Bedtime Stories is a ficto-critical audiographic essay engaging with various perspectives of sound and listening. The piece uses personal anecdote and musings on research in the realms of sound theory and popular science to examine the notion of the acousmatic—listening to sounds where the sources are unseen. Based around incidents that occur in the dark, I explore how a lack of visual input can enhance the sonorous qualities of sounds, as Pierre Schaeffer (2017) proposed, and heighten the role of imagination in listening. Using notions drawn from the work of Brian Kane, Mark Grimshaw and Tom Garner that call attention to the role of the imagination in the listening experience, I hope to highlight the subjective nature of listening and the inherent, generative and creative properties within sonaurality.
The essay is delivered in audio form, experimenting with the notions of audiography as proposed by Jacob Smith (2019) and of the audio paper, proposed by Sanne Krogh Groth and Kristine Samson (2016). Narrated by the author, the intimate nature of the voice highlights the subjectivity of the approach, while the creative soundscape provides levels of figurative and affective exemplification of the ideas discussed. Working with the specificity of aural comprehension, I have tailored the text towards clarity and conciseness. Rather than using the HTML5 audio element I have utilised SoundCloud to host the audio to illustrate this as a possibility for academics who don’t code. I was also keen to experiment with the inbuilt comments feature to present the timecoded notes and references. These are also included here along a full transcript with audio descriptions and this preface to demonstrate how the format can deliver key academic features.
4:50 | (1) Thomson, H. (2014). Mindscapes: The first recording of hallucinated music. New Scientist, 221(2952), p. 8.
6:06 | (2) Swiss developmental psychologist Édouard Claparède developed the law of conscious awareness (Vygotsky, 1987) based on the notion that a child is much more aware of difference than they are of likeness. Likeness requires the psychological application of generalisation that is not yet developed in a small child. By encountering difference and obstacles a child undergoes a learning process of which they are conscious. Vygotsky proposes this carries through our development stating that “we become aware of what we are doing in proportion to the difficulty we experience in adapting to a situation”.
Vygotsky, L. S., (1986). Thought and language (newly revised ed., A. Kozulin, Ed.; E. Hanfmann & G. Vakar, Trans.). MIT Press, p. 163.
Vygotsky, L. S. (1987). The collected works of L.S. Vygotsky: vol. 1, Problems of general psychology (R. W. Rieber & A. S. Carton, Eds.; N. Minick, Trans.). Plenum Press.
6:16 | (3) Neuroscientist/philosopher Alva Noë proposes that this heightening of consciousness that occurs when we experience art is because art operates as a re-organisational tool of our everyday perceptions, understandings and systems of living. He says “the artist gives you the opportunity to catch yourself in the act of trying to get your bearings”.
Noë A. (2016). Strange tools: Art and human nature. Hill and Wang, p. 102.
7: 29 | (4) Merriam-Webster. (n.d.). Acousma. In Merriam-Webster.com medical dictionary. Retrieved May 20, 2022, from https://www.merriam-webster.com/medical/acousma.
10:43 | (5) Fox, B. (1989, 9 December). Science: Low-frequency “hum” may permeate the environment. New Scientist. https://www.newscientist.com/article/mg12416942-500-science-low-frequency-hum-may-permeate-the-environment/
Lallanilla, M. (2013, 26 July). Mysterious hum driving people crazy around the world. NBC News. https://www.nbcnews.com/sciencemain/mysterious-hum-driving-people-crazy-around-world-6C10760872
10:55 | (6) Deming, D. (2004). The hum: An anomalous sound heard around the world. Journal of Scientific Exploration, 18(4), 571–95.
11:57 | (7) MacPherson, G. (2016, 20 June). Cracking the mystery of the ‘Worldwide Hum.’ The Conversation. https://theconversation.com/cracking-the-mystery-of-the-worldwide-hum-60296
12:25 | (8) Coontz, R. (1999, 11 September). The planet that hums. New Scientist. https://www.newscientist.com/article/mg16322034-900-the-planet-that-hums
13:28 | (9) Coontz, The planet that hums, para 24.
13:47 | (10) Brahic, C. (2007, 15 February). Earth’s hum linked to coastal waves. New Scientist https://www.newscientist.com/article/dn11190-earths-hum-linked-to-coastal-waves/
14:38 | (11) This correlation can be paralleled with James J. Gibson’s notion of affordances, the qualities of an object or environment that seem to suggest ways in which an animal may interact with them.
