Writers know their text as a form of intimacy, of personal contact, whether converations with the reader of with the self. Letters journals, voices are sources for this element. DuPlessis 1990 p5
Mutations of Voice(s) During my research on voice I have found this piece of theory by N Katherine Hayles regarding spliced voices that I thought was particuarly pertinent;
"Once someone’s vocalizations and body sounds are spliced into someone else’s, the effects can feed back into the bodies, setting off a riot of mutations. The tape recorder acts both as a metaphor for these mutations and as the instrumentality that brings them about". p79
..while this article is specifically talking of tape recorders rather than mics or radio, I feel what it's saying with reference to the work we are making is extraordinarily interesting...
"Through mutation, voices produce the bodies they inhabit. In this context ‘bodies out of voices’ does not indicate silence but its reverse, and interior monologue that infests the body and replicates through it to create physical changes and mutations within it". p79
Sound States; Innovative Poetics and Acoustical Technologies ed Adalaide Morris
womens' writing (chatting?) has been descibed as : Open, defuse, drifting, shifting, multiple, complex, decentred, non-linear but holistic, filed with silence, fragmented, incorporating difference and the other, hybrid, indefinable, subversive, transgressive, questioning, dissolving identity whist promoting ethical integrity, materially and contextually pragmatic, non-hierarchical, informal, metaphorical, intimate, inclusive, elastic, capacious, loose woven, knitted, quilted, web-like, different, marginal, metonymic, juxtapositional, destabilising, heterogeneous, discontinuous, divergent Retallack, in Keller and Miller (Eds. 1994 p 367) Feminist Measures: Soundings in Poetry and Theory Ann Arbor: University of Michigan. This comes across beautifully through the recording- whilst striving for conceptual clarity we can use discursive innovation to introduce a plurality previous theoretical discourse tends to have lacked in practice.
Writers know their text as a form of intimacy, of personal contact, whether converations with the reader of with the self. Letters journals, voices are sources for this element.
ReplyDeleteDuPlessis 1990 p5
Mutations of Voice(s)
ReplyDeleteDuring my research on voice I have found this piece of theory by N Katherine Hayles regarding spliced voices that I thought was particuarly pertinent;
"Once someone’s vocalizations and body sounds are spliced into someone else’s, the effects can feed back into the bodies, setting off a riot of mutations. The tape recorder acts both as a metaphor for these mutations and as the instrumentality that brings them about". p79
..while this article is specifically talking of tape recorders rather than mics or radio, I feel what it's saying with reference to the work we are making is extraordinarily interesting...
"Through mutation, voices produce the bodies they inhabit. In this context ‘bodies out of voices’ does not indicate silence but its reverse, and interior monologue that infests the body and replicates through it to create physical changes and mutations within it". p79
Sound States; Innovative Poetics and Acoustical Technologies
ed Adalaide Morris
womens' writing (chatting?) has been descibed as :
ReplyDeleteOpen, defuse, drifting, shifting, multiple, complex, decentred, non-linear but holistic, filed with silence, fragmented, incorporating difference and the other, hybrid, indefinable, subversive, transgressive, questioning, dissolving identity whist promoting ethical integrity, materially and contextually pragmatic, non-hierarchical, informal, metaphorical, intimate, inclusive, elastic, capacious, loose woven, knitted, quilted, web-like, different, marginal, metonymic, juxtapositional, destabilising, heterogeneous, discontinuous, divergent Retallack, in Keller and Miller (Eds. 1994 p 367) Feminist Measures: Soundings in Poetry and Theory Ann Arbor: University of Michigan.
This comes across beautifully through the recording- whilst striving for conceptual clarity we can use discursive innovation to introduce a plurality previous theoretical discourse tends to have lacked in practice.