{"id":780,"date":"2019-01-30T13:25:43","date_gmt":"2019-01-30T13:25:43","guid":{"rendered":"http:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/?p=780"},"modified":"2019-01-30T13:27:51","modified_gmt":"2019-01-30T13:27:51","slug":"finding-beings-in-sound-a-short-history-of-found-sound-in-electronic-music","status":"publish","type":"post","link":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/assignments\/everyday-technologies\/finding-beings-in-sound-a-short-history-of-found-sound-in-electronic-music\/","title":{"rendered":"Finding Beings in Sound: A Short History of Found Sound in Electronic Music"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The essence of technology, according to philosopher Martin Heidegger, is, in his own jargon, a <em>clearing<\/em>: specifically, <a href=\"https:\/\/plato.stanford.edu\/entries\/heidegger\/#Tec\">technology is a kind of worldview that <\/a><em><a href=\"https:\/\/plato.stanford.edu\/entries\/heidegger\/#Tec\">reveals<\/a><\/em><a href=\"https:\/\/plato.stanford.edu\/entries\/heidegger\/#Tec\">\u2014or more often than not<\/a><em><a href=\"https:\/\/plato.stanford.edu\/entries\/heidegger\/#Tec\"> imposes<\/a><\/em><a href=\"https:\/\/plato.stanford.edu\/entries\/heidegger\/#Tec\">\u2014an essential purpose to things<\/a>. For those who are interested in reading Heidegger\u2019s original paper, it can be found <a href=\"https:\/\/monoskop.org\/images\/4\/44\/Heidegger_Martin_The_Question_Concerning_Technology_and_Other_Essays.pdf\">here.  <\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">His most important points, for our purposes,\nare as follows:<\/p>\n\n\n\n<ol class=\"wp-block-list\"><li>Things by themselves simply <em>are<\/em>\u2014they do not need to serve any purpose\n(a tree simply is)<\/li><li>Technology is the imposition\u2014the\nforcing-on\u2014of <em>purpose<\/em> on things\n(technology imposes purposes on a tree\u2014as part of a shelter, or the handle of\nan axe, etc.)<\/li><li>Technology is therefore a\nviolation of the <em>freedom<\/em> of things,\nwhich prevents us from appreciating them in-and-of-themselves (we view the tree\nas a means to end; this perspective <em>degrades<\/em>\nour experience of the tree)<\/li><\/ol>\n\n\n\n<p class=\"wp-block-paragraph\">Before recording\ndevices, free sonic beings in-and-of-themselves did not appear in formal concert\nsettings. All music-making, pre-phonograph, necessitated a technological\nmanipulation of an object <em>outside<\/em> of\nits natural context. The bone flute, perhaps the most technologically\n\u201cprimitive\u201d of all instruments, is still relatively technological in its\nappropriation of the bone\u2014which doesn\u2019t seem remotely musical by itself\u2014as an\nend to musical sound. Or, from another point of view, sonic experiences, pre-phonograph,\nwere marked by a clear partition between outdoor and indoor sounds: there was\nthe natural world itself (the world of free sounds) and the technological world\nof the concert hall. <\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"540\" height=\"254\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/01\/Jiahuflute.jpg\" alt=\"\" class=\"wp-image-803\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/01\/Jiahuflute.jpg 540w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/01\/Jiahuflute-300x141.jpg 300w\" sizes=\"auto, (max-width: 540px) 100vw, 540px\" \/><figcaption>Jiahu flute, circa 7000 BC (image from <a href=\"http:\/\/masterpieces.asemus.museum\/masterpiece\/detail.nhn?objectId=12318\">Virtual Collection of Asian Masterpieces<\/a>)<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The idea of <strong>found sound<\/strong>, then, should be absolutely revolutionary\u2014at least from a Heideggerian point of view. Found sound\u2014the use of recorded, so-called \u201cnon-musical\u201d sounds in an \u201cindoor\u201d setting\u2014is perhaps the very first instance of a sonic-being appreciated in-and-of-itself in a concert hall milieu. Its history, therefore, outlines a story of ethics, framed around changing conceptions of the role of the \u201cunadulterated\u201d sound. We will attempt to dissect this narrative in four seminal works of electronic music. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>1. Pierre Schaeffer: <\/strong><em><strong>\u00c9tude de Bruits<\/strong><\/em><\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Pierre Schaeffer -- \u00c9tudes de bruits (1948)\" width=\"525\" height=\"295\" src=\"https:\/\/www.youtube.com\/embed\/CTf0yE15zzI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Found sound entangles itself with philosophy; it is not surprising, then, that is has been subject to much very polemical writing. The first major works of found sound composition, <em>musique concr\u00e8te&nbsp;<\/em>(music made by manipulating recorded sound) were entrenched in the typically heated debate of the post-1945 (postwar) generation of composers, many of them heavily invested in creating a new kind of electronic art distinct from the burdened music of the past (for a more detailed discussion of that and the following, see chapter 