El sonido: un material escultórico

Sound presents an important opposition to ocularcentrism, based on the priority of sight in the perception of the plastic arts before the rest of the main human senses. The acceptance and inclusion of sound in sound sculpture helps us to eliminate said hegemony as a receiving organ, allowing us to p...

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Bibliographic Details
Published in:La Corónica 2016, Vol.35 (1), p.191-211
Main Authors: Bellido Márquez, María del Carmen, Travé Mesa, Antonio
Format: Article
Language:Spanish
Subjects:
arte sonoro
escultura
escultura sonora
experimental music
música experimental
sculpture
Sonido
Sound
sound art
sound sculpture
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Summary:Sound presents an important opposition to ocularcentrism, based on the priority of sight in the perception of the plastic arts before the rest of the main human senses. The acceptance and inclusion of sound in sound sculpture helps us to eliminate said hegemony as a receiving organ, allowing us to perceive emotions and artistic experiences through the ears and the rest of the body. Sound, as a sculptural material, defines its environment and transforms it spatially, hence its sculptural qualities El sonido presenta una importante oposición frente al ocularcentrismo, basado en la prioridad de la vista en la percepción de las artes plásticas ante al resto de los sentidos humanos principales. La aceptación e inclusión del sonido en la escultura sonora nos ayuda a eliminar dicha hegemonía como órgano receptor, permitiéndonos percibir las emociones y experiencias artísticas a través de los oídos y del resto del cuerpo. El sonido, como materia escultórica, define su entorno y lo transforma espacialmente, de ahí sus cualidades escultóricas.
ISSN:0193-3892
1947-4261