“This year the theme of our Resonant Edge Symposium is directly focused upon the nature of ‘identity’ through a number of investigations situated around manifestations of Hauntology in music and sound. Hauntology – a term coined by Jacques Derrida – is a critical, phenomenological exploration of temporal and ontological disjunction in art – in short how historic, ‘non-being’ ‘non’present’ cultural ‘ghosts’ can alter the perception or reading of a cultural artefact. So, if one composes a Blues song, the question might be to what extent might it consciously or unconsciously be ‘haunted’ by other ‘Blues’ works; if one composes a fugue.
This mode of enquiry can also be seen to extend to soundscape composition where the sounds of specific physical locations are captured and, within a compositional structure can be allowed to haunt one another even across the many histories of these locations. To elaborate, let’s think of an imaginary soundscape composition that might explore the being and ‘non-being’ of the changing sound ecology of a local church that surrounded it over the last 50, 100 or 200 years. With careful planning one could capture specific ‘historic’ sounds of a certain vintage and then gradually superpose these sounds across history, allowing a potentially fascinating, multiplicitous, palimpsestic sonic juxtaposition to unfold.”
Chair – Nessa Johnston
Mita Lad – Haunting, Music and Indian Serial Drama
Aimee Mollaghan – Acoustic Ghosts and Haunted Landscapes: the Sonic Invention of Place in Contemporary British Cinema
Danijela Kulezic-Wilson – Ghostly Imprints in Peter Strickland’s Katalin Varga
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