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- - - Volume 16 Dark Night of the Soul Volume 16. Autumn 2017 • on the web 2017 • Autumn 16. Volume . . The controversy surrounding the album the album surrounding . The controversy Drone Age Drone Cinema ghost effects, hauntology, materiality, uncanny sonics materiality, ghost effects, hauntology, One of the best examples of sonic materialities that produce ghost One of the best examples of sonic materialities that produce so forth. But what happens when obsolete sound technologies so forth. But what happens when obsolete sound technologies make a and reappearance, when the materiality of older technolo gies are used as aesthetic devices? Here, I will argue for the pro duction of sonic ghost effects through the incorporation of older forms of sonic materialities. album controversial Sparklehorse’s and Mouse Danger is effects Dark Night of the Soul New sonic technologies are constantly added to music production, production, music to added constantly are technologies sonic New allowing for new affordances, both technological and aesthetic. Materiality plays a Wesignificantrole are in our sonic experience. used to thinking about music innovations as in part dependent on capa the mixing technological innovations. The 8-track improved bilities, affordedProTools new ways of manipulating sound, and Whitehead’s notion of perception in the mode of causal efficacy is agency over the listener. used to explain how materiality has Keywords Abstract This article examines the ghost effects in North Alfred of old sonic technologies. media duced by the residual larly film and the burgeoning field of post-cinema. Recent pub Recent post-cinema. of field burgeoning the and film larly lications include mark. His research focuses on popular visual culture, particu focuses on popular visual culture, mark. His research is Associate Professor of English at Aalborg University, Den University, Aalborg at English of Professor Associate is

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and Jay-Z’s Volume 16 Sounds of Futures Past of Futures Sounds Steen Ledet Christiansen Steen Residual Media Residual The White Album , a mashup of The Beatles’ self-titled album was ready to be released, EMI dropped dropped EMI released, be to ready was album The Grey Album Grey The . Danger Mouse released this album online without online without this album . Danger Mouse released I use the term “residual media” in the way that Charles Acland The music itself, did however, not change. Filled with ghost ef In what can only be considered an act of petty revenge, just as theas just revenge, petty of act an considered be only can what In between human and nonhuman performance, showcasing that ma that showcasing performance, nonhuman and human between teriality exhibits agency. to the anthology uses it in his introduction particu a is new the and old the of entwinement material “the how lar experience and understanding of the passing of time and his reproducing by work often technologies New (xvii) change.” torical things such of speak may we that so experiences, and effects earlier the album was released by conventional means through Parlophone through means conventional by released was album the visuals. far fewer of Lynch’s containing and Capitol Records, a for ambience unusual an has album the sonics, uncanny and fects ofarray impressive an employs album The production. music pop the through sonics uncanny with teems ambience The effects. sonic foregrounded materiality of residual media, such as vinyl records, Speak & Spells and other outdated devices. these Simultaneously, processes digital newer, by reframed are technologies musical older earlier music technologies. from aesthetic textures that resurrect separationthe blur voices machine and doppelgänger dust, Digital Mouse’s 2004 to as referred album commonly Black Album asking for permission or rights and so EMI (owner of The Beatles’ ceased. copyright) demanded distribution Dark Night of the Soul it, making it impossible for Danger Mouse and Sparklehorse to re legal action. What they did was tolease the album without incurring Simultaneously, CD. empty an with photographs of book the release later, year A sites. download illegal various on up showed music the comes not from this album itself, but from another album that was album the Originally, context. legal a in only if one, this haunts a concept album collaboration between Danger Mouse, a musician and producer possibly known best from Gnarls Sparkle Barkley, horse, an indie rock multi-instrumentalist, and David Lynch, who per Sparklehorse and Mouse Danger photographs. provide would to vocalists famous many inviting music, the produced and formed contribute. The album was ready to be released by EMI in 2009, Danger reason: The album. the drop to decided abruptly EMI when quarter

