Sound and gesture

Daniel Deshays

pp. 483-493

in: Mitsuko Aramaki, Olivier Derrien, Richard Kronland-Martinet, Sølvi Ystad (eds), Sound, music, and motion, Berlin, Springer, 2014

Abstract

The sound generated by bodily gesture holds in itself the intention that preceded its production, and constitutes in some way the evidence of an action that has occurred. The nature of the sound of an object that is placed on a surface reveals the purpose that led to that gesture: violence, for instance, or clumsiness. What is perceived and conveys meaning is the primary intent that is carried in the sound. This is - such as the timbre of the voice - an important clue for the interpretation of hidden meaning by the listener. These elements are at the heart of sound itself. The desire to listen is born out of surprise, which in turn originates from a sense of rupture and depends on the conditions under which discontinuity operates. It is this lack of continuity that captures our attention, and it is rupture that triggers the need to understand what has just occurred. This is precisely one of the driving forces behind the reactivation of our listening. Furthermore, what is really important in terms of listening is not what is defined but rather what is uncertain. It is the degree of uncertainty that triggers our attention. Our listening is constructed in proportion to its incompleteness. If what is offered is excessive, this will only arouse a fleeting interest. Any element that is clearly perceived and understood is immediately superseded, owing to our 'survival instinct", which necessarily intervenes so as to engage any subsequent event. Listening opts first for what is suggested rather than what is offered. All this naturally complies with the safeguarding of our libido, and indeed, how could it be otherwise? We all know that we no longer desire, and quickly abandon, what we are too sure of possessing.