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artificiality of technologies, and secondly, it redefines the meaning of music as an experience whose core is listening to a particular acoustic atmosphere.

Böhme’s position on one final point needs to be clarified which, besides ending his examination of the acoustic atmosphere, is, at the same time, the most complicated matter. Within normal listening, sound signals help us to get to know the space around us, and through their vibratory and diffusive characteristics tell us about the object which emanated them. The correspondence between the spatiality of the resonant body and that of the sound produced, supported phenomenologically by a logical structure, is the source of recognition [11].

The relationship between a new state of music or listening experiences and the new statute of sensitivity and emotion that according to the philosopher lies in the perception of space mingle at this point. The development of technology and its application has led increasingly towards the creation of art forms explicitly dialoguing with each other and voluntarily unstable. A successful example of this is the marriage of architectural space and sounds: at the dawn of digitalization, as can be seen in the Prometheus by Luigi Nono, which will never surrender to the stability of this relationship, but always uses an emotional tone to convey the totality of the environment and channel through the perceptual stimuli of different sound qualities.

The point, however, according to the philosopher, is rather that sounds and their diffusive nature are detached from the object that produced them and from its specific spatiality in order to acquire their own. In this electronics was significant in explaining that acoustic spaces exist as such and not necessarily in relation to the spatial reality. Listening requires an opening where acoustic events can be let in, or better, where an extension can be let in: the question by Cartesio on where the perception place of a rock hit with a stick takes place, find answers thanks to Böhme, in being outside the subject and inside the body’s ability to extend its perceptual space. The set of real sounds that characterizes the sound landscape resonates with our 32

DIGIMAG 52 - MARCH 2010  

Digimag was one of the most important international magazines focused on the impact of media technologies on art, design and contemporary cu...

DIGIMAG 52 - MARCH 2010  

Digimag was one of the most important international magazines focused on the impact of media technologies on art, design and contemporary cu...

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