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Volume 16 Dark Night of the Soul Sounds of Futures Past of Futures Sounds Steen Ledet Christiansen Steen .” (O’Callaghan 57, emphasis in original). last , and take place , . It is just that some events change “at relatively slow speeds.” slow relatively “at change events some that just is It . Cox makes a larger argument in his attempt at reconfiguring A quick word on materiality here is also necessary. I use mate quick on word materiality is here also necessary. A occur events – they are not objects in the same way that drums, tables, and mountains are objects. In insisting on a materialist approach objectsall naming in Whitehead follows unwittingly, possibly Cox, events (Cox 157, see Whitehead 1967, 175-185; 2004, chapter VII). Cox fol that waves are that sounds argument O’Callaghan’s Casey lows “ Cox and who Will Schrimshaw, focus on sound’s material dimen material sonic such connecting in explicit most is Schrimshaw sion. ism to sonic affects, although he emphasizes that such affectsare not contingent on individual affirmation, i.e. theprocess of articu lating affect as an embodied emotion (Schrimshaw 2013). In indi vidually affirming sonic affects as embodied emotions, there is a di aesthetic-experiential an to dimension material a from transfer mension which is not fully material but is induced by material ef is what is at stake for me. fects. This process sound studies materialist, as that by inherently sounds arguing are and devices that are part of any music production (instruments, microphones, distortion pedals, mixing boards) but also the ma terialism of sound itself: the way an environment is made to vi brate with the sounds of music, the vibration of our ear drums, made just not process, material a is Sound bodies. entire our even by material objects. and Perception Materiality, Agency, listening to The uncanny experience we have materialism, music’s evoking In materiality. unusual its from comes I draw on the work on sonic materialism developed by Christoph as “digital dust” which is the addition of the sound of dust in the grooves of a vinyl record to a fully digital production. Similarly, manipula modulation, voice easier afford technologies digital new recog of versions uncanny produce then which doubling, and tion, technolo digital how see we affordances, these With voices. nizable gies exert their own forms in of producing agency, new ways of doing and making music. riality in a broadly inclusive to way, not just suggest the objects quarter

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, when he dis Volume 16 Sounds of Futures Past of Futures Sounds Steen Ledet Christiansen Steen distinguishes between distinguishes Media Ecologies Media archeology has little to Media archeology

to our conscious experience and filters Process Process and Reality prior However, just because something However, is below human phenomenol Media archaeology has become a strong field for understanding In a slightly wedifferentregister, can say that the causal efficacy impinges it yet it, to access have never we — experience our haunts perception because us, over agency exhibits thus Materiality us. on in the mode of causal efficacy registers material effects and feeds forward do to not our control perception. this We process, since I am so and produces, sound supersonic a headache the deny cannot affected by it. ception, although that sounds misleading (no pun intended). Caus intended). pun (no misleading sounds that although ception, al efficacy is defined by Whitehead as a vector feeling that allows mode the in perception words, other In coalesce. to experience later of causal experience is our experience, which makes it parallel to Schrimshaw’s argument that affects are imperceptible “agents of qualitative, sensory ap to them.” (Schrimshaw 32). irreducible For pearances that remain this reason, memory is perception in the mode of causal efficacy, set our are they memories: our of because are we who are we since tled forms. Perceptions in the mode of causal efficacyare fedfor 2014). (Hansen it terms Hansen BN Mark as consciousness, to ward matter and energy (Fuller 2005, 4). prefer instead technologies, media said of experience the about say ring to remain well below i.e. human the phenomenology, not im mediately perceivable. Alfred in our experience. register ogy is not to say that it does not his in North Whitehead two modes of perception. The first is “perception in the mode of per sense ordinary essentially is which immediacy,” presentational ception. The second is “perception in the mode of causal efficacy” (Whitehead 1974, 135, 134), sometimes termed nonsensuous per In other words, sound is a material event that therefore has its ownits has therefore that event material a is sound words, other In form of agency. ensuingthe and technologies media of genealogy complicated the archae media way, this In 31). 2012, (Parikka body” the of “technics “media which in ways the agency, materiality’s with engages ology Matthew 70) 2012, (Parikka machine.” the of agency new a includes Fuller much argues the same in his cusses “materialist energies” as patterns and interactions between quarter