1 in Joanna Demers\u2019s <em><a href=\"https:\/\/global.oup.com\/academic\/product\/listening-through-the-noise-9780195387667?cc=ca&amp;lang=en&amp;\">Listening Through the Noise: The Aesthetics of Experimental Electronic Music<\/a><\/em>). <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Most\ndiscussions of electronic music in general (including this one) begin with <em>musique concr\u00e8te<\/em>, but that umbrella term\nencompassed at least two very different perspectives to found sound. Indeed, Pierre\nSchaeffer, who almost single-handedly invented <em>musique concrete <\/em>in his Paris Studio in the 40s, wrote music of\nconstantly evolving characteristics\u2014not least as a result of the technological\nlimitations of his times, and these divergent approaches, although not by\nthemselves always philosophically grounded, positioned found sound radically\ndifferently in relation to Heidegger\u2019s notion of being-in-and-of-itself. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This first and earliest work of <em>musique concr\u00e8te<\/em>, <em>\u00c9tude de Bruits<\/em>, was composed on a shellac record disk, such that <a href=\"http:\/\/music.arts.uci.edu\/dobrian\/CMC2009\/OS12.3.Teruggi.pdf\">techniques nowadays considered commonplace\u2014transposition, looping, filtering\u2014were manipulated excruciatingly by hand<\/a>. The limits of this \u201cprimitive\u201d technology can be heard in the piece. This piece contradicts, for better or worse, the ideals developed in Schaeffer\u2019s later philosophical writings (which I will discuss shortly): this is a kind of <em>musique concr\u00e8te <\/em>where sound sources are easily identified\u2014and indeed come with whole packages of connotations. <\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"507\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/01\/Schaeffer-1.jpg\" alt=\"\" class=\"wp-image-805\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/01\/Schaeffer-1.jpg 640w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/01\/Schaeffer-1-300x238.jpg 300w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" \/><figcaption>Schaeffer at work on shellac (image from <a href=\"http:\/\/preparedguitar.blogspot.com\/2016\/04\/sound-art-pierre-schaeffer-i.html\">Prepared Guitar blog<\/a>)<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; What\nmight Heidegger have thought of these musicalized trains and sauce pans? His\nquestions may have revolved around the intended affect of such a piece: it is a\nsettled fact that the first \u00e9tude recalls a running train, but to what end? My\npersonal impression of the piece is primarily of a filmic experience. There is\na sense in which the grainy audio recalls a likewise visually grainy old\nblack-and-white film, populated by the objects suggested in the music.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;Is this an experience of sound as a\nbeing-in-and-of-itself? It is rather easy to suggest that Schaeffer fails to achieve\nthis kind of experience because the recorded sound becomes a technological\nmeans\u2014and therefore an unfree being\u2014of evoking a filmic quasi-narrative. And\nyet, on a certain plane, this kind of filmic sound already suggests a lesser\ndegree of technological manipulation than instrumental music. Traditional\ninstrumental music subsumes the identity of the object within its sound, such\nthat when we hear, say, a violin, we do not hear it as a sound stemming from an\nobject but as a sound, to which the object is subservient. These <em>\u00c9tudes<\/em> are, to my ears, something\ndifferent: no such hierarchy exists between the train and its sounds.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>2: Pierre Schaeffer: <\/strong><em><strong>\u00c9tude aux objets<\/strong><\/em><\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Pierre Schaeffer - Etude aux objets Part 1-5 (1959)\" width=\"525\" height=\"295\" src=\"https:\/\/www.youtube.com\/embed\/UQ7BZlV_0zQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Schaeffer eventually published his musico-philosophical musings in several writings. Many of his ideas are summarized in Demers\u2019s book\u2014Schaeffer turns his back on the filmic sounds of <em>Bruits<\/em>, the failures of which he blames on the technological limitations of the 1940s. With the invention of the more versatile tape recorder, Schaeffer experienced a degree of artistic freedom which enabled him to experiment with \u201cemancipated\u201d sound, much inspired by Husserl\u2019s phenomenology (<a href=\"https:\/\/www.cambridge.org\/core\/books\/cambridge-companion-to-heidegger\/time-and-phenomenology-in-husserl-and-heidegger\/566A31B506B467A3C85EE3994408365B\">as Dostal writes<\/a>, Heidegger\u2019s work is based on the framework of Husserl\u2019s thought). As Demers writes, Schaeffer attempts to create a free sound-being \u201cthrough the removal of visual cues\u201d and \u201cthrough the intentional disregard of the perceived sources and origins of a sound.