WHAT: ASOM web seminar
WHO: Inigo Wilkins, Goldsmiths (PhD)
WHEN: November 30th, 2016, 17:00-19:00
WHERE: AUB, Nicely 322


I will outline a dynamic mechanistic account of auditory cognition that decomposes the apparent immediacy of sonic experience and constructs a multi-level analysis of noise and musicking. I will move beyond the standard criticism of the notion of sound-in-itself that derives from the phenomenological conception of sonic experience by drawing on physics, neuroscience, and contemporary mathematics; as well as by developing a deep historical account of the artifactual co-evolution of the cognitive capacities for musicking; in order to show how a Sellarsian inspired multi-level conception can grasp both the in-itself of sound and the normative freedom of musicking. I will counter the typical criticisms of visuocentrism whilst maintaining that the intrinsically pointless and delocalized nature of auditory experience indicates the pertinence of a perdurantist sonic ontology for contemporary science.

Inigo Wilkins took his masters in Sonic Culture at the University of East London, and recently completed his PhD in Cultural Studies at Goldsmiths, University of London, supervised by Dr. Luciana Parisi. The title of his thesis was ‘Irreversible Noise: The Rationalization of Randomness and the Fetishization of Indeterminacy’, which he is now working on for a forthcoming publication by Urbanomic. He is co-director of the online arts journal and research platform Glass Bead. He is currently living at the Performing Arts Forum in France. Publications include ‘Catalyzing Dissent’ published in Mute magazine, December 2012, ‘Destructive Destruction: An Ecological Study of High Frequency Trading’ first published in Mute magazine. January 2013. An extended version of ‘Destructive Destruction’ published in HFT Review, February 2013, in the Journal of Sustainable Finance and Investment, January 2014, and in ‘Plants, Androids and Operators: A Post-Media Handbook’ published by PML Books, 2014.

Further material can be found on Goldmisth’s website and on his personal webiste.

Photo credit: https://www.commentarymagazine.com