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The dissolution

Dark Night of the does both by re Volume 16 Sounds of Futures Past of Futures Sounds Steen Ledet Christiansen Steen Dark Night of the Soul : “the split between an original original an between split “the : Dark Night of the Soul schizophonia electroacoustically and could never exist “natu exist never could and electroacoustically produced is so uncanny; we feel materiality impinging on us, the reacti We can call such materialist agencies “ghost effects,” taking a cue a taking effects,” “ghost agencies materialist such call can We We would We do well to consider David notion Toop’s of “sinister But media technologies also have memories, in the form of obso of form the in memories, have also technologies media But material, although the latter are less obviously material: they fall yet within Whitehead’s causal efficacy; not consciously perceived still registered. Ghost effects confront us with the fact that we are of materialist agencies, often essentially the what results Schrim shaw refers to as affects. That is aesthetic to encounters say, and events hinge on the transduction of materialist agencies to bodily affects. This is why the experience of listening to Soul (Schafer loc 1910). But in fact Schafer does not go far enough, be electroacoustically simply reproduced not cause some sounds are but are ecology. electroacoustic an from separate or rally” of sounds as natural or artificial suggests that materiality acts and sensations. produces induced technologically “invisible, of concept Rotman’s Brian from agencies that … emerge as autonomous self-enunciating entities” (Rotman 2008, 113). Rotman’s ghost effects alsoregister a shift be tween objects as material and technologically induced agencies as sounds, such as the player’srecord needle crackling with dust in the vinyl album’s groove. pres a ghost, a haunting, “a album: this understand to resonance” and whose existence inence whose location in space is ambiguous time 2011, loc is (Toop 188) transitory.” Although this description that evident is it Toop, for sound all fits media. of residual atmosphere erately plays with the haunting Murray R. that condition the from emerges resonance sinister Such as identified Schafer sound and its electroacoustical transmission or reproduction” lete technologies. Charles Acland R. calls such residual media “the material entwinement of the old and the new” which inevitably abandoned, neglected, recycled, renewed, “reconfigured, to leads and trashed media technologies and practices.” (Acland 2007, xvii, xx) Older media never go which away, is why they are residual. They remain to always come back, whether as recycled material practices. forms or renewed configuring old sound technologies recycling and abandoned quarter

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Volume 16 Sounds of Futures Past of Futures Sounds Steen Ledet Christiansen Steen producer[s].” (Schrim mattering together additive These strange sounds come from a circuit-bending practice practice circuit-bending a from come sounds strange These This ghost effect is also evident in the use of the Speak & Spell for Spell & Speak the of use the in evident also is effect ghost This These resonance effectsmay then be considered according to there is very little human warmth to the voice synthesizer. However, However, synthesizer. voice the to warmth human little very is there it is not its capabilities as a voice synthesizer that is the main point the of Night “Dark in Spell & Speak the of presence the Instead, here. gives dust digital the where song, the of bridge the at in comes Soul” way to clear sound production. Then, we hear a string of peculiar crackles and pops in the back of the mix, clearly electronic. known as key ghosting, where three keys are pressed down at the agencies in what Schrimshaw calls “ shaw 38) “Dark Night of the Soul” thus displays its agency of the ghost effects to the foreground. material in the way it pushes these this last track. The Speak & Spell is an old toy produced by Texas Instruments, although it has long been discontinued. The Speak & Spell was the first mass-produced synthetic voice chip and it was would Spell & Speak The spell. to how children teach to mainly used wheth hearing spell, to supposed then was child the that word a say er or not he or she got it right. The voice synthesizer was quite sim plistic comes and offthe by astimbre today’s artificial,standards as thesizer in the liner notes. This mechanical acoustic space lends anthesizer in the liner notes. This mechanical crack as such effects, sound of use The song. the to mood ominous resonance. sinister Toop’s example an is echoes and distortion, ling, and intensities – the forces Cox’s notion of sounds as force-complex The157). (Cox becoming new a in interact they as sounds several of track consists of instruments but also the sound effects and their in have each they Individually, sounds. instruments’ the with teraction that end up their own powers and forces struments the matter, sound effects and matter, each produce their together with the other material own material agency that work vated ghosts of old technologies, that we cannot fully place because place fully cannot we that technologies, old of ghosts vated ambiguous and transitory. these sounds are Ghost Effects As a way of understanding what such ghost the effectsof Night are“Dark andalbum the what on track last the take us let entail, they Soul” The sung song entire by has David a Lynch. echodistressing to it, not unlike the industrial soundscapes we know from Lynch’s early films andLynch is also credited with sound effectsand syn quarter

