Abstract
This dissertation explores the deep intersections of music, auditory culture, and socio-political landscapes, focusing on the role of compositional and computer technologies in enunciating revolt, and socio-aural critiques. Drawing inspiration from historical events and personal experiences, the proposed artistic work here tries to suspend the temporality framed by governmental techniques and capital-centric historical philosophies. The work delves into the polarity of life versus the apparatuses and the subjectivity birthed in this tension. It highlights the pervasive influence of our field’s institutions, which we create, inhabit, and simultaneously constitutes part of our practice. This creative study asserts that music serves as both an embodiment of and a challenge to these institutional mechanisms, emphasizing aural artistic practices as a bridge between historical contexts and personal experience that can question them.
Through these interactions, aural art practice emerges not merely as a sonic experience but a form of life, a practice of self, and a mode of revolt. Grounded in contemporary thought, this work draws upon three key artistic strategies: instituent practice, poetics of inoperativity, and the time of revolt. These approaches, when applied to an expanded aural artistic practice, provide a framework for subverting dominant narratives and forging a path towards liberation of life from institutional constraints. The project culminates in a body of work, with chapters devoted
