Subject: Re: Disembodiement (Re: encouraging polemics and reflection)
From: KEVIN AUSTIN (KAUSTIN@vax2.concordia.ca)
Date: Mon Feb 15 1999 - 07:09:56 EST
>-- less concrete but the more abstract (i.e., prescriptive/descriptive
>from the >author's, and absolutely non-repeatable but without exception
>assigned to the >imagination's part of the willing reader...) on the
>purely fictional, literary >plane --with theater pieces being the
>intersection where the actual "concretisation" >has to take place in a
>final performance...-- I doubt that this "image of a person" >('s
>description) is really a new experience originating from this century
Reconsidering the initial post, I think that the point that needs clearer
articulation is that it is only in this century (plus a few years) that the
'disembodied voice', was able to transcend time, and death. As music
notation allowed an idea to move from one place and time to another
without the presence of the (original) performer, (or even anyone being
present), so recording has 'concretized' the sound.
It may be that the first function of (WE) music notation was to capture
what already existed, and only subsequently was notation conceived of as
a device for composition. The parallel to sound recording is easily drawn.
It could be seen that recorded sound 'un-disembodies' the voice.
Listening to John Cage (or even Johannes Brahms) speak creates a very
physical sensation for me.
This archive was generated by hypermail 2b27 : Wed Jun 11 2003 - 13:08:51 EDT