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Volume 16 Sounds of Futures Past of Futures Sounds Steen Ledet Christiansen Steen a The technics specificof techniques the formedia body. These sounds, then, are ghost effects: autonomous and self-enun and autonomous effects: ghost are then, sounds, These In using key ghosting the musicians tap into the materialized But more than that, these residual media practices and objects are are objects and practices media residual these that, than more But Such fascination with residual media is one example of what of the Soul using the Speak & Spell essentially are subverted and used against it, producing new vibrating sound Weaffects. hear the past una of materialist agencies. feel the presence ware, ciating because the sound is erratic and unpredictable, since it is a glitch. They are, in a word, potencies: powers and potentialities of the material, technological Any device. sound producer is an as of presence.” (loc 387). Crackle only makes sense as an aesthetic ad aesthetic an as sense makes only Crackle 387). (loc presence.” of become accustomed to the we have dition in a digital world where absence of crackle. Crackle marks what Fisher calls the “agency of the virtual,” what Blake Elferen and refer Van to as the “secret” of 65), Elferen which is essentially parallelmateriality (Blake and Van impact media residual album’s – the efficacy causal Whitehead’s to our musical experience. memory of the Speak & Spell, employing the potencies of residual theof “technics Parikka’s how see to begin We ways. new in media in find we difference: slight a with but relevant is body” obsession pop culture has with its own past As Reynolds points As Reynolds points past has with its own obsession pop culture “tends neither out, to retromania idealise nor sentimentalise the 2011: (Reynolds it.” by charmed and amused be to seeks but past, xxx). Residual media, alongside the album’s digital resurrection of analog practices, instruments and indeed are recording retro manic obsessions. also evidence of what Mark Fisher calls “materialized memory.” surfacethe crackle, of “use the on arises memory materialized This listening that we are us aware noise made by vinyl. Crackle makes illusion the into fall to us allow won’t it joint; of out is that time a to same time ion the Speak and Spell keyboard. Upon pressing a the device will produce fourth erratic key, pitches and timbres, de and its Depending on the device key is pressed. pending on which electrical circuits, some key combinations will not produce the ghosting effect, but for those that will, it is inthe fact in possible glitches toand play errors playing synthesizer, of kind a as device the instrument. rather than an actual hardware, Simon Reynolds has termed “retromania” — the contemporary quarter

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Volume 16 Sounds of Futures Past of Futures Sounds Steen Ledet Christiansen Steen Every affect, every every encounter, event

The media technologies used to produce the album are every bit are album the to produce technologies used media The Significantly, what isSignificantly, at stake here is the fact that materiality Ghost effects are affects in that theyarepresent absences, things as expressive as the musicians involved; at times even more so. and Soul” the of Night “Dark on “features” ostensibly Lynch While “Star Eyes (I Can’t Catch It),” we cannot truly say to have heard impossible is it that vocoder of use the is extreme So singing. Lynch for us to tell his where voice begins and the vocoder stops. It is not but voice, human pre-existing a modulates simply vocoder the that rather that the two vibrating events enter into an assemblage that man bodies of Optigans, Speak & Spells, synthesizers and more. These nonhuman bodies are also affected and how the power to carry embodied emotions. affect, though in no way do they same the at while argues, Fuller Matthew as experience, grounds en in art’s processual organization is no hierarchical time there out and inside occurring processes collective rather is it counter; side fluctuating and agitated bodies (Fuller 2005, 63). The Speak & part of are Spell’s this circuits collective and participate with a spe cific technics of body that interacts with the potencies and capaci ties of other human and nonhuman bodies and their technics. that escape conscious, cognitive processes, and yet these ghosts lin ghosts these yet and processes, cognitive conscious, escape that stillsenses the surpasses “what argued has Derrida Jacques As ger. the sensuous body … that re us in the silhouette of passes before mains inaccessible to us” (Derrida 2006, 189). For Derrida, this is why any ontology must begin with a hauntology (the word works that say to that rephrase would I French). in pun homonymous a as we must begin with what materiality’s Fisher agency, called the agency of the virtual. begins in the productive encounter of at least two bodies, or enti nonhu the be can both even human, be not need entities These ties. semblage of material potencies, but key ghosting makes this fact coun sounds produces ghosting key because way, new a in evident as emerge Spell’s design. New sonic experiences ter to the Speak & because is it sinister, as register they if and ghosting key of result the they are autonomous – we cannot exactly predict the output, even contingent already Always is a deliberate process. as key ghosting on art materiality, may be considered any object that impinges on us and will not despite rest, the fact that it is not accessibledirectly and self-enunciating. autonomous to us, since the ghost effects are quarter

