Sonorous Touches
Listening to Jean-Luc Nancy’s Transimmanent Rhythms
Bibliographic Data
| ID | 21974348 |
|---|---|
| Authors | Adi Louria Hayon (0000-0001-8671-1521, Tel Aviv University, corresponding author) |
| Year | 2023 |
| Volume | 12 |
| Issue | 5 |
| Pages | 209 |
| Publication date | 2023-09-25 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Arts (JOURNAL) |
| Journal identifiers | ISSN: 2076-0752 • E-ISSN: 2076-0752 |
| Publisher | MDPI AG (PUBLISHER • IT) |
| DOI | 10.3390/arts12050209 |
| OpenAlex | W4387055957 |
| Language | EN |
| Citations received | 1 |
| References cited | 14 |
Luigi Russolo’s Intonarumori together with his manifesto L’arte dei rumori (1913) marked a break with the art of clear signification. From here on, noise and dispersed sounds replaced the concept of music reverberating the harmony of the spheres by propelling the quandaries of immanence contingent on palpable resonance performing the differential relational manner of heterogeneous existence. This somatic turn is central to Jean-Luc Nancy’s Listening, where he proposes listening as a tangible fundamental resonance rumbling the corpse sonore. This paper elaborates on the move from the art of music to the plurality of rhythmic worlds. Nancy’s proposition of sonorous existence demonstrates two movements, one that retreats from hearing the Pythagorean musical-arithmetical cosmos exhibited in Robert Fludd’s Monochord, the other plays the singular plural pulsations of dispersed creation performed by Michael Snow’s Tap
Acoustics · Active listening · Aesthetics · Art · Art history · Guitar · Literature · Manifesto · Musical · Performative utterance · Rhythm · Sociology · Visual arts · Communication · French Literature and Poetry · Musicology and Musical Analysis · Philosophy
| Unique citing works | 1 |
|---|---|
| Citations per year | 1 |
| Citation span | 2026 - 2026 (1) |
| Citation velocity | current |
| Highly cited | No |
| Citation types | Neutral: 1 |