Subjectivity in Sound: Listening to Anton Sarokin’s «Postfilmia»

Article

  • Maria Yashchanka Goldsmiths College, University of London
Keywords: Acousmatic sound, voice, listening, symbolic order, sonic subject, split subject, sonorous envelope

Abstract

[In English]

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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Published
2018-09-10
How to Cite
Yashchanka, M. (2018). Subjectivity in Sound: Listening to Anton Sarokin’s «Postfilmia». Topos, (1), 11-25. Retrieved from http://journals.ehu.lt/index.php/topos/article/view/125
Section
P.S. SOUNDSCAPES 1: SOUNDS AND SUBJECTIVITY