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; What this sounds like in <em>\u00c9tude aux objects <\/em>is a rather complex\ncollage of sounds\u2014sounds of obviously physical\/natural emanation, but of\nimprecise origin and context. This, for Schaeffer, was a liberated sound-being.\nSchaeffer is in part addressing his own <em>\u00c9tudes aux bruits <\/em>and that technologization\nof sound, in which sounds become mnemonics, markers for objects: in this new <em>musique concr\u00e8te<\/em>, Schaeffer advocates a\nkind of music which leads us to, one, hear the sound as being real, and, two,\nhear the sound as having interest in and of itself. Sounds <em>must <\/em>be heard as beings distinct from visual entities.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Demers\u2019s book captures some of the polemic that surrounded this claim. While Schaeffer\u2019s ideas\u2014on paper\u2014seem to suggest a true \u201cautonomous\u201d and free sound being, Demers notes that composers, especially of the younger generation (the <a href=\"http:\/\/www.ubu.com\/papers\/Boulez-Schoenberg+Is+Dead.pdf\">infamously argumentative<\/a> young Pierre Boulez perhaps leading the charge), had doubts about a sound\u2019s ability to separate itself from an outside context without being turned into an instrument (which would eliminate its philosophically vital distinction from instrumental music). <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Such complaints are clearly heard in the music. Listening to <em>\u00c9tudes aux objets, <\/em>one is compelled to guess the origins of the sounds, and it is difficult to hear the piece without feeling that there are two contradictory layers of organization\u2014<a href=\"https:\/\/press.uchicago.edu\/ucp\/books\/book\/chicago\/R\/bo3614777.html\">as L\u00e9vi-Strauss notes<\/a>: one, the implied contexts and worldly emanations of the sounds, the implications of which suggest a network of relationships, and two, the actual organizing principles of the music. For instance, a sound similar to a car horn followed by a crumpling or crashing sound automatically suggest their own narrative, such that this sequence interferes with a more abstract, composed structure.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I have mixed feelings, however, about\nthe value of such objections to Schaeffer\u2019s thought. Heidegger\u2019s thought is\ncentered around the idea that our understanding of the world must be unlearned:\nlikewise, is it not possible to unlearn our mnemonic understanding of sound? <\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>3: Karlheinz Stockhausen: <\/strong><em><strong>Kontakte<\/strong><\/em><\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"KONTAKTE (Stockhausen)\" width=\"525\" height=\"394\" src=\"https:\/\/www.youtube.com\/embed\/KwtAMGXyTI4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Supposing that Boulez et al. had touched on truth in their rejection of Schaeffer\u2019s \u201cautonomous\u201d sound-being, it may be the case that a truly freed sound must speak of <em>itself<\/em>. Citing Stockhausen\u2019s <em>Kontakte <\/em>as an example of found sound is a bit of a stretch, since the sounds are entirely synthesized\u2014made from scratch\u2014from basic wave generators, but my thinking here is that, in Stockhausen, the attempted autonomous sound-being is sound itself, detached from any specific context. In <em><a href=\"https:\/\/www.jstor.org\/stable\/832178?seq=1#metadata_info_tab_contents\">The Concept of Unity in Electronic Music<\/a><\/em>, Stockhausen illuminates how works like <em>Kontakte <\/em>stem structurally from acoustic principles. One particularly spectacular instance is a long and dramatic glissando (which Stockhausen draws out in the air rather spectacularly in a 1970s lecture <a href=\"https:\/\/youtu.be\/7xyGtI7KKIY?t=1757\">here<\/a>) which illustrates how a single pitch can be lowered until it is a series of attacks\u2014illustrating that timbre\/pitch and rhythm exist on the same continuum. Like in some modernist architecture, in which light is not used merely to illuminate spaces but to be savored on its own as an independent architectural entity, sound here is not merely a material for music, but the driving force behind the music itself. <\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/01\/AndoChurch-1024x768.jpg\" alt=\"\" class=\"wp-image-807\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/01\/AndoChurch-1024x768.jpg 1024w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/01\/AndoChurch-300x225.jpg 300w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/01\/AndoChurch-768x576.jpg 768w\" sizes=\"auto, (max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><figcaption>Ando: Church of Light (full-scale reproduction) (image from <a href=\"https:\/\/www.dezeen.com\/2017\/10\/31\/tadao-ando-full-scale-mock-up-church-of-the-light-exhibition-tokyo-national-art-center\/\">Dezeen<\/a>)<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>4: Hildegard Westerkamp: <\/strong><em><strong>Talking Rain<\/strong><\/em><\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Talking Rain\" width=\"525\" height=\"394\" src=\"https:\/\/www.youtube.com\/embed\/VZF88yrK5Gg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; One