Freak out! At the acousmonium: François Bayle and the dynamics of the subject

French electroacoustic music in the post-war decades has typically been associated with a high modernism that spurned popular or mass culture. This article situates electroacoustic music in the late 1960s and 1970s in relation to the transformation of the cultural field in this period, which unsettl...

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Bibliographic Details
Published inFrench cultural studies Vol. 36; no. 1; pp. 79 - 94
Main Author Ridout, Sam
Format Journal Article
LanguageEnglish
Published London, England SAGE Publications 01.02.2025
Subjects
psychedelia
subjectivity
poststructuralism
cybernetics
counterculture
electroacoustic music
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Summary:French electroacoustic music in the post-war decades has typically been associated with a high modernism that spurned popular or mass culture. This article situates electroacoustic music in the late 1960s and 1970s in relation to the transformation of the cultural field in this period, which unsettled clear divisions between high and low cultures. Attending in particular to the question of subjectivity as it appears in the theoretical writings of the composers Pierre Schaeffer and François Bayle, the article aligns Bayle's thinking with that of contemporary writers including Julia Kristeva and Roland Barthes, who launched a critique of the Enlightenment subject. This theoretical nexus suggests that Bayle's L’Expérience acoustique (1969–1972) posits a form of subjectivity closer to the psychedelic counterculture than to the sober listening of Schaeffer's writings. In unsettling the Schaefferian listening subject, the piece opens itself to a heterogeneous listening, the social consequences of which remain significant today.
ISSN:0957-1558
1740-2352
DOI:10.1177/09571558241243013