Subjectivity in Sound: Listening to Anton Sarokin’s «Postfilmia»
Drawing on the work of Belarusian artist Anton Sarokin and his use of acousmatic sound and audioscapes, the article considers listening as a specific mode of engagement with the world. Through a close reading of «Postfilmia», a notion of sonic subjectivity as theorised by Salomé Voegelin is juxtaposed with Lacanian ideas of a split subject as proposed by Bruce Fink. In arguing for a psychoanalytic reading of Sarokin’s work, attention is drawn to how his artwork inquires into the functioning of a voice detached from its origin, and into the interrelation of collective memory and personal history.
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