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Sonic Imagination: Body, Visual Mental Imagery, and Nomadism

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Sounds from Within: Phenomenology and Practice

Part of the book series: Numanities - Arts and Humanities in Progress ((NAHP,volume 18))

Abstract

The science and technology needed to achieve the finesse of the visual mental image stimulated by a sonic experience are still in their infancy. Visual mental imagery relies on the subjective, internal experience and environment of one individual. Why, then, investigate it? The ‘inner’ first person experience in relation to the ‘outer’ sonic environment may illuminate the mechanisms involved in listening—which differ from the mechanisms of hearing. The relationship between internal bodily experiences triggered by external ones, and vice versa, forms a whole. Subjective and first-person experience, dedicated listening, embodiment, affect, site-specificity, and practice-led research into sonic arts are, in this chapter, contextualized through two works exploring the listening act in the Amazon rainforest and through EEG as applied to sound and architectural space. The investigation of an audience’s perception of visual mental imagery observes whether—and if so, which—common patterns emerge from their listening to five sonic artworks. Two artworks are inspired by, and are the result of, the outcomes of such investigation. An analysis of the experience of an artwork necessarily includes the creator and focuses not only on the ‘beholder’. Here, the experience is contextualized within a project by a nomadic lab, which transforms ideas and works according to site-specific contexts, alongside the perceptions of different cultural audiences. Such a journey stimulates questions about memory and consciousness when exploring perception in the sonic arts. It includes visual mental imagery as a first-person experience and considers cultural contexts of perception.

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Notes

  1. 1.

    ‘In 1992 I read a remarkable short article: Ear’s Own Sounds May Underline Its Precision – A Tiny Loudspeaker Inside the Ear (New York Times) by Dr. William E. Brownell, of the Johns Hopkins University School of Medicine. A leading researcher in “otoacoustic emissions,” or OAE, sound which is generated from within the inner ear, Brownell reported dramatically: “Physiologists are still marvel- ing at the discovery that ears produce sound. It is almost as astonishing as if the eye could produce light or the nose produce odors.” And further: “A person who fails to emit sounds from his or her ears in response to a test tone generally turns out to be deaf, or suffering from disease or the influence of certain drugs. Significantly this response disappears a few minutes after death. This, many scientists believe, implies that the otoacoustic response is the result of ACTIVE SOUND PRODUCTION, NOT JUST A PASSIVE ECHO OF EXTERNAL SOUND’ (Amacher in Zorn 2008: 11; emphasis by Amacher).

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Acknowledgements

Lucrezia Forcucci, Ana Hupe, Paddy Long, Ricardo Garcia, Paulo C. Chagas, Johannes Birringer, Yuri and Paulo Bruscky, Paula Barretto and her team, Valerio Fiel da Costa and his team, Ciane Fernandes and her team, Ines Linke, Jorge Antunes, Jocy de Oliveira, Marisa Mello, Caroline Valansi, Pedro Victor Brandão, Eduardo Kac, Francisco López and all of the people I met in Brazil over a decade and who helped me to understand and discover this beautiful and complex country. Jill Scott and Irene Heidigger at Zürich University of the Arts, Pierre Magistretti and Olaf Blanke and their teams at the Brain Mind Institute at EPFL Lausanne, NOTAM in Oslo, Leigh Landy, Simon Emmerson and John Richards at the Music, Technology & Innovation Research at De Montfort University, René Laurenceau and the Swatch Art Peace Hotel in Shanghai, Djerassi Foundation in San Francisco, Margot Haliday Knight, Tami Spector, Crystal Sepúlveda and Cheryl E. Leonard, Leonardo/ISATS, Pro Helvetia, Nicati de Luze Foundation, Swissnex in Shanghai, San Francisco, Rio de Janeiro and Bengalore, Canton de Neuchâtel, Ville de Neuchâtel, Centre Dürrenmatt Neuchâtel, The Lab gallery in San Francisco, Musée des Beaux Arts Le Locle.

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    Luca Forcucci

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  1. Department of Music—Composition, University of California, Riverside, Riverside, CA, USA

    Paulo C. Chagas

  2. Department of Recording Arts, University of Colorado Denver, Arvada, CO, USA

    Jiayue Cecilia Wu

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Forcucci, L. (2021). Sonic Imagination: Body, Visual Mental Imagery, and Nomadism. In: Chagas, P.C., Cecilia Wu, J. (eds) Sounds from Within: Phenomenology and Practice. Numanities - Arts and Humanities in Progress, vol 18. Springer, Cham. https://doi.org/10.1007/978-3-030-72507-5_9

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