auditory culture
Auditory Culture / AC, in which a normative listening culture overcoming nature becomes a culture out of the nature of listening ...
Hearing as a culture-forming paradigm in post-digital culture.
# from seeing to hearing.
# from mechanistic world "images" to hedonic cultures of experience.
# from mechanical interfaces to emotionally intuitive interfaces of any form of communication
# from a body-denying culture to a body-appropriate human culture of body-appropriate virtualities
The dominant role of music as an instrument of power, but also for personal social positioning and emotional mood management, not only in the everyday life of an event culture, has been empirically proven many times. The recent re-emergence of auditory media can be seen as a seismograph of some kind of subliminal perception of the shift from a visual to an auditory culture - nevertheless: "auditory culture" describes more than the cultural handling of "sound" as its "studies". Away from this object-oriented approach defined by the term "sound" even being connected with the implications of thinking in categories of the "Werk", "auditory culture" deals with hearing as an adequate form of human interaction with a mediatised world - with the alternative to the visually rational culture that has surrounded us up to now in all phenomena of life, which we mostly regarded unreflectively as "normal" - in understanding, as standing in front of and bringing light into the darkness in order to have a rationally enlightened understanding of the world .... The etymology of these words proves the visual dominance of our enlightened modern culture.
Not what do we understand about the world from one point of view, but how do we experience the world around us through hearing - that is the only question ... the only question in a mediatised world that withdraws from understanding by the way of thinking through mediatisation and thus distance and detachment from corporeality, because our way of thinking finally emerges from embodiments and cognitions of im-mediate bodily interaction with the environment.
After the transgression of the culture of mechanistic thinking through the mediatisation of the mechanical body (in robotics of the digital ages) and thus the dynamisation and digitalisation of everyday life, a turn from the dominance of visual culture to auditory culture can be observed - the "all-at-onceness" of the media world opens up to the body through its behaviour, which enables it to experience the auditory space (McLUHAN) - through auditory-controlled body-environment interaction.
It is the concept of "sound-gesture" that describes auditory behaviour - the first of all abstract impression of movement around the body and the expression of the "primary meaning" of perception for the body as its movability, physiological arousal. Both movement and the body's movability are directly communicative and lead to corresponding emotional and bodily co-movements, individually as well as in movements of masses.
The role of "sound-gesture" in any kind of communication is the theoretical and empirical centre of the creation and thus research of auditory culture - as content as well as method in laboratory experiments and epistemological media art.
"Sound-gesture is the paradigm of hedonic interaction after the transgression of the mechanistic paradigm (JAUK). Our mechanical as "instrumental" bodily behaviour has become useless (BAUDRILLARD) through the increasing extension of the body, but it remains the hedonic component of human behaviour that determines the "how" of an interaction with the environment - with physical and virtual, with social and cultural environments that are thereby formed in the fusion of the hedonic body with the once digital culture in a now post-digital culture.
The applied research within "auditory culture" is a process of transposing hearing onto a culture and thus "applying" hearing as a "transmedium" in all its spheres of life.
"Sound-gesture" is the corporeal basis of many cultural everyday functional interaction processes. Design is based on this knowledge and its technical implementation, from functional sounds within a "Werk"-oriented aesthetic to design processes by means of intuitive emotional interfaces from wo/man-machine to wo/man-wo/man interactions, and finally to social design, to the initiation of social as emotional climates in media worlds.
In addition to direct musical application and work in sound design, concrete areas are above all interpersonal communication and that between people and machines in virtual environments, thus communication and social architecture in general. In this context, the shaping of feeling by "sound-gestures" is transferred to emotional intuitive interfaces, their formalisation in AI enriched by AE, a demand for an artificial intelligence that already was postulated by Marvin MINSKY.
Knowledge based on excitation-determined behaviour from body knowledge, formulated in experimental aesthetics, is transferred to the intuitive design of any environment. Experimental aesthetics also provides a model for experimental philosophy / XPHI, as excitation-determined ethical agency of humans, now governed by homeostatic survival through the evolutionary advantage of commonality; results of corresponding research are transferred to decision-making behaviour of autonomous systems.
