Revision as of 14:04, 12 February 2014

The disconnected voice / the recorded voice

The situations I find myself in, become an urgency for my work and research. How to understand an environment as a stranger to it. I find being a stranger both here and in my country. Detached from there even before leaving. And unattached, floating here, surrounded by foreign voices. At the beginning is a bliss not to understand, to have no relationship with meaning. Then after some time the pleasure of being isolated from the production of meaning of the voice , turns into a delicate, permanent unpleasantness.

For the last month and a half I have been experimenting with placing the box I built the first trimester in different locations in public space. The locations could be in any city, they are not loaded with any particular context. A street and a bar, places existing in any city, in any country. Like the locations displayed on tourist maps . Very neutral but at the same time very local. Up to now my experiments make a spontaneous map of each place. An exploration of isolation and connectivity in public spaces. I have initiated the creation of a little fragment of contact, a way of briefly communing in a typically disparate and isolating city.

Finding myself in constant flux, transition, on the border of feeling comfortable and anxious, at home but still foreign, I see why I am fascinated by the object voice. Mladen Dolar identifies the voice as a “zone of overlapping, the crossing, the ”extimate. It is somewhere between interiority and exteriority.

Voices contain a certain public moment in time. Voices enact the social space that is embedded in the every day. The voice is an intersection between personal and social.

(shaky begining) Thesis skeleton : +

Introduction

Personal interest in the recorded voice

Chapter 1 / How did this voice come here

Historical overview on the disconnected / disembodied voice (from ventriloquism, speaking machines to the telephone)

The telephone and how the acousmatic property of the voice becomes universal, and hence trivial

Chapter 2 /

The voice as an object that remains. The recorded voice

The unknown voice.... lorem ipsum this is not clear yet

Sound as a mediator to the environment. Voice as sound in the environment

Chapter 3 /

Project and how it relates to the previous chapters

In relation to ways of presenting and listening to the recorded voice

References

'Resonant bodies, voices, memories' (2008) edited by Anke Bangma, Deirdre M. Donoghue, Lina Issa and Katarina Zdjelar

'A Voice and Nothing More' (2006) Mladen Dolar

'Dumbstruck- A Cultural History of Ventriloquism' (2000) Steven Connor

'The Telephone Book: Technology, Schizophrenia, Electric Speech' (1991) Avital Ronell

Scorescapes On Sound Environment and Sonic Consciousness, Yolande Harris, Phd thesis > voice in the sonic environment

"Networks without a cause" , 3.Treatise on comment culture , Geert Lovnik > voice as comment, comment as granular object

@@ Line 20: / Line 20: @@
 =Introduction=
-* Historical overview on the disconnected / disembodied voice (from ventriloquism, speaking machines to the telephone) <br>
 =Personal interest in the recorded voice=
-= Topics =
+= Chapter 1 / How did this voice come here =
+*Historical overview on the disconnected / disembodied voice (from ventriloquism, speaking machines to the telephone)<br>
+*The telephone and how the acousmatic property of the voice becomes universal, and hence trivial <br>
+= Chapter 2 / =
+*The voice as an object that remains. The recorded voice<br>
-* The telephone and how the acousmatic property of the voice becomes universal, and hence trivial <br>
+*The unknown voice.... lorem ipsum this is not clear yet <br>
-* The recorded voice that remains / becomes an object, collectable but with no materiality/
+*Sound as a mediator to the environment. Voice as sound in the environment <br>
-According to Steven Connor, voice, as an object of hearing, lacks ‘permanence and continuity’, and concludes that it ‘belongs to time’. What happens when it remains trough time?  <br>
-* The invasion of the voice in public space with mobile phones (few years ago) and the less present voice in public space now (channeled in message, email)<br>
+=Chapter 3 / =
-* The voice in non- speech expression. Laughter, singing, shouting,  each of these all too human quirks makes more meaning than the mechanical voice. These quirks are not external to human meaning, nor, Dolar argues, should they be treated as external to the theory of the voice. - in connection to the audio selfie (observation from first experiments)<br>
+*Project and how it relates to the previous chapters <br>
-* Sound as a mediator to the environment. Voice as sound in the environment.
+*In relation to ways of presenting and listening to the recorded voice <br>
-* ways of presenting and listening to the recorded voice / in connection to the work/project
-=Conclusion=
 =References=

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