Maria Chavez Photo : Karl Otto
Maria Chavez Photo: Karl Otto

De-composition: The Politics of Sonic Entropy

Xenia Benivolski
At the 2022 Whitney Biennial, titled Quiet as It’s Kept, artist and musician Raven Chacon revealed a new installation that featured a vial purportedly containing Thomas Edison’s last dying breath — a relic collected by Henry Ford, symbolizing the preservation of industrialization’s legacy and the coalescence of energies into capital, often at the expense of life. The room that contained the vial, painted black and otherwise empty, was filled with a sound piece titled Silent Choir (2017), which captured the ambient sounds of shuffling feet, breath, and distant helicopters.

In 2016, hundreds of Indigenous people, led by women, staged a silent demonstration during the historic collective action against the Dakota Access Pipeline, also known as the Standing Rock Protests — a battle whose slogan, “Water Is Life,” emphasized that the proposed pipeline route posed a real danger to the waterways that sustained life in the region. The poignant juxtaposition of Edison’s preserved breath and the silent protest by Indigenous water protectors revealed a paradox: protest uses breath as a form of resistance to protect life, while the commodification of a dead man’s breath by industrialists like Ford, responsible for the proliferation of fossil fuels, offers only further destruction; yet it is that small vial that ends up being preserved.

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Image de la couverture du numéro Esse 115 décomposition.
This article also appears in the issue 115 - Decay
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