© Kasper Vang
Peer-reviewed audio paper

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

Post-Human, Post-Production, Post-Truth (Redux)
15. November 2017
Fokus: Sound Art Matters
  DOI https://doi.org/10.48233/seismograf1911


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



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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.  


Deed-Oriented Ontology
New Materialisms
Sonic Agency