Archaeology of sound devices: aural technologies
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This article discusses some categories that may be of methodological utility for those within the increasingly wide field of what are called “sound studies”, who are interested in archaeology as an approach that allows an understanding of the development of sound and aural devices from a historical perspective. The archaeological approach, considered here from the epistemological archaeology of Foucault, allows us to read, or to “audit”, not only the routes and entanglements of technological creation linked to sound, but also to assume that each technological manifestation is a symptom and expression of a device that includes forms of knowing (epistèmès), institutions of knowledge, conceptions about sound and listening practices. From the archaeological perspective, each sound device is the product of, or denotes, an epistemic device. Through the concept of “aural technology”, which establishes a field of relationship between a technological sound device and the correlate of its aural device, we can find an interesting link that allows us to understand the processes of sound technology referred to a broader discursive and epistemic network; a network that allows us to understand, in short, technology as the field in which displacements, reticles or empowerments of specific aurality practices opérate and struggle. The article tries to explain how, from the archaeological point of view, the technological sound device deploys, conceals or unveils a dispositif for listening and understanding sound: something we can call an aural device.
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Francisco Tito Rivas, Universidad Nacional Autónoma de México
Francisco Javier Rivas Mesa (F. Tito Rivas), (Mexico City, 1977) is a sound artist, musician, cultural manager and researcher.
He studied audiovisual communication at Universidad del Claustro de Sor Juana, philosophy at the National Autonomous University of Mexico (U.N.A.M.) and music at the Escuela Autónoma de Música. He is currently pursuing the Maestría en Tecnología Musical, a post-graduate degree of the U.N.A.M. School of Music. His work has been focussed on experimentation with sound and visual media as a creator, researcher and cultural manager.
He has been a professor of course on sound creation at Universidad del Claustro de Sor Juana and Centro de Diseño, Cine y Televisión. Winner of the Bienal Internacional de Radio in the Radioarte category in 1998 and 2012.
He has presented and exhibited in spaces and at festivals such as Festival Internacional de Arte Sonoro, Museo Universitario del Chopo, Ex-Teresa Arte Actual, Museo Universitario de Ciencias y Artes, Fonoteca Nacional, Universidad Iberoamericana, Museo Universitario de Arte Contemporáneo (MUAC, Contemporary Art University Museum), Laboratorio Arte Alameda, RadioUNAM, Centro Cultural España, MediaLab Prado Madrid, Universitat Politècnica de València, Casa del Lago, Museo Carrillo Gil, Museo de Arte Moderno, Museo de Arte Contemporáneo de Oaxaca.
He has published specialised articles on sound and listening from a philosophical perspective based on phenomenology and epistemological archaeology.
He has also worked as a curator and producer for several exhibitions of sound art and multimedia installations, collaborating with diverse artists from both his own and other countries.
He was part of the team that founded Fonoteca Nacional de México in 2006, serving as head of the Departamento de Investigación y Experimentación Sonora, and later as sub-director of Programación y Actividades Artísticas until 2017. He designed and was the curator of the multi-channel Espacio Sonoro of UNAM’s Casa del Lago from 2014 to 2017. He is a member of the Sociedad de Arte Sonoro Mexicano (AARSOM) council and a research member of the Red de Estudios sobre el Sonido y la Escucha. He is currently the director of the Ex Teresa Arte Actual museum of the Instituto Nacional de Bellas Artes de México.
He lives and works in Mexico City.
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