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Materialities are Materialities are

Volume 16 Sounds of Futures Past of Futures Sounds disruption of bounda disruption Steen Ledet Christiansen Steen Dark Night of the Soul’s Dark Night of the Because of the unusual design of synths in general, notes do not This form of dyschronia is not unusual in recording techniques not unusual in recording is This form of dyschronia Another example of Another example music but instead conjures the performances of earlier musicians – the Optigan plays with ghosts; all synths play with ghosts. have a limited duration but can indefinitely. play a constant timbre At the same time, the Optigan has a built-in that tempo switcher, the also but chords or notes the of speed the just not manipulate can chang melodic These vibrations. air by caused is sound since pitch, as most of its musical ex es clearly are Augury,” evident on “Grim tigan. The Optigan is a peculiar keyboard instrument, first released first instrument, keyboard peculiar a is Optigan The tigan. in 1971 but dead already in 1976 due to its poor sound quality and Unlike peculiar a sound piano production. that works by vibrating the through sound produces synths, other like Optigan, the strings, on plastic discs optical soundtracks stored use of pre-recorded loaded into the side of the keyboard. The Optigan, then, does not sound. The various recorded sound but plays back already produce by studio musicians. sound samples recorded discs available were Part of the soundtrack disc would be sustained notes from a par ticular instrument, while the other part would be a soloist playing keys. the Inin Optigan otherdifferent does words, chords not play but this time also with an Optigan. The synthesizers push and pullbut this time also with an Optigan. the melody and disturbs the temporal dimension, making time ac actually hear the notes being dragged as we can tually perceptible image of a song. shifting in a dream out, the timbre but the blatant presence here is unusual, again because it disrupts the micro event before to a pro-phonographic any kind of pretense here is phones. not Technology but like rather air, like mud or wet clay — something we have to wade through with difficulty and it not the is of synthesizers warble the Yet down. us inevitably slows That honor goes to the Op element of the melody. most disruptive ries is in the album’s fetishistic use of outdated instruments. Con fetishistic use of outdated instruments. ries is in the album’s sider the song “Grim Augury” where Vic Chesnutt’s vocals are pushed to the very front of the mix, thick with shadows and extra gramo a of pops and fizzes scratches, the hear we while resonance, by synthesizers produced melody a wriggling phone needle and includes other actors such as microphone, amplifier, and speaker, and speaker, includes other actors such as amplifier, microphone, lyrics. and the the instruments not to mention voice. as is Lynch’s agents in this assemblage, quarter