Gibson, J. J. (2015). The ecological approach to visual perception (Classic ed.). Psychology Press.
15:49 | (12) Kane, B. (2014). Sound unseen: Acousmatic sound in theory and practice. Oxford University Press.
16:38 | (13) Grimshaw, M., & Garner, T. (2015). Sonic virtuality: Sound as emergent perception. Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199392834.001.0001
17:14 | (14) I refer to Derrida's notion of the trace, the present-absence in which that which is missing (that which differs) is an integral part of what is present.
Derrida, J. (1997). Of grammatology (G. C. Spivak, Trans.; Corrected ed.). Johns Hopkins University.
Acousma. (2022). In Merriam-Webster.com medical dictionary. https://www.merriam-webster.com/medical/acousma
Brahic, C. (2007, 15 February). Earth’s hum linked to coastal waves. New Scientist. https://www.newscientist.com/article/dn11190-earths-hum-linked-to-coastal-waves/
Coontz, R. (1999, 11 September). The planet that hums. New Scientist. https://www.newscientist.com/article/mg16322034-900-the-planet-that-hums
Deming, D. (2004). The hum: An anomalous sound heard around the world. Journal of Scientific Exploration, 18(4), 571–595.
Derrida, J. (1997). Of grammatology (G. C. Spivak, Trans.; Corrected edition). Johns Hopkins University.
Fox, B. (1989, 9 December). Science: Low-frequency “hum” may permeate the environment. New Scientist. https://www.newscientist.com/article/mg12416942-500-science-low-frequency-hum-may-permeate-the-environment/
Gibson, J. J. (2015). The ecological approach to visual perception (Classic ed.). Psychology Press.
Grimshaw, M., & Garner, T. (2015). Sonic virtuality: Sound as emergent perception. Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199392834.001.0001
Kane, B. (2014). Sound unseen: Acousmatic sound in theory and practice. Oxford University Press.
Lallanilla, M. (2013, 26 July). Mysterious hum driving people crazy around the world. NBC News. https://www.nbcnews.com/sciencemain/mysterious-hum-driving-people-crazy-around-world-6C10760872
MacPherson, G. (2016, 20 June). Cracking the mystery of the ‘Worldwide Hum.’ The Conversation. https://theconversation.com/cracking-the-mystery-of-the-worldwide-hum-60296
Noë, A. (2016). Strange tools: Art and human nature. Hill and Wang.
Thomson, H. (2014). Mindscapes: The first recording of hallucinated music. New Scientist, 221(2952), 8. https://doi.org/10.1016/S0262-4079(14)60110-X
Vygotsky, L. S., (1986). Thought and language (newly revised ed., A. Kozulin, Ed.; E. Hanfmann & G. Vakar, Trans.). MIT Press.
Vygotsky, L. S. (1987). The collected works of L.S. Vygotsky: vol. 1, Problems of general psychology (R. W. Rieber & A. S. Carton, Eds.; N. Minick, Trans.). Plenum Press.
NB: If reading on a phone click the hyperlinked word to view footnotes. If reading on computer roll over the number to reveal the pop up.
0:00 | (Audio) Small scrunching, scratching sound. A short melodic phrase, flangey bass instrument.
0:24 | Melodic phrase ends as scratching sound is layered and instensifies, developing metallic reverb, electronic glitches and static fringes.
1:30 | Underpinning single notes with, smooth attack with long glassy tails.
It’s a hot and restless night. Fires are burning across the state, the nearest one to us is six kilometres away on the edge of the mountain. We’re told it’s currently “being controlled”. He has been awake for hours, writing notes to himself. I wasn’t quite aware that I was awake until he spoke to me. I listen in. I hear nothing in particular, then a tiny rustling.
2:02 | Scrunching, scratching sound.
No. Rustling is the wrong word. It has the wrong vowel sound. It’s a sharper “iii” foregrounded by the friction of surfaces coming together—but ever so briefly. Irregular, but with large spaces of inaction.
It’s the irregularity that makes me keep listening. The anticipation and the unknowing.
2:58 | Glassy melodic tones under the narration.
It is keeping me present, utterly in the moment wondering what on earth could be making this tiny yet terrifying sound. Terrifying because now he has suggested termites and my mind is racing. Did the extermination three years ago not work? Do I have the receipt? Wasn’t there a 10-year warranty that the contractor never sent through? I resent managing these anxieties because I would actually like to just enjoy this incey improvisation.
