Distance Listening.en - Jerome Joy website

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!!!! Historical context: The concept of ‘distance listening’ stems from the observation of the developments in technics and technologies of sound transmission and their progressive implication in our culture in general and in artworks in particular. It unites technological, sociological and cultural references. Early references are found in anticipatory literature : the Frozen Words by Rabelais in the 16th century, New Atlantis by Francis Bacon, , Giphantie by Tiphaigne de la Roche, and Jules Verne & G. Apollinaire in the 20th century, …, and in publications by early inventors : such as Phonurgia Nova by Athanasius Kircher. The concept of distance listening quickly became a horizon for intellectuals such as Paul Valéry (« delivery of sensory reality at home »), developing thoughts on ubiquity. In parallel, the use of distance in music has been exploited since the 16th c. through the use of instruments localised in relation to architecture, and is pursued in sound spatialization in the 20th century. The first use of realtime distant sound as art appears in musical works by John Cage (Imaginary Landscape IV, 1951, and Variations IV, 1966, with the use of ‘telephoned’ sound). Thereafter the concept of ‘acousmatic listening’ is the object of many theoretical investigations, such as compositional structure (Bayle, 1994) or social-culture theory (Murray Schafer, 1977), although these examples fail to precisely identify the notion of ‘distance listening’. ----
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