Oral Testimonies and Sound Art as Strategies of Representation in the Anthropocene
Abstract
This article is a review of an exhibition project in which artists, social scientists and citizens have collaborated with the aim of opening possibilities, imagining and extending thought towards large-scale environmental processes. Starting from a local context of declining heavy industry, transition towards a computerized society, and an energetic and climatic conflict ravaging Europe. Through the use of oral testimonies and their sound dimension it was possible to create an artistic representation of collective labour identities, amplify those discordant voices and create a new narrative of the steel industry. This interdisciplinary experience was able to look as themes such as the politics of work, those of material objects and the contribution of artistic practices to the Anthropocene debate.
Downloads
References
Andrew, B. (2010). Materialist politics, metallurgy. En B. Braun y S. J. Whatmore (Eds.),Political Matter. Technoscience, Democracy, and Public Life. Minneapolis: MIT Press. University of Minnesota Press.
Aranea, M. (2017). Las relaciones laborales europeas como arenas de poder multinivel. Democracia industrial transnacional en Arcelormittal y Allianz SE. Tesis Doctoral. Universidad de Oviedo.
Aranea, M. (2017). Identidades laborales colectivas. En Diálogo social. Polifonía del mundo de la industria (pp. 12-13). Gijón: Econodos.
Armiero, M. y De Angelis, M. (2017). Anthropocene: victims, narrators, and revolutionaries. South Atlantic Quarterly, 116(2), 345-362. DOI:https://doi.org/10.1215/00382876-3829445.
Avendaño, J.P. (2015). Escuchatorio. Recuperado el 3 de octubre de 2018 de: http://www.escuchatorio.net.
Bonneuil, C. y Fressoz, J.B. (2017).The Shock of the Anthropocene. Londres: Verso 2017.
Carles, J.L. (2010). Mapas y representaciones sonoras. Contribuciones y evolución. Zehar, 67, 108-117.
Carruthers, J. (2016). The Anhropocene. Royal Society of South Africa. Recuperado el 3 de octubre de 2018 de:
http://www.royalsocietysa.org.za/?page_id=2292.
Crutzen, P.J. y Stoermer, E.F. (2000). The Anthropocene. IGBP Global Change Newsletter, 41, 17–18. Recuperado el 3 de octubre de 2018 de: http://www.igbp.net/download/18.316f18321323470177580001401/1376383088452/NL41.pdf
Desoto, P. (2016). Antropoceno, Capitaloceno, Chthuluceno, viviendo con el problema en Fukushima. Tesis Doctoral (Doutorado em Comunicação e Cultura) – Escola de Comunicação, Universidade Federal do Rio de Janeiro.
García, E. (2004). La sociología ecológica o medioambiental. En Medioambiente y sociedad: La civilización industrial y los límites del planeta (pp. 59-100). Madrid: Alianza Editorial.
Haraway, D. (2016). Manifiesto Chthulueno desde Santa Cruz. Revisado de Donna Haraway y Cary Wolfe
en Conversación. Santa Cruz: El Planeta Laboratorio. Recuperado el 3 de octubre de 2018 de: https://laboratoryplanet.org/es/manifeste-chthulucene-de-santa-cruz.
Knox, H. y Huse, T. (2015). Political materials: rethinking environment, remaking theory. Distinktion: Journal of SocialTheory, 16(1), 1-16, DOI: https://doi.org/10.1080/1600910X.2015.102841.
Leidecker, J. (2009). Entrevista con Jon Leidecker sobre apropiacionismo sonoro. Barcelona: Arte nuevo. Recuperado el 14 de abril de 2019 de: http://arte-nuevo.blogspot.com/2009/12/entrevista-con-jon-leidecker-sobre.html.
Lopes, M.M. (2015). Intertwined artistic practices: critical remarks on collaboration across fields of knowledge. MIDAS. Museus e estudos interdisciplinares [Online], 5. Recuperado el 15
de enero de 2018 de: http://midas.revues.org/856DOI: 10.4000/midas.856.
Lozano, L., Aranea, M. y Marzo, J.L. (2017). Diálogo social. Polifonía del mundo de la industria. Gijón: Econodos. Recuperado el 26 de junio de 2019 de: https://www.econodos.net/wpcontent/uploads/2017/11/dialogoSocial_catalogo.pdf
Lozano, L. (2018). Diálogo Social entre la práctica artística y la investigación académica. Revista Accesos, 1, 58-65.
Martín Criado, E. (2009). Habitus. En R. Reyes (Dir.): Diccionario Crítico de Ciencias Sociales. Terminología Científico-Social, Tomo 1/2/3/4, Madrid-México: Ed. Plaza y Valdés. Recuperado el 3
de octubre de 2018 de: https://webs.ucm.es/info/eurotheo/diccionario/H/habitus.htm.
Marzo, J.L. (2017). «Des-». En Econodos (Ed.). Diálogo social. Polifonía del mundo de la industria (pp. 18-19). Gijón: Econodos.
Russolo, L. (1913). El arte de los ruidos. Manifesto futurista. En Monoskop. Recuperado el 14 de abril de 2019 de:
https://monoskop.org/images/6/69/Russolo_Luigi_El_arte_de_los_ruidos_Manifiesto_Futurista.pdf.
San Martín Segura, D. (2003). Apuntes para un análisis ecológico de las formas de política contemporáneas.
Redur 1, 251-300.
Schafer, M. et al. (1968). World Soundscape Project. Vancouver: Simon Fraser University. Recuperado el 14 de abril de 2019 de: https://www.sfu.ca/sonic-studio-webdav/WSP/index.html.
Tondeur, A. (2014). Lost in phantoms. París: Anaïs Tondeur. Recuperado el 7 de mayo de 2019 de:
http://www.anais-tondeur.com/projects/lost-in-fathoms--nuuk-island/
Zalasiewicz, J. et al. (2016). Working Group on the ‘Anthropocene’. Subcommission on Quaternary Stratigraphy of the International Union of Geological Sciences (IUGS). Recuperado el 3 de octubre de 2018 de:
http://quaternary.stratigraphy.org/working-groups/anthropocene/
Works published in this journal are subject to the following terms:
- The Service of Publications from the University of Murcia (publishing house) keeps the published works’ copyrights, and favors and allows the reuse of these works under the license indicated in point 2.
- Works are published in the journal’s online edition under the license Creative Commons Reconocimiento-NoComercial-SinObraDerivada 3.0 España(texto legal). They can be copied, used, disseminated, transmitted and publicly exhibited, as long as: i) the author and original source of publication are cited (journal, publishing house and work’s URL); ii) they are not used for commercial purposes; iii) the existence and specifications of this license are mentioned.
3. Conditions for auto-file. It is allowed and encouraged that authors share electronically their pre-print version (the pre-reviewed version) and /or post-print version (the reviewed and accepted version) of their Works before the publication, since it promotes its circulation and dissemination. RoMEO color: green.