3:30 | Scrunching, scratching, scritching sound with fringes of metallic delay and reverb continues under the narration.
Irregularity, unpredictability, invisible and unnameable sources—these are some of the defining features of experimental music and sound that captivate me. And I’ve stumbled upon a possible reason for this.
4:00 | Bleeping melody begins. Repeated short tones, ascending, descending. Continues under the narration.
When we hear, mechanical sound waves hit our eardrum. This mechanical energy is transduced into electrical impulses in the cochlea, that are then sent to and processed in the brain. Recent understanding of how we listen suggests that when we hear something—music in particular—the primary auditory cortex that receives the information selects basic elements like pattern or pitch and passes on this limited sample to the higher brain regions that are thought to process melodic and rhythmic data.
4:38 | Lower, smooth bass tones are added to the bleep melody. Bleepy melody develops a mid frequency layer over the next section.
From this partial information, a number of guesses are made as to what will happen next and this is passed back down and cross-checked. If the guess is correct the summary low-data mode continues. But if the assumption is wrong then a fuller version of the information needs to be transmitted up to the higher regions for further verification. (1) Thomson, H. (2014). Mindscapes: The first recording of hallucinated music. New Scientist, 221(2952), p. 8
This model of auditory processing offers an interesting perspective on both the positive and negative aspects of experimental sound and music. It makes me think that with difficult music, in which rhythmic and harmonic patterns are more irregular, the guessing system proves unworkable. More information must be sent more frequently creating a more intensive neurological experience. Experimental and exploratory forms require more active engagement from the listener—quite simply, more processing—in order to ride the irregularities and anomalies, and to enter the logic and find the patterns, or not. Having to work harder, of course is why many don’t like this kind of auditory art, but for others like myself, these difficulties and obstacles are the key to my becoming more aware of the sensory and perceptual processes taking place. (2) Swiss developmental psychologist Édouard Claparède developed the law of conscious awareness (Vygotsky, 1987) based on the notion that a child is much more aware of difference than they are of likeness. Likeness requires the psychological application of generalisation that is not yet developed in a small child. By encountering difference and obstacles a child undergoes a learning process of which they are conscious. Vygotsky proposes this carries through our development, stating that “we become aware of what we are doing in proportion to the difficulty we experience in adapting to a situation” (Vygotsky, 1986, p. 163).
Vygotsky, L. S., (1986). Thought and language (newly revised ed., A. Kozulin, Ed.; E. Hanfmann & G. Vakar, Trans.). MIT Press.
Vygotsky, L. S. (1987). The collected works of L.S. Vygotsky: vol. 1, Problems of general psychology (R. W. Rieber & A. S. Carton, Eds.; N. Minick, Trans.). Plenum Press.
I become conscious of listening, aware of myself listening. I am listening to my listening. (3)Neuroscientist/philosopher Alva Noë proposes that this heightening of consciousness that occurs when we experience art is because art operates as a re-organisational tool of our everyday perceptions, understandings and systems of living. He says “the artist gives you the opportunity to catch yourself in the act of trying to get your bearings”.
Noë, A. (2016). Strange tools: Art and human nature. Hill and Wang, p. 102
So on this hot and restless night, the disruption of this minuscule noise captures my total attention.
6:33 | Mid-frequency crackling—more brittle. Continues under the narration, underpinned by a resolving extended tone.
I cannot fathom the source or the meaning of it, or anticipate its next set of expressions. As a relatively huge creature, I am totally entranced and entrapped by the sound of this something so very small.
6:50 | Scractching continues. A Very low subtone joins the previous higher tone. The former fades out. There is a low static rumble that builds and drops offs suddenly. The low hum continues beneath the narration.
An acousma or acouasm, is a term from psychology meaning a nonverbal auditory hallucination. (4)Merriam-Webster. (n.d.). Acousma. In Merriam-Webster.com medical dictionary. Retrieved May 20, 2022, from https://www.merriam-webster.com/medical/acousma
A few years before, in a different falling down house on the edge of an urban bay, I say to him:
7:46 | Low static rumble that builds and drops offs suddenly.
8:05 | A more metallic rumble starts.
