The Sonic Flesh: A Radical Phenomenology of Sound

According to Michel Henry, behind the veil of ordinary existence, lives a singular reality that is absolute in its solitary determination. Henry’s ‘radical phenomenology of life’ attempts to disclose this clandestine truth. Moreover, Henry claims that art holds within itself a possibility that is ‘capable of reaching beyond the external appearance of phenomena in order to lead us to their intimate essence,’ an essence which is consubstantial with this absolute reality. Accordingly, this research project is an attempt to develop Henry’s philosophy towards a theory of sound and sound art; one in which sound is understood as an immediate, embodied experience of the absolute. This research will involve a written thesis, a collection of original acousmatic sound art compositions and a short exegesis. The thesis will be of a standard length and will develop a radical phenomenology of sound and sound art. The compositions will sonically explore the themes developed in the thesis, such as, embodiment, immanence and self-affection. And finally, the exegesis will explicitly outline the relationship between theory and practice. While unorthodox, I believe such an approach will allow me to investigate sound both theoretically and creatively along parallel and intersecting paths without subjugating one to the other. During this Thesis Proposal Review, Nicholas will outline his research as well as present a composition in 7.1 surround sound.

Nicholas Moynihan is a PhD student at the ANU School of Music. His research investigates the nature of sound in regard to the French philosopher Michel Henry's 'radical phenomenology of life.' He has previously studied an MFA at RMIT, where he specialised in sound art; and a BA at Deakin University, with majors in philosophy and religious studies. He is also a composer and sound artist. His reductionist compositions investigate silence, stasis, timelessness and the act of listening.