Читать книгу Critical Digital Making in Art Education - Группа авторов - Страница 30

Sound has great significance as a dynamic material involving art, people, material, and society. “Every sound exists in time and space, and since time and space are building blocks of human activity and struggle, sound is the venue where perception meets action. Sound is where the body politic encounters the material” (Ultra-Red, 2014, p. 23). Listening does not only engage the sense of hearing, but the entire body acts as a listener, and the body is also constantly making sounds. The materiality of sound has proven to be of value as it allows for the inclusion of the phenomenon of technology, environment, and the body as a whole.

Material-Digital sound is a relational sound that extends to the movement of air pressure and to the material world as friction and tactile feeling. Such everyday experiences of sound have become hidden in conventional product design and routine sound consumption. For example, the act of swiping the screen of a smartphone with your fingertip can result in us being connected, but the connection is based on just a few parts of the body—eyes, ears, and hands—and confined to digital technology design. This sensory reduction deprives us of making deep connections with materials, environments, and ourselves. We claim that when technology, as well as art, are presented as only systems of representation and form leaving the sensory experiences out, we are deprived of important connections between aesthetics and ethics (Jones & Arning, 2006).

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