Redistribution Of The Sensible Of Sound Art From The Perspective Of Auditory Turn

Under the background of the of auditory turn,sound art,as an important form of auditory art,has its innate political criticality,which enables it to become Rancière’ s “critical art”.By influencing “distribution of the sensible” in auditory perception,the critical significance of political aesthetic can be exerted,and the“redistribution of the sensible” of auditory perception can be realized.From the perspective of Rancière’ s theory of “distribution of the sensible”,sound studies focus on the issues of auditory perception,considering the constructiveness of auditory perception from “distribution of the sensible”,and how to deconstruct the established auditory perception through “dissensus” to realize“redistribution of the sensible”.In the artistic creation,“dissensus” is not only the aesthetic power of artistic innovation,but also the political weapon to liberate the sensible.The former is reflected in the construction of equal sensible dialogue between artists and audiences through “dissensus”,so as to liberate audiences in the“aesthetic separation”.The latter is represented by the “critical art” produced under the “the aesthetic regime of art”,which maintains its criticality through the “dissensus” in the tension between art and the real world.Rancière’ s discussion on auditory perception of “distribution of the sensible” focuses on the voice of “the marginalized”.“The marginalized” creates a “common stage” for vocalization by establishing a new perceptual distribution order.From silence to voice,and from the audible to inaudible,which is regarded as the politics of vocalization and auditory perception.But Rancière pays more attention to the vocalization of “the marginalized”in the aesthetic sense.In the film,the vocalization of “the marginalized” opens up a poetic world of the sensible.If Costa’s film shows the vocalization of workers as “the marginalized” through the “politics of documentary”,there is also a kind of “politics of recording” in the sound art works of Hong Kai Wang,which records the spontaneous perceptual voice of “the marginalized”.In art,“the marginalized” not only needs to make his own voice,but also needs to break through the original perceptual framework to get aesthetic liberation.The purpose of “the auditory turn” is“redistribution of the sensible” to fight against “visual hegemony”.The purpose is to realize “democracy of the senses”,so as to balance the whole senses of human beings in cultural studies.Democracy in auditory perception needs to be realized by breaking the distribution order defined in the sound,that is,studying democracy in auditory perception from the relationship between sound and listening,which shows that the voice of “the marginalized” disturbs the distribution order of auditory sense.The metaphor of “the marginalized” in sound is the noise excluded from the sound sequence.Noise is the historical product of subjective construction.From Schafer’s natural “soundscape” to Thompson’ s modern “aural landscape”,the sound culture of noise should be based on its historical and cultural construction,so as to deconstruct the auditory perception mode behind noise,break the single consensus logic and move to the multiple auditory way.Attali deconstructs the definition of noise.He proposes that music is the incorporation,transformation and tuning of noise.The distinction and transformation between noise and music is a kind of political behavior.Rancière’ s “pensiveness of the image” provides a structural way for noise to enter music.From the deconstruction to transformation of noise,the violation of noise to its own boundary can reconstruct the existing auditory perception mode,which is“redistribution of the sensible” of auditory perception.The noise continuously breaking the boundaries of sound distribution promotes the appearance and development of sound art.From “noise art” to “sound art”,the rebellion and criticism of noise on traditional music greatly liberated the expression of sound in the field of art,and finally formed a highly critical sound art.Rancière mainly discusses the criticality of “critical art” from the perspective of vision.Since auditory perception is one of the sensible,the sound art in the field of auditory perception can also become a kind of “critical art” to play its political criticality.As a kind of “critical art”,sound art not only includes noise into it,but also includes all sounds in daily life.Through continuous intervention in daily life,sound art plays a critical role in the “third road” between art and non-art,and reshapes the distribution of auditory perception in daily life in the transformation between audible and inaudible.The critical practice of sound art by Christine Sun Kim,a sound artist who is born deaf,challenges the social norms of auditory perception,and focuses on the marginal groups with hearing impairment.She takes the sound as a political liberation tool,not only integrates the noise of daily life into the sound art,but also integrates the visual vocal form such as American Sign Language and music score into her creation.Based on the principle of “unlearning sound etiquette”,she tries to arouses people’s thinking about auditory perception experience through defamiliarized auditory perception experience in the sound art works,and eventually seek the equality of people themselves in the equality of auditory sense.Sound and auditory perception are shaped by each other.The sound environment of different times shapes the corresponding auditory perception mode,and the auditory perception mode determines the sound.Therefore,the critical practice of sound art is to deconstruct the existing auditory perception through the defamiliarized sound.Whether it is the workers,the deaf,or the noise,the vocalization of “the marginalized” realizes“redistribution of the sensible” of auditory perception in the sound art.However,the sound art should be alert to the danger of becoming a daily order.It is necessary to maintain the critical tension between autonomy and heteronomy,obtain the freedom of hearing in criticism,and comprehend the existence and significance of life in aesthetics.The ultimate goal of sound art is to establish the perceptual equality of auditory perception,so that people can find freedom and liberation in auditory perception.