A matter of fidelity:
The phrase "high fidelity" might be said to be "tuned to moralist resonances". The promise of technological transparency implies that sounds and images should not be altered during translations between recording, restitution and reception. "High fidelity" technologies w...
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| Format: | Elektronisch Artikel |
| Sprache: | English |
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28.01.2020
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| Zusammenfassung: | The phrase "high fidelity" might be said to be "tuned to moralist resonances". The promise of technological transparency implies that sounds and images should not be altered during translations between recording, restitution and reception. "High fidelity" technologies would aim at invisible translations, sanitizing anything that might "parasite" the "original". However, it might be argued that pretending to efface the medium would be, as such, a betrayal of the nature of translation. Sensitive to indexical and language issues, many artists during the 1960’s such as Mel Bochner, Dick Higgins, Alison Knowles, Alvin Lucier, Christine Kozlov, and later such as Laurie Anderson, voluntarily damaged or misused media in such ways that the result would question what lies behind the aesthetics and politics of transparent translations. They experimented reiterative procedures of translations as alternatives to hermeneutics based on the idea of transparency and truth. Opposed to the moralist ideology of sanitization, these artists were faithful to the imperfections, the noises that any translation entails, and claimed any malfunction of the medium not as failures but as supplements. Whereas according to customary bias the noises of media and language should go unheard, with the supposed aim of remaining faithful to the "original", these artists on the contrary let noises speak. |
| Beschreibung: | 10 Seiten 9 Illustrationen |
| ISSN: | 1618-8101 |
| DOI: | 10.18452/21085 |
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| 520 | 3 | |a The phrase "high fidelity" might be said to be "tuned to moralist resonances". The promise of technological transparency implies that sounds and images should not be altered during translations between recording, restitution and reception. "High fidelity" technologies would aim at invisible translations, sanitizing anything that might "parasite" the "original". However, it might be argued that pretending to efface the medium would be, as such, a betrayal of the nature of translation. Sensitive to indexical and language issues, many artists during the 1960’s such as Mel Bochner, Dick Higgins, Alison Knowles, Alvin Lucier, Christine Kozlov, and later such as Laurie Anderson, voluntarily damaged or misused media in such ways that the result would question what lies behind the aesthetics and politics of transparent translations. They experimented reiterative procedures of translations as alternatives to hermeneutics based on the idea of transparency and truth. Opposed to the moralist ideology of sanitization, these artists were faithful to the imperfections, the noises that any translation entails, and claimed any malfunction of the medium not as failures but as supplements. Whereas according to customary bias the noises of media and language should go unheard, with the supposed aim of remaining faithful to the "original", these artists on the contrary let noises speak. | |
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| id | DE-604.BV046414753 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T08:43:59Z |
| institution | BVB |
| issn | 1618-8101 |
| language | English |
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| physical | 10 Seiten 9 Illustrationen |
| publishDate | 2020 |
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| spelling | Pluot, Sébastien Verfasser aut A matter of fidelity Sébastien Pluot 28.01.2020 10 Seiten 9 Illustrationen txt rdacontent c rdamedia cr rdacarrier The phrase "high fidelity" might be said to be "tuned to moralist resonances". The promise of technological transparency implies that sounds and images should not be altered during translations between recording, restitution and reception. "High fidelity" technologies would aim at invisible translations, sanitizing anything that might "parasite" the "original". However, it might be argued that pretending to efface the medium would be, as such, a betrayal of the nature of translation. Sensitive to indexical and language issues, many artists during the 1960’s such as Mel Bochner, Dick Higgins, Alison Knowles, Alvin Lucier, Christine Kozlov, and later such as Laurie Anderson, voluntarily damaged or misused media in such ways that the result would question what lies behind the aesthetics and politics of transparent translations. They experimented reiterative procedures of translations as alternatives to hermeneutics based on the idea of transparency and truth. Opposed to the moralist ideology of sanitization, these artists were faithful to the imperfections, the noises that any translation entails, and claimed any malfunction of the medium not as failures but as supplements. Whereas according to customary bias the noises of media and language should go unheard, with the supposed aim of remaining faithful to the "original", these artists on the contrary let noises speak. Klangkunst (DE-588)4430771-8 gnd rswk-swf Sprache (DE-588)4056449-6 gnd rswk-swf Medienkunst (DE-588)4113418-7 gnd rswk-swf Klangkunst (DE-588)4430771-8 s DE-604 Medienkunst (DE-588)4113418-7 s Sprache (DE-588)4056449-6 s Kunsttexte.de [S.l.], 2020 Ausgabe 1 (2020): Auditive Perspektiven (DE-604)BV014034525 1618-8101 (DE-600)2063498-5 application/pdf 2,071 MB https://edoc.hu-berlin.de/bitstream/handle/18452/21840/6-SPluot_kunsttexte2020AP.pdf Resolving-System kostenfrei Volltext https://doi.org/10.18452/21085 Resolving-System kostenfrei Volltext |
| spellingShingle | Pluot, Sébastien A matter of fidelity Klangkunst (DE-588)4430771-8 gnd Sprache (DE-588)4056449-6 gnd Medienkunst (DE-588)4113418-7 gnd |
| subject_GND | (DE-588)4430771-8 (DE-588)4056449-6 (DE-588)4113418-7 |
| title | A matter of fidelity |
| title_auth | A matter of fidelity |
| title_exact_search | A matter of fidelity |
| title_full | A matter of fidelity Sébastien Pluot |
| title_fullStr | A matter of fidelity Sébastien Pluot |
| title_full_unstemmed | A matter of fidelity Sébastien Pluot |
| title_short | A matter of fidelity |
| title_sort | a matter of fidelity |
| topic | Klangkunst (DE-588)4430771-8 gnd Sprache (DE-588)4056449-6 gnd Medienkunst (DE-588)4113418-7 gnd |
| topic_facet | Klangkunst Sprache Medienkunst |
| url | https://edoc.hu-berlin.de/bitstream/handle/18452/21840/6-SPluot_kunsttexte2020AP.pdf https://doi.org/10.18452/21085 |
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