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4/5: Sound

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| Fall 1990 |

Editors: Marc de Guerre and Janine Marchessault

  • ‘Toward a Creative Anachronism: Radio, the State, and Sound Government’, Jody Berland
  • ‘Acoustic Sculpture, Deboned Voices’, Douglas Kahn
  • ‘Interpenetration Without Obstruction: Senselessness Beyond Nonsense’, Daniel Charles
  • ‘Baroque Opera Seized By the Veil and the Cliché’, Christine Buci-Glucksmann
  • ‘Let’s Call This: Race, Writing and Differencein Jazz’, Winston Smith
  • ‘Music and Madness: Wolfson, Artaud, Wolfi’, Allen S. Weiss
  • ‘Audio Terrorism: Low Level Flights Over Nitassinan’, Kim Sawchuk
  • ‘Signs IV’, Andrea Fisher
  • ‘Collapsing Walls or Puffing, Smoking Sea Monsters? Ambient Sonic Spaces, Aural Cultures,
  • Marginal Histories’, David Thomas
  • ‘Radio Art Le Mômo: Gas Leaks, Shock Needles and Death Rattles’, Gregory Whitehead
  • ‘Silent Machines and Tortured Voices: Bosch’s the Garden of Earthly Delights’ Sharon Brooks
  • ‘Sounds of the Flesh – Images of the Word’, Michael Camille


Gregory Whitehead, “Radio Art Le Mômo: Gas Leaks, Shock Needles and Death Rattles”:

“Successive generations of technology do not so much displace as digest each other. Marinetti
understood this very well, and urged his Futurist comrades to cook the books so as to facilitate
digestion. Churning through several generations of media, such digestion is never complete:
dissect a radio, and you will find the remains of a book; dissect the book and you will find the
remains of a larynx; dissect the larynx, and you will find the skeletal trace of a twitching finger,
lightning a match and sending a telegram; take the prints from the finger, and there you will
rediscover the origins of radio.” (142)