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Vox Ex Machina : Towards a Digital Poetics of the Dis- Embodied Voice

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Vox Ex Machina : Towards a Digital Poetics of the Dis- Embodied Voice ORBIT-OnlineRepository ofBirkbeckInstitutionalTheses Enabling Open Access to Birkbeck’s Research Degree output Vox ex machina : towards a digital poetics of the dis- embodied voice https://eprints.bbk.ac.uk/id/eprint/40285/ Version: Full Version Citation: O’Donnell-Smith, Daniel (2017) Vox ex machina : towards a digital poetics of the disembodied voice. [Thesis] (Unpublished) c 2020 The Author(s) All material available through ORBIT is protected by intellectual property law, including copy- right law. Any use made of the contents should comply with the relevant law. Deposit Guide Contact: email 1 Vox Ex Machina: Towards a Digital Poetics of the Disembodied Voice Daniel O’Donnell-Smith Birkbeck, University of London PhD 2017 2 Declaration I, Daniel O’Donnell-Smith, confirm that this thesis and its associated practice is all my own work. Where I have used information or data from other sources this is indicated in the thesis. ……………………………………………………………………………………………………………………………… 3 Abstract This thesis explores the notion of ‘voice’ in relation to contemporary poetics and the digital arts. It is a practice-based project that produces a theoretical and creative space in which a theory of the ‘voice of the machine’ is discovered and tested. Through a series of research chapters and critical reflections this thesis tests ideas of dictation, translation, inscription and embodiment using the poetic device of the disembodied — or acousmatic — voice as a fundamental theoretical framework, which in turn informs my practice. I begin with a study of Jack Spicer’s book After Lorca, a collection of translated poems that are dictated to Spicer by the ghost of Federico García Lorca. Using the work of Mladen Dolar, I explore the idea of the acousmatic voice and the processes of translation that emerge from this when one is in communion with the dead. From this I identify a ‘network of tradition’: Spicer’s matrix of historical, poetic associations to which belongs W.B. Yeats, another poet who used spirit dictation in composition. I focus on the practice of Yeats’s wife, George, who, acting as a medium, produced hundreds of manuscripts of automatic writing and drawing. Through a study of Johanna Drucker’s notion of graphesis, via discussions on choreography, I establish George Yeats as a spiritual writing machine whose practice works as an acoustic register of ghostly dictation and audition. I consider the idea of katabasis — an Orphic descent to retrieve a voice — that underpins Spicer’s poetics in After Lorca and I use this as a catalyst to enact gestures of archival katabasis — in pursuit of George Yeats — and what I term as the kata_BASIC, which is a descent into the machine to retrieve its voice. Using the random-chance poetics of Jackson Mac Low as a practice methodology I understand the voice of the machine to be an expression of its agency and computational processes, which are materialised in machine-mediated interventions such as the glitch. The practice I produce in this project — poetry, objects, video and sound — tests ideas of translation, acoustic imagery, hybridity and transcreation in light of the idea of a shared voice of collaboration that exists between the machine and the archived or disembodied voices that it (re)mediates. 4 Acknowledgements Above all I wish to thank my supervisor, Professor Carol Watts, whose engagement and guidance empowered my practice and whose encouragement supported the vision of this project (thanks also for lending her acousmatic voice in extra telephone supervisions). In addition I would like to thank my friends and colleagues at Birkbeck College as well as those further afield, including the kind staff of the National Library in Dublin and those friends in St Petersburg and Moscow, without whom the practice undertaken in chapters two and three would not have been so rich; thanks especially to Natalia Shipakina for her Russian translations of my poems. I would like to thank Stuart Highley for his expertise in writing the scripts that enabled random text selection and generation. I am also grateful to my friends and colleagues in the Creative Writing faculty at De Montfort University as well as many poets and artists in the London network, especially Jennifer Cooke for her kindness. Special thanks go to Sian Rowbotham for her considerable support throughout the duration of this project. A PhD is the most Brutalist. It takes much but gives plenty back. I have acquired a few ghosts of my own in the making of this project and, like Jack Spicer, I can see through their eyes from time to time. This thesis is dedicated to them as much as anything. This research project was funded by the AHRC. With thanks to my family, my friends and the disembodied. 