In this paper I look at “Peace for Triple Piano”, a video which represents a musical canon both i... more In this paper I look at “Peace for Triple Piano”, a video which represents a musical canon both in sound and image. I call this peculiar form, whose structure is endowed with symmetry in both time and space together, an AUDIOVISUAL CANON. Such a structure is what in physics is known as a TIME CRYSTAL. I argue that this time crystal creates a temporal interference because, in this video, objects relate simultaneously to each other beyond the boundaries of what we commonly perceive as presence. Through a reading of Michel Serres, I propose a model to integrate this multiplicity of time based on hearing as opposed to listening. Finally, through Serres's concept of QUASI-OBJECT, I argue that this video, by making its audience integrate multiple networks, constructs a QUASI-AUDIENCE.
In this paper I look at “Peace for Triple Piano”, a video which represents a musical canon both i... more In this paper I look at “Peace for Triple Piano”, a video which represents a musical canon both in sound and image. I call this peculiar form, whose structure is endowed with symmetry in both time and space together, an AUDIOVISUAL CANON. Such a structure is what in physics is known as a TIME CRYSTAL. I argue that this time crystal creates a temporal interference because, in this video, objects relate simultaneously to each other beyond the boundaries of what we commonly perceive as presence. Through a reading of Michel Serres, I propose a model to integrate this multiplicity of time based on hearing as opposed to listening. Finally, through Serres's concept of QUASI-OBJECT, I argue that this video, by making its audience integrate multiple networks, constructs a QUASI-AUDIENCE.
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Papers by Emilio Aguilar