Home > Bibliography > Bibliography (English) > Organised Sound (1996-) > Vol. 4, No. 1. 1999 > The Exploitation of ‘Tangible Ghosts’: Conjectures on (...)

Drever, John Levack

The Exploitation of ‘Tangible Ghosts’: Conjectures on soundscape recording and its reappropriation in sound art

1999

Sunday 10 July 2005, by Leigh Landy

The aim of this paper is to question and explore why this ostensibly benign and increasingly common procedure (i.e. the routine of soundscape recording/sampling/abstracting, editing, retouching, transforming, mixing, recontextualising . . . ) may result in a durable confrontation with ‘terror’ accompanied by ethical compromise. To articulate a personal and intuitive response, The author refers to critical writings on photography to illuminate sound (i.e. utilising the photograph as a counterpoint to the sonic record). He focuses in particular on the recording and the re-appropriation of human utterance in electroacoustic music, as it is probably the most intimate, as well as familiar, sonic material to humans.

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