The bay is home to ships of varying sizes offloading gypsum, sugar and cement products. The unloading goes on 24-hours a day for several days until the vessels are tugged back out to Sydney Heads. We come to know them: there’s the rusty orange clanky one,
8:14 | A mid-frequency metal on metal dragging, scraping.
the smaller grey squeaky one,
8:20 | Rhythmic metallic squeak.
the whale blue droney one.
8:25 | A haunting, mid-frequency metallic cry, shifting through tones.
Lit up at night they’re like futuristic floating cities.
The turn of the century workers cottage that we rent has been extended in a way that means no two walls are parallel. This creates curious acoustic architectures that trap sub-bass frequencies.
9:00 | Low bass frequencies pulsate.
The toilet at the back of the house resounds most heartily with the thrum of the engine. Some nights the corner of the bedroom closest to my side of the bed churns with sub-bass like a seedy nightclub. But I know what this is, I can see the cause out my front door, so while it can be annoying, it’s not psychologically disturbing. This other hum is different. It’s bodily—a deep cellular vibration, synched with the pumping of blood and the quivering of my nervous system so that earplugs don’t help. It seems to come from farther away, or deeper down. It doesn’t inhabit the house like the bass frequencies of the ships, it inhabits me.
9:40 | Low static rumble that builds and drops offs suddenly to reveal a low hum, intensifying.
Around this time I find an article on the curious phenomenon of low frequency sounds that only certain people can hear. This is known as the Worldwide Hum, or simply The Hum. It’s most frequently described as sounding like a diesel engine running.
10:09 | The hum begins to throb as two frequencies interfere with each other creating beats.
Media reports about it start appearing in the 1950s and ’60s in England, particularly around Bristol. Other hotspots to emerge are Taos, New Mexico and Windsor, Ontario. It’s estimated that only 2–4% of the population can hear it.
While a number of studies have been undertaken, there has been no conclusive discovery of its cause. (5)Fox, B. (1989, 9 December). Science: Low-frequency “hum” may permeate the environment. New Scientist. Lallanilla, M. (2013, 26 July). Mysterious hum driving people crazy around the world. NBC News.. Geoscientist David Deming who hears The Hum, has proposed that it’s very low frequency (or VLF) radio waves but this has never been proven. (6)Deming, D. (2004). The hum: An anomalous sound heard around the world. Journal of Scientific Exploration, 18(4), 571–95.
In specific cases, industrial mechanical sources have been tracked down as the culprit—fans, vents, engines and gas pipes that are located far away from the hearer, but whose long-waved bass frequencies carry further than expected, shedding their high frequencies along the way.
11:20 | A subtle, textured staticky hum, almost inaudible. Occasional very high ringing tones. Continues under the narration.
But there’s even no consensus as to whether it is actually a physical sound or a neurologically constructed phenomenon with no actual sensorial engagement similar to the overactivity that is tinnitus. One Hum hearer, Glen MacPherson, a mathematician and physicist, has started a mapping project and support group in the hope of accruing data on the phenomenon. The site gathers descriptions from all over the globe but so far the most significant correlation he has discovered is that there’s a strong trend for ambidextrous people to experience it. (7)MacPherson, G. (2016, 20 June). Cracking the mystery of the ‘Worldwide Hum.’ The Conversation.
Curiously, very little connection is made between this mysterious aural phenomenon, that seems location specific and targeted at certain individuals, and the fact that the Earth itself does seem to have a hum. This was scientifically verified in 1998 by Naoki Suda and Kazunari Nawa while studying seismic data. (8)Coontz, R. (1999, 11 September). The planet that hums. New Scientist.
12:26 | Low bass tones form a melody.
They propose it is made from multiple frequencies, an amalgamation of the free oscillations of events that effect the Earth.
12:38 | A siren tone, ascending and descending from inaudible frequencies to mid-range. Repeats over a bass tone.
The Earth sings to itself in a range way below human hearing—between 2 and 7 millihertz, or 16 octaves below middle C.
Because the real Earth’s hum continues in the absence of significant seismic data, explanations beyond the purely geological needed to be pursued.
13:11 | A low, soft attack bell sound.
The data shows correlations with the arrival of winter in both southern and northern hemispheres, so one proposal is that it is the effect of atmospheric pressure bearing down on the land and sea and then releasing. The scientist behind this proposition, Toshiro Tanimoto, likened it to the Earth being played softly like a gong. (9)Coontz, “The planet that hums”, para 24.
