Resonance and wonder : Susan Philipsz's 'study for strings'
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Data
2017
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Universidade Lusófona de Humanidades e Tecnologias
Resumo
This article offers a reading of Susan Philipsz's sound work Study for Strings (2012) informed by two notions
proposed by Stephen Greenblatt: resonance and wonder. In considering resonance, I present the strong
historical influences identified in the location the artwork was first commissioned for — Kassel Hauptbahnhof,
during dOCUMENTA 13. I also present the traumatic events that led to the composition of Pavel Haas's
Study for Strings Orchestra in Theresienstadt, and its appropriation by Philipsz. The use of silence, or
absence, in a sound piece features as a fundamental element in the understanding of the work as a
certificate of disappearance. Nevertheless, viewed through the lens of John Cage's 4'33'' (1952), Study for
Strings will also be examined as a musical composition in its own right. It is here, and in the spectator's first
encounter with the work, that the presence of wonder will surface.
Descrição
International Journal on Stereo & Immersive Media
Palavras-chave
AUDIOVISUAL, SOM, SOUND, ESTUDOS DO SOM, SOUND STUDIES, AUDIOVISUAL