Staging the Kinetic: How music automata sensitise audiences to sound art
Research output: Contribution to journal › Article › Academic › peer-review
visitors’ responses, we focus on the Berlin exhibition, the best documented case. We argue that the curators staged the automated kinetic as a key historical link between mechanical musical instruments and contemporary sound art, and that they tried to tap into specific dimensions of public fascination with musical automata – the magical invisible, mechanical wonder and blurring of boundaries – to open their audiences’ senses to sound art. As we will show with the help of the notion of ‘listening habitus’, visitors’ responses indeed drew on these dimensions, but more often than not displayed a preference for the historical automata rather than contemporary kinetic art.