13:28 | Bell sound moves into a two note sequence. A low frequency static is introduced with small crescendos and frequency sweeping creating a churning, swishing, ringing sound.
More recent research led by Barbara Romanowicz proposes that the Earth’s thrumming is caused by the ocean, with rougher winter seas accounting for the seasonal variations.(10) Brahic, C. (2007, 15 February). Earth’s hum linked to coastal waves. New Scientist.
As we can’t find its source, the Earth’s hum is perhaps the ultimate acousmatic sound. This is the term Pierre Schaeffer, the creator musique concrète, embraced to describe sounds that are experienced when they are separated from their causes. The acousmatic situation makes it easier to “bracket out” the figurative qualities of a sound in order to concentrate on the sonorous qualities of the sounds themselves. By listening in this “reduced” way the sound becomes a sonorous object and we are in an active relationship with the sound. Sound asks things of us, just as we ask things of sound. (11)This correlation can be paralleled with James J. Gibson’s notion of affordances, the qualities of an object or environment that seem to suggest ways in which an animal may interact with them.
Gibson, J. J. (2015). The ecological approach to visual perception (Classic ed.). Psychology Press.
However Brian Kane, in his book Sound Unseen (2014), suggests that Schaeffer’s focus on the acousmatic as a purely aesthetic process is too exclusive. Rather than acousmatic sounds, he preferences “acousmatic listening” in which cultural, environmental and historical contexts all play a role. He uses the example of the mysterious Moodus noises that rumble through a small town in Connecticut. First Nations people attribute the noises to angry gods railing at white invasion. Modern science says seismic activity.
15:20 | A melodic line made from a flanging synthetic tone.
Kane calls these noises acousmatic but proposes that to concentrate on them aesthetically is to miss their sociological and cultural importance. Rather than a sound object Kane proposes a sonic body that stands in for the source of the sound. This sonic body draws on both its sonic qualities and the auditory imagination for its formation. (12)Kane, B. (2014). Sound unseen: Acousmatic sound in theory and practice. Oxford University Press.
15:49 | A melodic line made from a flanging synthetic tone. Glassy, bleeping tones overlaid.
Other theorists to focus on the notion of the auditory imaginary include Mark Grimshaw and Tom Garner. In their conception of sound, they suggest that as we can imagine sound without hearing it (and parts of our brain associated with hearing are still activated), that sound is actually an emergent perception of the mind. Sound only comes to meaning when it is processed in our minds, drawing on our memories, emotions and prior conceptions. Their notion of mind, however, is not purely brain-based but draws on enaction and embodied cognition, in which we think through our bodies and our environments. (13)Grimshaw, M., & Garner, T. (2015). Sonic virtuality: Sound as emergent perception. Oxford University Press.
What I like about Grimshaw and Garner’s conception of sound is that it acknowledges the subjectivity involved in the perception of sounds. Sounds are filtered through our individual experiences. However, I do wonder about the chicken-and-egg conundrum that the purely mind-based notion raises. In order to generate memories of sounds, we need, at some stage, to have heard those sounds or similar, and in this way there is still the presence (even in its absence, as Derrida would have it) of an original vibrational element. (14)I refer to Derrida's notion of the trace, the present-absence in which that which is missing (that which differs) is an integral part of what is present.
Derrida, J. (1997). Of grammatology (G. C. Spivak, Trans.; Corrected ed.). Johns Hopkins University.
17:15 | Bleeping and sweeping tones fade into the sound of a dense bed of crickets at similar frequencies to the bleeps. Scattered grain and scratching recurs, with metallic fringes and twangs.
The role of my sometimes wildly fanciful imagination in understanding sound is never more clear to me as when I am lying awake in bed listening to deep throbbing symphonies and tiny percussion concerts. What makes these imaginings so intense is the very hidden nature of these sounds. Night casts all sounds into the acousmatic realm and forces us to consider them in a more intensive way—one in which we are, to some degree at their mercy. Sounds play out in time, stringing together our perceptions in the present with our memories of the past, and our anticipations of what will come next. In the dark, I cannot escape the progression of sound time, holding me in the present, anxiously anticipating the future.
18:21 | Layers of sound fall away leaving crickets and a barely audible deep hum.
