London College of Communication, University of Arts London
Annie Goh (b. UK 1984) is an artist, researcher and musician working primarily with sound, space, electronic media and generative processes. She has degrees in Generative Art/Computational Art (Hauptstudium & Meisterschüler), Sound Studies (MA) from the University of Arts (UdK) Berlin and German and European Studies (BA) Manchester, UK. She worked at the Vilém Flusser Archive from 2011-2013. Recent exhibitions and performances include Arthackday at LEAP and transmediale (Berlin), NK (Berlin), Tokyo Wonder Site (Tokyo), NGBK (Berlin), Heidelberger Kunstverein (Heidelberg), Ars Electronica (Linz) and Klangstaetten Stadtklaenge (Braunschweig). As a theorist, she has published articles in “Positionen”, “Acoustic Space” and “Zeitschrift für Semiotik (Journal of Semiotics)”. She has co-curated the discourse program of CTM Festival since 2013. She is currently a Associate Lecturer (BA Sound Arts & Design), at the London College of Communication (University of Arts London).
Articles of Annie Goh
The Dimension of Sound in Flusser
The dimension of sound has long been considered completely missing from Flusser's thought, thus most Flusser research has not dealt with the auditive in his work so far. This article has a two-fold approach to counter this common perception; firstly, by looking at three (German) texts in which Flusser deals with music and sound directly – “Chamber Music”, “The Gesture of Listening To Music” and “Hörigkeit/Hoerapparate”, and secondly by looking at Flusser's key text “Crisis of Linearity” which largely ignores sound. The former tackles these lesser known texts to examine how Flusser actively (though rarely) applied music and sound in his work, whilst the latter uses methods of sound studies to critique the absence of sound in his important media-philosophical thesis. Flusser's writings on music and sound are both striking for the contemporaneity yet problematic for their demoded appearance of concepts such as “pure music”. Insights from contemporary sound studies question the dominance of the visual in Flusser's work and the epistemological consequences this might have.