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Dark Night of Volume 16 Sounds of Futures Past of Futures Sounds Steen Ledet Christiansen Steen aesthetic pushes mediation to the forefront and allows it and the forefront aesthetic pushes mediation to For Whitehead, the of recurrence D-flat, for instance, is nota So the Optigan plays slices of time from elsewhere and elsewhen and elsewhere from time of slices plays Optigan the So While not exactly unusual techniques in sound production, as might not all experience it the same way (embodied emotion), nor D-flat play not does Optigan the But D-flat. the exhaust anyone can or any other pitch; it plays the past event of a D-flat being played. The Optigan is an example of a technics of the media body imping ing on other bodies in the Formode theof Optigan causal efficacy. White is which event, an of memory nonhuman material the plays head’s very basic definition of perception in the mode of causal ef ficacy: “[t]he present moment is constituted by the influx of – sound events of the past inserted into the they where present, do conception of against the entire not belong. This very fact pushes event and sounds as events, for as O’Callaghan is at pains to point out, events are unique, and singular, can occur only once. Other never can and unique is event each but occur, course of may events Is the slice of repeat (110-111). time played by the Optigan then a of a former event? new event or the repetition since D-flatproblem is what he calls an “eternal object,” an inex (1978, novel be never can and changes never that resource haustible we but agency) material (sound’s D-flat same the hear all We 22-23). fects, or even to be aesthetically pleasing. They towere engineered the to pointing again once operation,” in possible as inaudible as be of for mediation transparency desire (Berk 2000: 197). the Soul’s to take on aesthetic significance; most listeners will be unaware of the presence of the Optigan, since it is such an unusual and rare instrument, yet to enjoy the song one needs to accept the aesthetic effect of the Optigan and its dyschronic displacements. This is an in the mode of causal ef other instance of Whitehead’s perception us. impacts it yet perceive, we what of unaware are we where ficacy, pression – as opposed to the vocal performance – derives from the from to the vocal performance – derives – as opposed pression elongated All and in meandering all, notes. the Optigan stands not a temporal instru but rather as instrument a musical as much so ment, playing time itself. This is the case because even though the Optigan is electronic, its sound is reproduction analog, so it does pitch. from not separate speed Mike Berk points out, “time-stretching, time-compression, and as audible ef foregrounded never meant to be pitch-shifting were quarter

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Volume 16 Sounds of Futures Past of Futures Sounds Steen Ledet Christiansen Steen Yet at the same time this is a at the same time this is a Yet

, we hear the dead futures of the Optigan. That Optigan. the of futures dead the hear we , into that self-identity which is the continued life of the imme which is the continued life into that self-identity Listening to dead media is not simply an archival activity but a The Optigan, in a sense, play nothing but samples, even if these haunting experience of hearing what never happened. Listening to Dark Night of the Soul we is listen to to say, an instrument’s unrealized potentials, the fu never actualized. that were tures futures. dead these hear fact in do we because experience, haunting evi be should it here, examples few a on focused only have I While dent why we can only understand the album through hauntology, Sonic experience must be said to be a highly complex assemblage One boundary that can or boundaries. with no clear demarcations be traversed to interesting effect is the That temporal is boundary. old media to anticipated say, a future that never happened, and so into a dif now fedforward still carry immanent potentials that are ferent, tangential future. In other words, the locus of past, present of stops being a linear unfolding and is instead a rupture and future old, the past potentialities that suddenly gain new Yet actualities. sonic ghost effects ofresidual media technologies erupt as sinister As they drag dead futures out of time. because they are resonances time is out of joint, which sounds uncanny. into the present, The future, that is is to generated say by the temporally new, alter pillar, vertical a into time collapsing thus present, the in past the ing ma The song. this in exploited is which fluid, time musical making the Optigan is an unusual terial manipulation of sound through into aplaying the Optigan of technique that turns the performance into the past and future augury – collapsing kind of necromantic present. These slices of time are ghost effects and affects as self- nonhuman the of technics a through produced entities, enunciating media. body of residual Uncanny Sonic Experience other empha 181, (1967, present.” the of immediacy the within past diate sis in original.) samples are not recognizable as belonging to any specific song at also that recordings typical unlike However, don’t). they (which tempt to control and limit the future, the Optigan’s past-present- since the temporal slices of complicated division is far more future the past were always meant to generate new and different futures. quarter

