...Dominic Pettman The “acousmatic voice”—as famously defined and deployed by Michel Chion and Kaja Silverman—has in recent years unanchored itself from its cinematic context and become a free-floating aspect of the information age. We thus find ourselves adrift in a sea of solicitous voices without...

..., it strikes me as feasible and sensible that his rejection of causalism in music stems only in part from the practices of musique concrète and Schaeffer’s insistence on acousmatic listening (that is, listening without the visual 254...

.../article717.htm . Dufort, Louis. Response to “ Re: Acousmatic—Do the Intent and the Listening Conditions Alter It? ” [Online posting]. Dec. 2006 . http://alcor.concordia.ca/~kaustin/cecconference/current/9211.html . Foster, Susan Leigh. “The Ballerina's Phallic Pointe.” Corporealities—Dancing...

... a Whisper.” 22.2/3: 168–89. Parla, Ayse. “Undocumented Migrants and the Double Binds of Rights Claims.” 22.1: 64–89. Pettman, Dominic. “Pavlov’s Podcast: The Acousmatic Voice in the Age of MP3s.” 22.2/3: 140–67...

... In Pursuit of the Object of Sound “actually did not sing” (248–49). In an inversion of the acousmatic, the Sirens are reduced to lurid visuals: they are “lovelier than ever” in their part-human, part-animal creatureliness, “[clinging...

... of its source. There is always a disparity between the floating nature of the sound and its fixation. This is where the whole discussion about the acousmatic voice comes in. Acousmatic is the term that Pierre Schaef- fer, in his...

... for this density is paid for with the body of the performer. The strain of inaudibility is registered in traces on the body that fail to be perceptible; the piece itself is played, then, truly, by heart. The opposite of Pythagorean acousmatics...

... the concept of the acousmêtre , the voice delinked from an onscreen image of a body producing it (Chion). The idea that power relations are generated through the opposition between onscreen synchronized voices and offscreen acousmatic voices is elaborated in Silverman’s now classic work, The Acoustic Mirror...

... to the regulative frame of the cinematic image. To my mind, Chion intimates the nonrelational relationality of sound: it is everywhere because it is nowhere as unvisualized, acousmatic spectacle. In order to make this latter point more vivid, I...