Creation by this kind of interaction is ultimately a whole-body one - in accordance with the concept of the "complete agent", in the multimedia network sound-gesture is a part, but a determining part of emotional communication, which determines the "undertone" of information, the "tonus" as "primary meaning" in the form of tension of the body, and is thus directly and transmedially transferred to the "how" of the "what" we perceice by all sense modalities and media - for the emotional shaping of everyday life. "Sound-gesture" is thus the basic paradigm of human creation of a humane "auditory culture".
current activities
news:
net publication
Werner Jauk, 2024
Mediatized cultures as auditory culture - "forward back" to "hearing"
From the high esteem of rational mechanistic culture to the present of the "sonic" world experienced unnoticed through listening, to the future of music-making by EVERY BODY.
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installation
coming soon at the
Ars Electronic 2024
HOPE - who will turn the tide
iBody & Auditory culture bring body and environment to life
Interactions of the body with re/presentations of the environment, the symbol, icon or index / stimulus, create different "realities" - the project aims to make this understandable and to be experienced.
Symbols are willful assignments to what is seen. This feasibility leads visual cultures to the Anthropocene. Representatives of the body rule over it.
Icons are reproductions of sensations. Index is the body's immediate sensation of stimuli. This precognitive experience of hearing as a tele-sense and abstract experience of "tension-solution" is adequate to media cultures.
As mediated realities beyond time and space, they create an "all-at-onceness", their immateriality cannot be understood symbolically, it is experienced in an abstract stimulative way. All of this describes hearing.
Biosemiotics ascribes meanings to precognitive stimuli that live a survival of bodies with nature; not determined by representatives of bodies, but by bodies themselves. Media worlds are auditory cultures in which the body turns the tide!
An installation of the Art & Science Research Institute "auditory culture"
by
Werner Jauk (AT) & Laura Sophie Meyer (DE)
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Ars Electronic 2023
Every BODY knows/owns the TRUTH
The world view of the seeing understanding draws truth as reality made by humans and exaggerates this thinking in the feasibility of humans and environment - carriers of these pictures are powers of the domination of humans and environment.
Now this human-made culture has also / just because of the mediatization of the "mechanically" body and its making and thinking human overcame itself in the Anthropocene.
It is to "auf-hören"/stop this progress of thinking just in re-thinking and to live the "sensing" on alternative life - a cultural-evolutionary step "forward back" leads humans and their generating interactions with the environment back to the phylogenetically older hearing. This builds on the intentionality of interactions, not on the intention as being "motivated" by in-sight but on the "being-in-tension". Experimental aesthetics as well as experimental philosophy prove, it is middle excitement, which determines the interaction of the body with the environment - thereby human being and the environment keep themselves in symbiotic relation of a common survival-life. Every body "knows" this truth, it deserves respect - it is necessary to live this natural form as culture as "listen-up" to stop think what is law and order - arousal-based bodily life regulates not only interactions between humans and machines, but ethics, morals and yields a bio-politics of basal democracy for every body - finally a mediatized culture as humane digital culture.
An installation of the Ars Electronica Research Institute AERI "auditory culture"
by
Werner Jauk (AT) & Laura Sophie Meyer (DE)
"Auditory culture" shows the scientific and artistic research work on the transgression of the mechanistic in the digital cultures of the past years and condenses the expression of the body in the evolution of language and music in an artificially emotional installation to experience bodily truth in mediatized worlds.
It goes "forward back" from the seeing understanding "world view" to the experiencing / "intentional" (being in tension) hearing as "listen up & stop thinking, what is right and order (of things)", especially in mediatized worlds, which are outside of the bodily grasping of the visible and therefore its understanding - but "touching" the body hedonically.
The paradigm of modernity turns from linear progress, the striving for "the more, the better", to the inverted u-shaped function of living "middle of intensity" which is most "pleasing" - a human-made cultural evolution turns "forward back" into a natural evolution as human digital culture by/for every BODY
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concert
De-(con)struction 12min / 4 tracks
Werner Jauk
is an algorithmically controlled construction as the destruction of a sound figure generated from interaction via the physical tension-solution of two interactors according to the concept of sound-gesture / e-motion tracking. Beyond the idea that music formalizes physical tension-solving processes in its compositional rules, the construction uses algorithmic developments on a willful basis of "feasibility". This ultimately goes away from the basic concept of tension-solution in an artificially intelligent way. The "human" sound-structure is thus destructed: a stimulative index and imitative icon becomes a willful symbol, a "Kulturgut/cultural good".
