How to (Re) Do(o) Things with Sounds

Post-Human, Post-Production, Post-Truth (Redux)

Reading time: 1 minutes


This audio paper and the companion video, are intended as an augmentation of the performative presentation which I gave at the Sound Art Matters conference - the title of this previous contribution being: How to Do(o) Things with Sounds: Or, Is It the Sounding of Sound Matter That Matters.

My presented provocation employed hybridised modes of interrogation, including: performed sound producing gestures; smartphone voice activated online searches; and the participation of conference attendees in a ‘pencil snapping’ action in response to a particular section of delivered text. Although the possibilities offered by the opportunity of an audio paper are much more in line with my ‘doing-thinking’ of the performative agency of the sonic, this alone still fails to fully articulate my desire to iterate and (re)iterate these concerns. My discussion of sonic materiality is one very much reliant on the mediatory act as both a non-representational discourse and an outcome.

I offer a redux, mash-up of content taken from my conference presentation, interweaved with a re-purposed examination of sonic mediation. “The theatre of repetition is opposed to the theatre of representation” (Deleuze, 1994, p10).

Audio Paper

To establish a context for the performance-video, I include here a short audio-only piece entitled, The Sounding of Plastic and Paper: Instances of a Deed-Oriented Ontology of the Sonic. 

Video Paper

GO BACK TO FOCUS: Sound Art Matters


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Abstract References: 
Williamson, A., (2010). The Collapsing Lecture. In ed. Butt. G., Performing / Knowing, Volume One of Art-Writing-Research, Goldsmiths College/Article Press. Birmingham City University. 
Deleuze, G. (2004) Difference and Repetition. New edition. London etc.: Continuum International Publishing Group Ltd.  


Peer review articleSonic AgencyReiterationperformativityNew MaterialismsDeed-Oriented Ontology

About the author(s)

Kevin Logan is a Manchester-born artist who for the past decade has been based in London, UK. His work embraces cross-disciplinary fields and incorporates installation, sound, moving-image and performance. He has exhibited and performed internationally, had audio-visual works screened in festivals worldwide, and had sound works on compilation CDs.

He is currently a part-time PhD candidate with the research organisation CRiSAP,

UAL. This research explores the sonic through mediation, performance, and pedagogic practices. His theoretical and experimental texts have been published in print and online, and he presents regularly at conferences and symposia. He is also a founder member of the collective thickear formed in London in 2012. 

Seismograf Peer Review

Seismograf Peer is a peer-reviewed online platform devoted to practical and theoretical issues in relation to contemporary music and sound art.

Seismograf Peer covers a broad range of topics including sonic materialities, modes of listening, philosophy of sound and music, aesthetics, technology and audio visuality as well as performative, curatorial and archival matters related to the sonic arts.

Seismograf Peer encourages a wide spread of methodologies and theoretical discourses, ranging from more established academic approaches such as sound studies, musicology, cultural studies and performance studies to artistic research, practice-based research, artist writing and media archaeology.


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Seismograf is supported by the Danish Arts Council, the Danish Composers’ Society and Independent Research Fund Denmark.