In 2013 I had the chance to listen to a performance of Italian composer Luigi Nono’s work No hay caminos . . . a Andrei Tarkowskij (1987), for seven instrumental groups distributed around the... Show moreIn 2013 I had the chance to listen to a performance of Italian composer Luigi Nono’s work No hay caminos . . . a Andrei Tarkowskij (1987), for seven instrumental groups distributed around the audience, at the main hall of the Cité de la Musique, in Paris. I recall being startled about three-quarters through this piece, which lasted approximately twenty-five minutes, by a substantial transformation in the way I experienced some of its sound components. This transformation was not the result of the manipulation of any of the sound elements of the work but of a displacement of my listening focus. It revealed sound as an essentially manifold instance, susceptible of acquiring diverse statuses.In this chapter I would like to use Deleuze’s notion of the “time-image,” developed in his investigation of the role of the image in cinema, to explore what was significant about this experience. Along with this, I sketch a proposal to use the concept of “time-image” as a tool to reassess aspects of how we conceive sound and its role within artistic practices. Show less
In 2013 I had the chance to listen to a performance of Italian composer Luigi Nono’s work No hay caminos . . . a Andrei Tarkowskij (1987), for seven instrumental groups distributed around the... Show moreIn 2013 I had the chance to listen to a performance of Italian composer Luigi Nono’s work No hay caminos . . . a Andrei Tarkowskij (1987), for seven instrumental groups distributed around the audience, at the main hall of the Cité de la Musique, in Paris. I recall being startled about three-quarters through this piece, which lasted approximately twenty-five minutes, by a substantial transformation in the way I experienced some of its sound components. This transformation was not the result of the manipulation of any of the sound elements of the work but of a displacement of my listening focus. It revealed sound as an essentially manifold instance, susceptible of acquiring diverse statuses.In this chapter I would like to use Deleuze’s notion of the “time-image,” developed in his investigation of the role of the image in cinema, to explore what was significant about this experience. Along with this, I sketch a proposal to use the concept of “time-image” as a tool to reassess aspects of how we conceive sound and its role within artistic practices. Show less