In the light of day I move the bed to reveal the tiny avant-garde musician—a single silverfish—and its bespoke instrument, a long forgotten Easter egg wrapper. Up here, in the land of insect concerts, I no longer hear The Hum.
18:36 | A high, glassy bell melody is introduced.
But as you can hear things you can’t see, I can imagine things I’m presently not hearing, and I sometimes try to send myself to sleep listening for the cosmic gong of our resonating planet.
18:55 | Bell melody continues with off-kilter delay as the notes descend to the end.
Back announcement: Bedtime Stories is an audiographic essay as part of the research project Languages of Listening. It is written, performed and composed by Gail Priest.
19:30 | Single gong tone.
19:43 | Final scritching sound.
END
4:50 (1) Thomson, H. (2014). Mindscapes: The first recording of hallucinated music. New Scientist, 221(2952), p. 8. - back
5:06 | (2) Swiss developmental psychologist Édouard Claparède developed the law of conscious awareness (Vygotsky, 1987) based on the notion that a child is much more aware of difference than they are of likeness. Likeness requires the psychological application of generalisation that is not yet developed in a small child. By encountering difference and obstacles a child undergoes a learning process of which they are conscious. Vygotsky proposes this carries through our development stating that “we become aware of what we are doing in proportion to the difficulty we experience in adapting to a situation”.
Vygotsky, L. S., (1986). Thought and language (newly revised ed., A. Kozulin, Ed.; E. Hanfmann & G. Vakar, Trans.). MIT Press, p. 163.
Vygotsky, L. S. (1987). The collected works of L.S. Vygotsky: vol. 1, Problems of general psychology (R. W. Rieber & A. S. Carton, Eds.; N. Minick, Trans.). Plenum Press. - back
6:16 | (3) Neuroscientist/philosopher Alva Noë proposes that this heightening of consciousness that occurs when we experience art is because art operates as a re-organisational tool of our everyday perceptions, understandings and systems of living. He says “the artist gives you the opportunity to catch yourself in the act of trying to get your bearings”.
Noë A. (2016). Strange tools: Art and human nature. Hill and Wang, p. 102. - back
7: 29 | (4) Merriam-Webster. (n.d.). Acousma. In Merriam-Webster.com medical dictionary. Retrieved May 20, 2022, from https://www.merriam-webster.com/medical/acousma. - back
10:43 | (5) Fox, B. (1989, 9 December). Science: Low-frequency “hum” may permeate the environment. New Scientist. https://www.newscientist.com/article/mg12416942-500-science-low-frequency-hum-may-permeate-the-environment/
Lallanilla, M. (2013, 26 July). Mysterious hum driving people crazy around the world. NBC News. https://www.nbcnews.com/sciencemain/mysterious-hum-driving-people-crazy-around-world-6C10760872 - back
10:55 | (6) Deming, D. (2004). The hum: An anomalous sound heard around the world. Journal of Scientific Exploration, 18(4), 571–95. - back
11:57 | (7) MacPherson, G. (2016, 20 June). Cracking the mystery of the ‘Worldwide Hum.’ The Conversation. https://theconversation.com/cracking-the-mystery-of-the-worldwide-hum-60296 - back
12:25 | (8) Coontz, R. (1999, 11 September). The planet that hums. New Scientist. https://www.newscientist.com/article/mg16322034-900-the-planet-that-hums - back
13:28 | (9) Coontz, The planet that hums, para 24. - back
13:47 | (10) Brahic, C. (2007, 15 February). Earth’s hum linked to coastal waves. New Scientist https://www.newscientist.com/article/dn11190-earths-hum-linked-to-coastal-waves/ - back
14:38 | (11) This correlation can be paralleled with James J. Gibson’s notion of affordances, the qualities of an object or environment that seem to suggest ways in which an animal may interact with them.
Gibson, J. J. (2015). The ecological approach to visual perception (Classic ed.). Psychology Press. - back
15:49 | (12) Kane, B. (2014). Sound unseen: Acousmatic sound in theory and practice. Oxford University Press. - back
16:38 | (13) Grimshaw, M., & Garner, T. (2015). Sonic virtuality: Sound as emergent perception. Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199392834.001.0001 - back
17:14 | (14) I refer to Derrida's notion of the trace, the present-absence in which that which is missing (that which differs) is an integral part of what is present.
Derrida, J. (1997). Of grammatology (G. C. Spivak, Trans.; Corrected ed.). Johns Hopkins University. - back