Abstract

In recent years, the re-emergence of interest in Lars Fredrikson, a pioneer in experimental sound practices, has raised a number of issues related to the question of sound in art and the pedagogy of listening in schools. Carrying out a plastic and bodily conception of listening, the teaching of Lars Fredrikson at Villa Arson between 1970 and 1991 - where he created the first sound studio in an art school in France - makes it possible to observe the transmission with a generation of artists of sound practices lastingly marked by a rejection of the musical approach and an understanding of sound as "living matter". This shift in the characteristics of sculpture, and more generally of the visual arts, towards the vibrational domain, is accompanied by the persistence of a taste for an "analog aesthetic", which appears on several scales in creation among these artists.

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