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“Something Missing”: Notes on Writing Sound as Landscape and Mise-en-Abîme

“Something Missing”: Notes on Writing Sound as Landscape and Mise-en-Abîme On-Line SuppLement: SOund Art theOrieS SympOSium Michael Eng, John Carroll University, University Heights, Ohio, U.S.A. E-mail: . A B S T R A C T This text introduces an idea of “writing sound” as an activity that constantly reshapes a landscape defined by specific instances of listening to, and filling in, the space repeatedly occupied by and emptied of aural presence. It turns to the notion of “Stimmung” as “atmosphere,” “mood” and “tuning,” introduced by Georg Simmel in his Philosophy of Landscape (1913), to outline an idea of “writing-sound-as-landscape.” In particular, the notion of landscape as a human construct is considered, to support a thesis of “writing sound” as an experience created by specific moods, yet actual as it exists in a place, and on a page. Two examples in fiction are considered—Italo Calvino’s short story A King Listens (1986) and Flannery O’Connor’s novel The Violent Bear It Away (1969)—to examine how sound takes shape through words, ingrained in the act of fabulation and calling for narrativity and reference. The notion of reference discussed by Bruno Latour is introduced to support a case for the function of reference in writing sound as an inclusive, necessary gesture: it carries http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Leonardo Music Journal MIT Press

“Something Missing”: Notes on Writing Sound as Landscape and Mise-en-Abîme

Leonardo Music Journal , Volume December 2013 (23) – Dec 1, 2013

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Publisher
MIT Press
Copyright
© 2013 ISAST
Subject
On-Line Supplement: Sound Art Theories Symposium
ISSN
0961-1215
eISSN
1531-4812
DOI
10.1162/LMJ_a_00162
Publisher site
See Article on Publisher Site

Abstract

On-Line SuppLement: SOund Art theOrieS SympOSium Michael Eng, John Carroll University, University Heights, Ohio, U.S.A. E-mail: . A B S T R A C T This text introduces an idea of “writing sound” as an activity that constantly reshapes a landscape defined by specific instances of listening to, and filling in, the space repeatedly occupied by and emptied of aural presence. It turns to the notion of “Stimmung” as “atmosphere,” “mood” and “tuning,” introduced by Georg Simmel in his Philosophy of Landscape (1913), to outline an idea of “writing-sound-as-landscape.” In particular, the notion of landscape as a human construct is considered, to support a thesis of “writing sound” as an experience created by specific moods, yet actual as it exists in a place, and on a page. Two examples in fiction are considered—Italo Calvino’s short story A King Listens (1986) and Flannery O’Connor’s novel The Violent Bear It Away (1969)—to examine how sound takes shape through words, ingrained in the act of fabulation and calling for narrativity and reference. The notion of reference discussed by Bruno Latour is introduced to support a case for the function of reference in writing sound as an inclusive, necessary gesture: it carries

Journal

Leonardo Music JournalMIT Press

Published: Dec 1, 2013

There are no references for this article.