In Schaefferian theory the term sound object refers to every sound phenomenon and event perceived as a whole, as a coherent entity and heard by means of reduced listening which targets it for itself, independently of its origin or its meaning.
The sound object is defined as the correlate of reduced listening: it does not exist "in itself" but by means of a specific foundational intention. It is a sound unit perceived in its material, its inherent texture, its own qualities and perceptual dimensions. On the other hand, it represents a global perception, which remains identical through different hearings; an organised unit which can be compared to a "gestalt" in the meaning of the psychology of form.
Schaeffer suggests that there is some confusion concerning the notion whilst adding: a) The sound object is not the sound body, b) The sound object is not the physical signal, c) The sound object is not a recorded fragment, d) The sound object is not a notated symbol on a score, e) The sound object is not a state of mind (it remains the same across different listening modes). (Paraphrase of Michel Chion (1983). Guide des Objets Sonores. Eds. Buchet/Chastel, Paris. 1995 translation by John Dack/Christine North.)
The above definition of the sound object partly provides an answer to the question of how sound can be treated an object. It is a useful definition but only in relation to the various modes of listening. The challenge that arises during the development of the Sound Cabinet of Curiosities deals with the issue of the temporal characteristics of sound and the way these can transform to the characteristics of an actual item in exhibition. An object within a collection does not have an onset, duration or offset. It will be present as long as the exhibition lasts. In other words, ways of discarding the factor of time from a sound object need to be discovered so that it will be positioned in a three dimensional space and exist as an item within a room rather than an item within a time-lined composition.
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