London College of Communication, University of Arts London
Annie Goh is an artist and researcher working primarily with sound, space, electronic media and generative processes within their social and cultural contexts. She completed her CHASE/AHRC-funded PhD at Goldsmiths, University of London in 2019 on archaeoacoustics and sonic knowledge production, where she was also a Stuart Hall Foundation PhD Fellow. She co-curated the discourse program of CTM Festival Berlin 2013-2016 and is co-founder of the Sonic Cyberfeminisms project since 2015 with Dr Marie Thompson. She is currently a Lecturer in XD Pathway in BA Fine Art at CSM and an Associate Lecturer in Sound Arts at LCC.
Articles of Annie Goh
Flusser’s Sonic Modernity
This chapter addresses Flusser’s often neglected writings on music and sound as they relate to his understanding of modernity. Taking two lectures ‘On Music’ and ‘On Modern Music’ given in Sao Paolo in 1965 as its departure point, Flusser’s conceptualization of a sonic modernity is examined within his ‘communicological’ theory. Contrary to a McLuhanesque media theory of the auditive, I argue Flusser’s theorization is distinct due to his characteristic ‘groundlessness’ and seeks to destabilize, rather than restabilize, a liberal Western humanist modernism.
The Dimension of Sound in Flusser
The dimension of sound has long been considered completely missing from Flusser's thought, thus most Flusser research has not dealt with the auditive in his work so far. This article has a two-fold approach to counter this common perception; firstly, by looking at three (German) texts in which Flusser deals with music and sound directly – “Chamber Music”, “The Gesture of Listening To Music” and “Hörigkeit/Hoerapparate”, and secondly by looking at Flusser's key text “Crisis of Linearity” which largely ignores sound. The former tackles these lesser known texts to examine how Flusser actively (though rarely) applied music and sound in his work, whilst the latter uses methods of sound studies to critique the absence of sound in his important media-philosophical thesis. Flusser's writings on music and sound are both striking for the contemporaneity yet problematic for their demoded appearance of concepts such as “pure music”. Insights from contemporary sound studies question the dominance of the visual in Flusser's work and the epistemological consequences this might have.