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. Oxford: Ox 10(2), 145-161. Volume 16 Cambridge: Polity Sounds of Futures Past of Futures Sounds Steen Ledet Christiansen Steen Technologies of the Gothic in the of Technologies . Trans. Peggy Kamuf. New . Trans. . Minneapolis: University of University Minneapolis: . Dark Night of the Soul Journal of Visual Culture Journal of Visual . London: Routledge, 2015. 60-70. Residual Media Residual thus ghost produces effects; effectsare that Sounds: A Philosophical Sounds: Theory A Feedforward : On the Future Me of Twenty-First Specters of Marx: The State of Debt, the Work of Media Ecologies: Materialist Energies in Art and . Cambridge: The MIT Press, 2005. . Cambridge: The MIT Press, What is Media Archaeology? . New York: Capirinha, 2000. Capirinha, York: . New Modulations: A History of Electronic Music: Throbbing Words Words Throbbing Music: Electronic of History A Modulations: . Chicago: University of Chicago Press, 2015. . Chicago: University of Chicago Press, dia Technoculture 2007. University Press, ford (ed.). on Sound a Sonic Materialism.” phone, 2010. Mourning and the New International Routledge, 2006. York: Minnesota Press, 2007. Minnesota Press, tral Loops.” Just D. Edwards (ed.). and Culture Literature Press, 2012. Press, Dark Night of the Soul Dark Night of the Fuller, Matthew. Fuller, Matthew. Berk, Mike. “Analog Fetishes and Digital Futures.” Shapiro, Peter Toward Signification: and Representation “Beyond Christoph. Cox, Danger Mouse and Sparklehorse. Derrida, Jacques. Hansen, Mark BN. Blake, Charlie and Isabella van Elferen. “Sonic Media And Spec O’Callaghan, Casey. O’Callaghan, Casey. Parikka, Jussi. sense their agencies as integral to As me. affect arises from contact not is experience my that recognize I entities, material other with by the autonomous agen mine but traversed and haunted entirely cies of materialities. References ed. R., Charles Acland, because “a ghost never dies, it remains always to come and to come- to and come to always remains it dies, never ghost “a because ma is back, kicks returns, that ghost The 123). 2006, (Derrida, back” the very teriality, potencies that are inherent in every object, every Matter assemblage is of not matter. inert, materiality is not distinct process. imbricated in a reciprocal other entities but from agencies and affects warp and shift that intensities as regarded best to the album is to allow dead fu listen inside the soundscape. To tures to constitute me for the to duration feel of andthe encounter, quarter

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Sound, Music, Af . Mineola: Dover Volume 16 Sounds of Futures Past of Futures Sounds . New York: The Free The Free York: . New . New York: The Free . York: New Steen Ledet Christiansen Steen . New York: Bloomsbury, 2013. Bloomsbury, York: . New The Concept of Nature . Durham: Duke University Press, 2008. Press, University Duke Durham: . Process and Process Reality Adventures of Ideas Adventures . Rochester: Destiny Books, 1994. Kindle. . Rochester: Destiny Books, 1994. The Soundscape: Our Sonic Environment and the Retromania: Retromania: Pop Culture’s Addiction to Its Own Becoming Beside Ourselves: The Alphabet, Ghosts, and Sinister Resonance: The Mediumship of the Listener . New York: Faber and Faber, 2011. Faber and Faber, York: . New Past and Ian Biddle (eds.). Marie Thompson, ity.” of the World Tuning London: Bloomsbury Academic, 2011. Kindle. Academic, 2011. London: Bloomsbury 1967. Press, 1978. Press, Publications, 2004. Distributed Human Being Human Distributed fect: Theorizing Sonic Experience due to their short cultural history. use not does He here. Fisher’s“virtual” on term note the quick of use A it to suggest something which is immaterial but rather something which has not happened but could have happened. I prefer to stick with the term potential to not muddy the waters of material effects. speak amplifier, microphone, singer, between relation this on more For er and listener, see Blake, Charlie and Van Elferen, Isabella (2015) (ed.) D., Justin Edwards, In: loops. spectral and media Sonic There There is a larger discussion here between matter and energy that I do between matter and relationship not have space to engage with. The energy is far from straightforward in common parlance, because we mat physics, In mass. having something as materiality of think to tend ter has both mass and although energy, either mass or energy may be when instances the suggest to rephrased Fuller’sbe can zero. argument matter acts. I put naturally in scare quotes because of course any sound produced tendwe However, be? it could else what nature; o part is means any by by analog processes produced to distinguish between sounds that are and electronic processes, considering electronic processes less natural,

3 4 1 2 Toop, David. Toop, North. Alfred Whitehead, North. Alfred Whitehead, North. Alfred Whitehead, Notes Reynolds, Simon. Rotman, Brian. Exterior and Affect On Sound: “Non-Cochlear Will. Schrimshaw, R. Murray. Schafer, quarter

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Volume 16 Sounds of Futures Past of Futures Sounds Steen Ledet Christiansen Steen gies of the Gothic in Literature and Culture: Technogothics Routledge. pp. 60-70. that instrument part of every historical potentials are These unrealized is no longer in wide use, and their reintegration into music production own forms of ghost effects. would constitute their

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