Listening to Red

Listening to Red

Following a distinction John Mowitt draws between hearing (and phonics), and listening (and sonics), this article argues that the dominant notion of listening to sound was determined by the disciplinary framework of South African history and by the deployment of a cinematic documentary apparatus, both of which have served to disable the act of listening. The conditions of this hearing, and a deafness to a reduced or bracketed listening (Chion via Schaeffer) that would enable us to think the post in post-apartheid differently, is thus at the centre of our concerns here. We stage a series of screenings of expected possible soundtracks for Simon Gush's film and installation Red, simultaneously tracking the ways that sound - and particularly music and dialogue - can be shown to hold a certain way of thinking both the political history of South Africa and the politics of South African history. We conclude by listening more closely to hiss and murmur in the soundtrack to Red and suggest this has major implications for considering ways of thinking and knowing.

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Bibliographic Details
Main Authors: Mtshemla,Sinazo, Minkley,Gary, Pohlandt-McCormick,Helena
Format: Digital revista
Language:English
Published: University of the Western Cape 2016
Online Access:http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0259-01902016000100008
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spelling oai:scielo:S0259-019020160001000082017-03-09Listening to RedMtshemla,SinazoMinkley,GaryPohlandt-McCormick,HelenaFollowing a distinction John Mowitt draws between hearing (and phonics), and listening (and sonics), this article argues that the dominant notion of listening to sound was determined by the disciplinary framework of South African history and by the deployment of a cinematic documentary apparatus, both of which have served to disable the act of listening. The conditions of this hearing, and a deafness to a reduced or bracketed listening (Chion via Schaeffer) that would enable us to think the post in post-apartheid differently, is thus at the centre of our concerns here. We stage a series of screenings of expected possible soundtracks for Simon Gush's film and installation Red, simultaneously tracking the ways that sound - and particularly music and dialogue - can be shown to hold a certain way of thinking both the political history of South Africa and the politics of South African history. We conclude by listening more closely to hiss and murmur in the soundtrack to Red and suggest this has major implications for considering ways of thinking and knowing.University of the Western CapeKronos v.42 n.1 20162016-11-01journal articletext/htmlhttp://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0259-01902016000100008en
institution SCIELO
collection OJS
country Sudáfrica
countrycode ZA
component Revista
access En linea
databasecode rev-scielo-za
tag revista
region África del Sur
libraryname SciELO
language English
format Digital
author Mtshemla,Sinazo
Minkley,Gary
Pohlandt-McCormick,Helena
spellingShingle Mtshemla,Sinazo
Minkley,Gary
Pohlandt-McCormick,Helena
Listening to Red
author_facet Mtshemla,Sinazo
Minkley,Gary
Pohlandt-McCormick,Helena
author_sort Mtshemla,Sinazo
title Listening to Red
title_short Listening to Red
title_full Listening to Red
title_fullStr Listening to Red
title_full_unstemmed Listening to Red
title_sort listening to red
description Following a distinction John Mowitt draws between hearing (and phonics), and listening (and sonics), this article argues that the dominant notion of listening to sound was determined by the disciplinary framework of South African history and by the deployment of a cinematic documentary apparatus, both of which have served to disable the act of listening. The conditions of this hearing, and a deafness to a reduced or bracketed listening (Chion via Schaeffer) that would enable us to think the post in post-apartheid differently, is thus at the centre of our concerns here. We stage a series of screenings of expected possible soundtracks for Simon Gush's film and installation Red, simultaneously tracking the ways that sound - and particularly music and dialogue - can be shown to hold a certain way of thinking both the political history of South Africa and the politics of South African history. We conclude by listening more closely to hiss and murmur in the soundtrack to Red and suggest this has major implications for considering ways of thinking and knowing.
publisher University of the Western Cape
publishDate 2016
url http://www.scielo.org.za/scielo.php?script=sci_arttext&pid=S0259-01902016000100008
work_keys_str_mv AT mtshemlasinazo listeningtored
AT minkleygary listeningtored
AT pohlandtmccormickhelena listeningtored
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