Katharine Norman argues that a new kind of literature is required for sound art by interpreting to pieces:

  • Things She Carried by Paul Lansky
    • Draws on ideas of Baudrillard of tromp l’oeil painting. We respond as if we are looking a the object depicted, and not the depiction. Extends this idea to sound
    • “Is there a comparable nuance of aural ‘trompe l’oreille’ in which we can be lured into the experience of, not ‘hearing the real thing’ but of ‘really hearing the thing’, in which we can be gripped by the same illusion in relation to listening to sound?”
    • Lansky’s piece is not a real space, it’s not a 3D environment
    • Twists in narrative are achieved through sound
  • Presque rien avec filles by Luc Ferrari
    • breaks rules of engagement (listening) between music and natural sounds
    • Looks at boundaries between music and sound, makes us aware of space between
    • Elements of musique concrète juxtaposed with birds, wind, dogs, gunshots, etc
    • There is no story, or rather conflicting stories.
    • Draw on ideas from literary narrative, how it can ‘transgress’ from letters, diaries, travel writing, play with time, POV/POA, and also between real/fiction

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