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 Collection > Volume 17 Numéro 3 (2007) > Dossier thématique > Visualizing Acoustic SpaceAbstractThis article explores concepts of acoustic space in postwar media studies, architecture, and spatial music composition. A common link between these areas was the characterization of acoustic space as indeterminate, chaotic, and sensual, a category defined in opposition to a definite, ordered, and rationalized visual space. These conceptual polarities were vividly evoked in an iconic sound-and-light installation, the Philips Pavilion at the 1958 Brussels World Fair. Designed by Le Corbusier, the Philips Pavilion also featured a black-and-white film, color projections, hanging sculptures, and Edgard Varèse’s Poème électronique, a spatial composition distributed over hundreds of loudspeakers and multiple sound routes. Typically remembered as a sequence of abstract sound geometries, the author argues that Poème électronique was instead an allegorical work that told a “story of all humankind.” This narrative was expressed through a series of conceptual binaries that juxtaposed such categories as primitive/enlightened, female/male, racialized/white, and sensual/ rational— contrasts that were framed within the larger dialectic between acoustic and visual space. Cet article n’est pas disponible en ligne. Pour acheter la revue incluant cet article, utilisez l’encadré de commande qui se trouve au haut de cette page. |
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