I found this talk Will Schrimshaw did at Tuning Speculation: Experimental Aesthetics and the Sonic Imaginary in 2013 – a conference that had a lot of talks by people whose work I am still getting acquainted with.
The term infraesthetics is proposed in order to describe a prominent and `reductive’ domain of work that takes a functional approach to sound and signals wherein the aesthetic is understood to be a kind of residual congealing or crystallisation, an unavoidable byproduct of more fundamental and primarily functional processes.
Infraesthetics is the way in which art dealing with the infrasonic boundary orients our thinking away from interiority (and immersion) toward exteriority. The aesthetic is treated as a necessary interface to the inaudible conditions of audition. In this talk, Schrimshaw’s concurrent aim is to implement infraesthetics as an ontology of sound based on movement – not the artwork’s pictoral qualities, as is the case in cymatic artworks. It’s an ontology of the vibrational aspects of sound art, removed from its visual appearance.
Infraesthetics is concerned with the concept of the noumenal.
Later, Schrimshaw talks about an aesthticist engagement with aesthetics based in Deleuze’s statement that »experimental practices are primarily concerned with ideas« and that »white noise is the idea of sound.« This is something that recently has become clearer to me – the need for a more experimental and alternative approach to my research.
Now I need to figure out how I am going to implement this in my own upcoming PhD-research. Both in terms of institutional and personal limitations.