Resumen

This article presents a conceptual elaboration that was created from an interview with the philosopher Graham Harman. It makes linkages between art, technology, communication and philosophy while focusing on object-oriented ontology philosophy applied to sound art. The argument involves aesthetics and social contextual ideas such as post-digital, techno-cultural, and post-techno aesthetics. Examining how technology, as a technical, symbolic and contextual dominant object of material and symbolic meaning, affects society and the arts and impacts perception, by pointing out the analytical and philosophical differences between events as spectral, immanent forces with performative qualities and technological things as materials with atomic vibrations. The aim is to promote perspectives on hybrid-materialism and event with conceptual linkage in hybrid creative art forms focused on sound as the virtual nominator in both the analog and digital environments of an expanded reality. The analysis focuses on sound studies and digital media art, supporting those artistic mediums that employ hybrid materialism to varied degrees, as shown by the artistic examples that build specific conceptual reformulations of space, score and performativeness art research by creating metapolitical distinctions and extrapolations that are able to inspire notions about time, event and place that are crucial for time-based artists that rely on technology and computational infrastructures for performativity and theoretical exploration about time, sound , image and place.