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@viewing-voices
Being in the screen and not, wandering the surface of the screen without entering it, the acousmêtre brings disequilibrium and tension. [The] acousmêtre invites the spectator to ‘go see’ and this voice can be an invitation to the loss of the self, to desire and fascination.
Michel Chion, The Voice In Cinema
The original meaning of the word acousmatic ... was apparently assigned to a Pythagorean sect whose followers would listen to their Master speak behind a curtain, ..so that the sight of the speaker wouldn’t distract them from the message. ... - This interdiction against looking, which transforms the Master, God or Spirit into an acousmatic voice permeates a great number of religious traditions, ... - We find it also in the physical setup of Freudian analysis: the patient on the couch should not see the analyst, who does not look at him. - And finally, we find it in the cinema, where the voice of the acousmatic master who hides behind a door, a curtain or offscreen, is at play..
Michel Chion, The Voice In Cinema
Sound ..is created at the point or in the space between. .. Sound is space between two objects. .. Sound is liminal, ..always coming from a causal objectal force but it is also the site where two things meet, a boundary space.
Mladen Dolar, Cogito and the Unconscious
The voice appears to lend itself to hallucination, in particular the hallucination of power ... effected by an extension or restructuration of the body.
Mary Ann Doane, The Voice in the Cinema: The Articulation of Body and Space
Rather than producing iconic representations, as does vision, [sound] functions indexically - there must be a cause, object, or event producing a sound, although sound in no way resembles it.
Elizabeth Grosz, Lived Bodies
: the internal voice, a voice which cannot be silenced. As if the voice were the very epitome of a society that we carry with us and cannot get away from.
Mladen Dolar, A Voice and Nothing More
Because one can hear sounds behind oneself as well as those with sources inside the body (digestion, circulation, respiration, etc), two sets of terms are placed in opposition: exterior/front/sight and interior/back/hearing.
Mary Ann Doane
The Pleasure of Hearing
'..The voice-over commentary and, differently, the interior monologue and voice-over flashback speak more or less directly to the spectator, ..as an empty space to be ‘filled’ with knowledge about events, character psychology, etc.
More frequently, in the fiction film, the use of synchronous dialogue and the voice-off presuppose a spectator who overhears and, overhearing, is unheard and unseen himself.'
— Mary Ann Doane, The Voice in the Cinema: The Articulation of Body and Space.
the writer's voice - outside or inside (the text)
"... the person 'I' ..splits into a number of different figures: into an 'I' who is writing and an 'I' who is written, into an empirical 'I' who looks over the shoulder of the 'I' who is writing and into a mythical 'I' who serves as a model of the 'I' who is written. The 'I' of the author is dissolved in the writing." ___ Italo Calvino, Cybernetics and Ghosts
language in interior monologue
We can be instructed to behave in a particular way. - this ..can be viewed simply as responding to some environmental event.
We can also remember such an instruction and tell ourselves what to do. - ..in this way, [we have] internalized the instruction.
We believe that the process of following instructions is essentially the same whether we have told ourselves or have been told what to do. - Thus even here we have a kind of internalization of an external representational format.
___
Rumelhart, Smolensky, McClelland, and Hinton (1986)
Every emission of the voice is by its very essence ventriloquism. (Dolar)
... there is always something totally incongruous in the relation between the appearance, the aspect, of a person and his or her voice, before we adapt to it. It is absurd, this voice cannot possibly stem from this body, it doesn’t sound like this person at all, or this person doesn’t look at all like his or her voice. (Dolar)
The tension between honesty and deception can be traced back to the ambiguous relationship between the icon and the index. ... The activeness of the marionette is ..a result of both iconic and indexical representation. Its movements are mechanically caused by the puppeteer, via a series of strings that are in general perfectly visible to the spectator. These strings are not unlike the seam lines on a mould-made object – they are an index of the essential honesty of the entity. (Knappett)
Ventriloquism pertains to voice as such, to its inherently acousmatic character: the voice comes from inside the body, the belly, the stomach—from something incompatible with and irreducible to the activity of the mouth. The fact that we see the aperture does not demystify the voice; on the contrary, it enhances the enigma. (Dolar)
___
- Carl Knappett. Photographs, Skeuomorphs and Marionettes: Some Thoughts on Mind, Objects and Agency.
- Mladen Dolar, The “Physics” of the Voice. A Voice and Nothing More.
the words are incidental, silence is the essence
'Geminate speech - wholly dictated and structured by twinship - cannot be equated with an individual language.
...
The mistake made by all psychologist who have dealt with th[is] enigma.. is to have considered it as an ordinary language. ... trying to amass a vocabulary and extract a syntax from it. This is the fundamental contradiction of translating a geminate phenomenon into individual terms.
...
To do so is to overlook the essence and retain only the incidental. ..the words are incidental, silence is the essence. That is what makes a geminate language a phenomenon absolutely incomparable to any other linguistic form.'
(Twin) Paul
Gemini, Michel Tournier
Reggie Watts, TED Long Beach, CA 2012
Intimacy has nothing to do with a taboo. It’s just something private. I literally want to be in the middle of my actors: I don’t want that there is any distance between the two bodies, and I want to be between them. I don’t want to see their intimacy but experience it.
Catherine Breillat on Intimacy: www.cine-fils.com
The moral is that when it comes to belief, there is nothing sacred about skull and skin. What makes some information count as a belief is the role it plays, and there is no reason why the relevant role can be played only from inside the body.
The Extended Mind (1998). Andy Clark and David Chalmers
This chapter is an argument for pleasure in the confusion of boundaries and for responsibility in their construction.
Donna Haraway introducing A Manifesto for Cyborgs
I began to schedule appointments with the voices — 8 p.m. for 20 to 30 minutes — where I agreed to “meet” and interact with them, on the condition that they didn’t impose on me during the rest of the day. This attempt at compromise meant that they got the attention they sought but in a boundaried way that limited their disruption at other times.
Learning from the Voice in my Head
Eleanor Longden, TED Books