Presentation at the TEMPLE OF SOUND -
Fr 05. Juli bis So 29. September 2024: ein tägliches 15-Stunden-Programm von 9 Uhr morgens bis Mitternacht.
talk
Session - Art and Science: beyond communication / Nov. 24. 2022
Werner Jauk, AT:
Epistemological Media Art - Culture from the Nature of the Body by and for Every Body.
What else knowledge could be.
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video-presentation
Presentation of our early video-art-projekts
on the transition from analogue to the first digital technologies of the series "sound in the intermedia" in
Bangkok, Thailand
from
25.09.-12.10.2021
at the
Faculty of Fine and Applied Arts,
CU Art 4c Gallery, Chulalongkorn University
The Projects were presented within
EVA - Experimental Video Art 17+18 Exhibition
Thai-European Friendship 2020+2021
we are very proud that our projects have been selected by the exhibition committee and thank its members and especially the project initiator, curator: Komson Nookiew
see pics of the exhibition on Facebook EVA
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print publications
Jauk, Werner, Sound-gesture & Mediatisierung – musikalische als symbolische Form von embodied cognitions aus der Natur sonisch performativen Erlebens.Die Überschreitung einer einstigen Dichotomie ästhetischer Postulate von Musik als„beziehendes Denken“ bzw. »Spannung- Lösung« und der Körper in post-digitalen Kulturen,
In: Music in the Body - The Body in Music. Körper an der Schnittstelle von musikalischer Praxis und Diskurs. Hildesheim: Olms, eds. Christine Hoppe, Sarah Avischag Müller, Olms: Hildesheim 2021, pp. 273 - 292
coming soon:
pop-music & video-arts. Availability of technologies and thus the possibility of DIY as well as the dynamics of the sonic performative.
(provisional working title)
Die dominante Rolle von Musik als Instrument der Mächte, aber auch zur persönlichen sozialen Positionierung und emotionalem Mood-Management nicht nur im Alltag einer Erlebniskultur ist vielfach empirisch belegt. Das jüngst Wieder-Aufkommen von auditiven Medien kann als Seismograph der unterschwelligen Wahrnehmung der Verschiebung von einer visuellen zu einer auditiven Kultur betrachtet werden - dennoch: "auditory culture" beschreibt mehr als den kulturellen Umgang mit sound als dessen studies. Abseits dieses durch den Begriff sound definierten objektorientierten Zuganges mit den Implikationen des Werk-Denkens verbunden, beschäftigt sich "auditory culture" mit dem Hören als adäquate Interaktionsform des Menschen mit einer mediatisierten Welt - mit der Alternative zur visuell rationalen Kultur, die uns bislang in allen Erscheinungen des Lebens umgab, die wir meist unreflektiert als "normal" betrachteten - im Verstehen, als Davor-Stehen und Licht ins Dunkel zu bringen um ein rational aufgeklärtes Verständnis der Welt zu haben ... die Etymologie dieser Worte belegt die visuelle Dominanz unserer aufgeklärten modernen Kultur.
Nicht was verstehen wir von der Welt sehend aus einem Blickwinkel, sondern wie erleben wir die Welt hörend rund ums uns - das ist hier die Frage ... Hier, in einer mediatisierten Welt, die sich durch Mediatisierung und damit Entfernung und Lösung von der Körperlichkeit dem verstehenden Denken entzieht, das schließlich aus embodiments und cognitions körperlicher Interaktion mit der Umwelt hervorgeht.
Nach der Transgression der Kultur des mechanistischen Denkens durch die Mediatisierung des mechanischen Körpers (in robotics der digital ages) und dadurch der Dynamisierung und Digitalisierung des Alltags ist ein turn von der Dominanz der visuellen Kultur zur auditiven Kultur beobachten - die "all-at-onceness" der medialen Welt erschließe sich dem Körper durch sein Verhalten, das ihm den Hör-Raum zu erleben ermöglicht - durch hörend kontrollierte Körper-Umwelt-Interaktion.
