodman’s similarity” (2022), “Show and Tell: The identification of documentary film” (Palgrave Macmillan, 2019), “Testing the blending” (ESA, 2016) and “Timing the aesthetic experience” (Università degli studi di Torino, 2015). He is Associate Professor in the Department of Philosophy at the University of Minho.
ART (Aesthetics Research Torino) is a periodic philosophical seminar organized by the Department of Philosophy and Educational Sciences of the University of Turin and the PhD Program FINO.
Prof. Alessandro Bertinetto (University of Turin).
Prof. Federico Vercellone (University of Turin).
Prof. Carlo Serra (University of Turin/University of Calabria)
Prof.ssa Serena Feloj (University of Pavia)
Dr. Alberto Martinengo (University of Turin)
Dr. Paolo Furia (University of Turin)
Dr. Lisa Giombini (University Rome 3)
Dr. Gregorio Tenti (University of Turin)
Dr. Amalia Salvestrini (Laboratoire d'études sur les monothéismes, Paris)
Dr. Francesca Monateri (Pisa, Scuola Normale)
Dr. Francesca Perotto (FINO)
Dr. Ivan Quartesan (FINO)
Dr. Sofia Boz (University of Padova)
Dr. Leonardo Pietropaolo (Università di Torino)
ART addresses different topics of the contemporary debate in Aesthetics: philosophy of beauty, philosophy of the arts, theory of sensory experience, philosophy of image and imagination, and history of aesthetics.
ART is supported by:
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