of the criticisms of Schaeffer\u2019s earliest works is, as mentioned above, the apparent mnemonic quality of sound imposed by found sounds of obvious origin. One can reject found sound\u2019s context\u2014as Schaeffer\u2014or disregard found sound entirely\u2014as Stockhausen\u2014but it is indeed also possible to go the opposite direction and <em>embrace the context<\/em> of found sounds as the primary element of musical organization. <a href=\"http:\/\/ciufo.org\/classes\/ae_fl13\/reading\/Intro_AE.pdf\">Soundscape composition,&nbsp;often&nbsp;described&nbsp;as&nbsp;acoustic&nbsp;ecology<\/a> \u2013 a school of electronic music first written about extensively by Canadian R. Murray Schafer (no relation to the French Schaeffer), is such a musical movement.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"535\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/01\/Hempton.jpg\" alt=\"\" class=\"wp-image-806\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/01\/Hempton.jpg 800w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/01\/Hempton-300x201.jpg 300w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/01\/Hempton-768x514.jpg 768w\" sizes=\"auto, (max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><figcaption>Soundscape composer Gordon Hempton with a binaural microphone (image from <a href=\"https:\/\/www.knkx.org\/post\/after-facing-deafness-award-winning-sound-tracker-starting-hear-again\">KNKX<\/a>)<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; As Demers writes, soundscape composers recognize that sounds are inexorably linked to an environmental context. Whole sections of pieces consist of field recordings of what one might call ambient sounds, often with the intent of preserving the unique soundscape of a locale, be it an inhabited or pristinely natural one. Such recordings are often achieved with binaural recording systems, replicating a listener\u2019s experience of the sound with maximal precision. In a sense, soundscape composition is a kind of virtual travel for the ears alone. In addition to being \u201cunadulterated\u201d sound in a literal sense, the idea of soundscape can also be seen as Heideggerian in that it recognizes that the very definition of <em>being<\/em> implies being part of an environment, what Heidegger calls <a href=\"https:\/\/plato.stanford.edu\/entries\/existentialism\/#FacTra\">facticity<\/a>.   Yet, this claim can be problematic. In <em>Talking Rain <\/em>we have a sequence of environmental milieus, not an actual field recording that runs for 15 minutes. One can argue that the milieus are extracted and technologized to serve the structure of the piece: the recordings lose their freedom in the context of a larger musical structure. On the other hand, I would argue that each soundscape is sufficiently immersive on its own to become autonomous, but ultimately this relies on a specific mode of listening. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Indeed, as with all previous attempts to liberate sound from technology, what is perhaps most important is the perspective of the listener. It is the listener who imposes purpose, but it is also the listener who frees sound by the act of listening. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">-Haotian Yu<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The essence of technology, according to philosopher Martin Heidegger, is, in his own jargon, a clearing: specifically, technology is a kind of worldview that reveals\u2014or more often than not imposes\u2014an essential purpose to things. For those who are interested in reading Heidegger\u2019s original paper, it can be found here. His most important points, for our &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/assignments\/everyday-technologies\/finding-beings-in-sound-a-short-history-of-found-sound-in-electronic-music\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Finding Beings in Sound: A Short History of Found Sound in Electronic Music&#8221;<\/span><\/a><\/p>\n","protected":false},"author":87,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[361,75,28,360,89],"class_list":["post-780","post","type-post","status-publish","format-standard","hentry","category-everyday-technologies","tag-aesthetics","tag-avant-garde","tag-electronic-music","tag-music-philosophy","tag-soundscape"],"_links":{"self":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/posts\/780","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/users\/87"}],"replies":[{"embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/comments?post=780"}],"version-history":[{"count":3,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/posts\/780\/revisions"}],"predecessor-version":[{"id":812,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/posts\/780\/revisions\/812"}],"wp:attachment":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/media?parent=780"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/categories?post=780"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/tags?post=780"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}