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Practices of Listening: (Re)percussions of Sound, Silences and Censorship from (Post-)Apartheid South Africa
This project is situated in the area of sonic art and explores my personal biography in relation to sound, silence, censorship and social control. Using the artistic productions of John Cage, I examine silence as both an object—a recording in a fixed medium—and as a verb directly addressing the ques...
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| Format: | Thesis |
| Language: | English |
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Michaelis School of Fine Art
2019
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| _version_ | 1867614016510099456 |
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| access_status_str | Open Access |
| author | Swinney, Warrick |
| author2 | Campbell, Kurt |
| author_browse | Campbell, Kurt Swinney, Warrick |
| author_facet | Campbell, Kurt Swinney, Warrick |
| author_sort | Swinney, Warrick |
| collection | Thesis |
| description | This project is situated in the area of sonic art and explores my personal biography in relation to sound, silence, censorship and social control. Using the artistic productions of John Cage, I examine silence as both an object—a recording in a fixed medium—and as a verb directly addressing the question of censorship of the self and of others. The interplay of silencing and silence is expressed in my artistic practice which employs, as audio palate, the silences between the words of significant political speeches from South Africa. As a consequence of this process I have excised all recognizable words in various aural and video works leaving only the 'Cagean’ noise of the silence. I further examine related aspects of silence and silencing through the metaphor of the mute button—a mechanical silencing device—which serves both as a creative tool in a recording studio as well as a censorial
device to prohibit voices being heard. The beating, hitting and silences are all set against a backdrop of (post) apartheid South Africa for the expression of some of my personal and theoretical realisations. |
| format | Thesis |
| id | oai:open.uct.ac.za:11427/30517 |
| institution | University of Cape Town (South Africa) |
| language | eng |
| last_indexed | 2026-06-10T12:45:20.506Z |
| license_str | Not specified — see source repository |
| provenance_str_mv | Harvested via OAI-PMH from UCTD — University of Cape Town Open Access Repository |
| publishDate | 2019 |
| publishDateRange | 2019 |
| publishDateSort | 2019 |
| publisher | Michaelis School of Fine Art |
| publisherStr | Michaelis School of Fine Art |
| record_format | dspace |
| source_str | UCTD — University of Cape Town Open Access Repository |
| spelling | oai:open.uct.ac.za:11427/30517 Practices of Listening: (Re)percussions of Sound, Silences and Censorship from (Post-)Apartheid South Africa Swinney, Warrick Campbell, Kurt Josephy, Svea Fine Art This project is situated in the area of sonic art and explores my personal biography in relation to sound, silence, censorship and social control. Using the artistic productions of John Cage, I examine silence as both an object—a recording in a fixed medium—and as a verb directly addressing the question of censorship of the self and of others. The interplay of silencing and silence is expressed in my artistic practice which employs, as audio palate, the silences between the words of significant political speeches from South Africa. As a consequence of this process I have excised all recognizable words in various aural and video works leaving only the 'Cagean’ noise of the silence. I further examine related aspects of silence and silencing through the metaphor of the mute button—a mechanical silencing device—which serves both as a creative tool in a recording studio as well as a censorial device to prohibit voices being heard. The beating, hitting and silences are all set against a backdrop of (post) apartheid South Africa for the expression of some of my personal and theoretical realisations. 2019-08-26T09:34:20Z 2019-08-26T09:34:20Z 2019 2019-08-26T08:24:35Z Master Thesis Masters Master of Fine Art http://hdl.handle.net/11427/30517 eng application/pdf Michaelis School of Fine Art Faculty of Humanities |
| spellingShingle | Fine Art Swinney, Warrick Practices of Listening: (Re)percussions of Sound, Silences and Censorship from (Post-)Apartheid South Africa |
| thesis_degree_str | Master's |
| title | Practices of Listening: (Re)percussions of Sound, Silences and Censorship from (Post-)Apartheid South Africa |
| title_full | Practices of Listening: (Re)percussions of Sound, Silences and Censorship from (Post-)Apartheid South Africa |
| title_fullStr | Practices of Listening: (Re)percussions of Sound, Silences and Censorship from (Post-)Apartheid South Africa |
| title_full_unstemmed | Practices of Listening: (Re)percussions of Sound, Silences and Censorship from (Post-)Apartheid South Africa |
| title_short | Practices of Listening: (Re)percussions of Sound, Silences and Censorship from (Post-)Apartheid South Africa |
| title_sort | practices of listening re percussions of sound silences and censorship from post apartheid south africa |
| topic | Fine Art |
| url | http://hdl.handle.net/11427/30517 |
| work_keys_str_mv | AT swinneywarrick practicesoflisteningrepercussionsofsoundsilencesandcensorshipfrompostapartheidsouthafrica |