5 Contents List of Tables and Figures 7 Introduction Locating a Voice in the Machine 11 Chapter One Transference and Disclosure: The Poetics of Translation and Voice in Jack Spicer’s After Lorca. 45 Chapter One: Critical Reflection Encysting A Voice: After After Lorca. 96 Chapter Two Ghostly Graphesis: Spiritual Machines, Dead Voices and Automatic Writing. 122 Chapter Two: Critical Reflection The Choreography of the Machine: Writing (as) George Yeats and the Archive. 170 Chapter Three The Voice of the Machine: Poetic Software, Cannibalism and the Embodiment of the Network. 216 Chapter Three: Critical Reflection Acoustic Images: Telepresent Poems, Neural Networks & Stochastic Scripts. 276 Conclusion Ghosts, Games and the Riddle of the Machine. 304 Practice Catalogue 310 Body Horror (poetry collection) 321 Bibliography 363 6 Digital Practice/USB flash drive Contents Practice Folder 01: 1. Morphemics (translated poem). 2. After After Lorca (translated poetry collection). Practice Folder 02: 1. Order of the Machine (website). 2. Sketches from the Yeats Occult Archive (images). 3. Databending Tests (images). 4. Riting I-III (objects and images). 5. EVP of the Archive (audio). 6. Control II (video). Practice Folder 03: 1. Random Text Selection & Poetry Generation (software and poetry). 2. Stochastic Texts (software and poetry). 3. Deep Dream & Deep Art (digital images). 4. Body Horror (poetry collection). 5. Monster Grain Telesync (video). 6. Slow Machines (video). 7. Telepresent Poems (video). 7 List of Tables and Figures Tables Table 1.1. A comparison of English translations of Lorca’s ‘Ode to Walt Whitman’. p. 60 Table 1.2. Transcripts of selected automatic texts (candidate's own transcriptions). p. 192 Table 1.3. Examples of transcreated poems made using a macro. p. 284 Figures Figure 1.1. ‘Morphemics’ MP3 file in HxD Hex Editor. [Screenshot]. p. 98 Figure 1.2. ‘Morphemics’ bilingual layout. [Screenshot]. p. 99 Figure 1.3. ‘Juan Ramon Jimenez’ from After After Lorca. [Screenshot]. p. 104 Figure 1.4. Cayley, J. (2004). Translation. [Screenshot]. Retrieved from http://collection.eliterature.org/1/works/cayley__translation.html p. 105 Figure 1.5. After After Lorca homepage [Screenshot]. Retrieved from https://afterafterlorca.tumblr.com/ p. 108 Figure 1.6. ‘Song of the Poor’ from After After Lorca. [Screenshot]. p. 112 Figure 1.7. Yeats, G. & Yeats, W.B. (1918). Fragment of Notebook. (Occult Papers of W.B. Yeats, MS 36,255/37/A, National Library of Ireland, Dublin). [Ink on paper]. p. 149 Figure 1.8. Yeats, G. & Yeats, W.B. (1920). Notebook. 1919 Dec. 26 - 1920 Mar. 29. (Occult Papers of W.B. Yeats, MS 36,256/24, National Library of Ireland, Dublin). [Graphite on paper]. p. 151 Figure 1.9. Yeats, G. & Yeats, W.B. (1918). Fragment of Notebook. (Occult Papers of W.B. Yeats, MS 36,255/37/A, National Library of Ireland, Dublin). [Ink on paper]. p. 155 Figure 2.1. Yeats, G. & Yeats, W.B. (1920). Questions and Answers. Automatic Script. (Occult Papers of W.B. Yeats, MS 36,256/25, National Library of Ireland, Dublin). [Ink on paper]. p. 157 Figure 2.2. Order of the Machine homepage. [Screenshot]. p. 175 8 Figure 2.3. Yeats, W.B. (date unknown). Sephirotic Tree Diagram. (Occult Papers of W.B. Yeats, MS 36,281/11, National Library of Ireland, Dublin). [Graphite, ink and watercolour on paper]. p. 177 Figure 2.4. Twine site map for the machine hypertext. [Screenshot]. p. 177 Figure 2.5. Digital sketch after MS 36,256/25. [Digital image]. p. 187 Figure 2.6. Digital sketch after MS 36,281/1. [Digital image]. p. 188 Figure 2.7. Digital sketch after MS 36,256/24. [Digital image]. p. 189 Figure 2.8. Example of databending using MS 36,256/25 as a source image. [Digital image]. p. 191 Figure 2.9. Example of digital distortion from databending an image. [Digital image]. p. 191 Figure 3.1. Databent automatic script using MS 36,256/24 as a source image. [Digital image]. p. 192 Figure 3.2. An example of databending using a Hex editor. [Screenshot]. p. 193 Figure 3.3. A product of databending using MS 36,281/1 as a source image. [Digital image]. p. 194 Figure 3.4. Figure 3.3 after further processing. [Digital image]. p. 194 Figure 3.5. Glitch as parapraxis using MS 36,256/25 as a source image. [Digital image]. p. 195 Figure 3.6. An example of sonification using MS 36,256/24 as a source image. [Digital image]. p. 197 Figure 3.7. Visualisation of processing a sound file. [Screenshot]. p. 197 Figure 3.8. Merging two images using sonification. [Digital image]. p. 198 Figure 3.9. Raw-data-as-audio. [Screenshot]. p. 199 Figure 4.1. A Raudive Diode. [Photograph]. p. 201 Figure 4.2. Composite of my digital sketches of automatic writing. [Digital image]. p. 205 Figure 4.3. Composite image of the three acrylic plates. [Photograph]. p. 205 9 Figure 4.4. Laser engraving. [Photograph]. p. 206 Figure 4.5. Composite image showing detail of the surface Hex code.
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