Es ist das Konzept "sound-gesture", das auditives Verhalten beschreibt - die primär abstrakte Impression von Bewegung rund um den Körper und die Expression der "primären Bedeutung" der Wahrnehmung für den Körper als dessen Bewegtheit, physiologische Erregung. Sowohl Bewegung als auch die Bewegtheit des Körpers sind unmittelbar kommunikativ und führen zu entsprechenden emotionalen und körperlichen Mit-Bewegungen, individuell wie in Bewegungen von Massen.
Die Rolle der "sound-gesture" in jegliche Form von Kommunikation ist das theoretische und empirische Zentrum der Gestaltung und damit Erforschung der auditory culture - als Inhalt ebenso wie als Methode in Labor-Experimenten und epistemologischer Medienkunst.
"Sound-gesture" ist das Paradigma einer hedonischen Interaktion nach der Transgression des Mechanistischen (JAUK). Unser mechanisches als "instrumentelles" körperliches Verhalten ist durch die zunehmende Extension des Körpers unnütz geworden (BAUDRILLARD), es bleibt jedoch die hedonische Komponente menschlichen Verhaltens, die das "Wie" einer Interaktion mit der Umwelt bestimmt - mit physischen und virtuellen, mit sozialen und kulturellen Umwelten die sich dadurch herausbilden in der Verschmelzung des hedonischen Körpers mit der einst digitalen Kultur in einer nun post-digitalen Kultur.
Der angewandt forschende Teil der "auditory culture" ist ein Prozess der Transposition des Hörens auf eine Kultur und damit die "Anwendung" des Hörens als Transmedium in allen ihren Lebensbereichen.
Sound-gesture ist die körperliche Basis vieler kultureller alltäglicher funktionaler Interaktionsprozesse. Auf diesem Wissen und seiner technischen Umsetzung basiert Design von funktionalen sounds innerhalb einer "Werk"-orientierten Ästhetik über Gestaltungsprozesse mittels intuitiv emotionaler Interfaces von wo/man-machine- zu wo/man-wo/man-Interaktionen schließlich hin zum sozialen Design, zur Initiierung sozialer als emotionaler Klimata in Medienwelten.
Konkrete Bereiche sind neben der direkten musikalischen Anwendung und Arbeit in der Klanggestaltung vor allem die zwischenmenschliche Kommunikation sowie jene zwischen Menschen und Maschinen in virtuellen Umwelten, somit Kommunikation und soziale Architektur im Allgemeinen. Dabei ist die Formung des feelings durch "sound-gestures" übertragen auf emotionale intuitive Interfaces, ihre Formalisierung in der AI bereichert um AE, eine Forderung für eine künstliche Intelligenz, die bereits Marvin MINSKY stellte.
Wissen auf der Basis von erregungsbestimmtem Verhalten aus Körperwissen, in der experimentellen Aesthetik formuliert, wird auf die intuitive Gestaltung jeglicher Umwelt übertragen. Die experimentelle Ästhetik bietet auch ein Modell für die experimentellen Philosophie / XPHI, als erregungsbedingte ethische Handlungsweisen von Menschen, nun geregelt von homöostatischem Überleben durch den evolutionären Vorteil der Gemeinsamkeit; Ergebnisse entsprechender Forschungen werden auf Entscheidungsverhalten von autonomen Systemen übertragen.
Diese gestaltende Interaktionsform ist letztlich eine ganzkörperliche - dem Konzept des "complete agent" entsprechend ist im multimedialen Verbund sound-gesture ein Teil, jedoch ein bestimmender Teil emotionaler Kommunikation, die den "Unterton" von Information, den "Tonus" als "primäre Bedeutung" in Form von Spannung des Körpers, bestimmt und damit unmittelbar und transmedial auf das "Wie" des "Was" der Wahrnehmungen aller Sinnesmodalitäten und Medien übertragen wird - zur emotionalen Gestaltung des Alltags. "Sound-gesture" ist damit das basale Paradigma menschlicher Gestaltung einer damit humanen "auditory culture".
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auditory culture
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