Arte da Linguagem na Era da Panofonia
DOI:
https://doi.org/10.14195/2182-8830_6-2_7Palavras-chave:
panofonia, performances vocais, auratura, voz sintética, síntese de fala, Ken Feingold, Mark BöhlenResumo
Este artigo chama a atenção para o género híbrido de performances vocais que misturam os supostos binários da fala humana e maquínica. Usando o conceito de panofonia, a autora refere as esculturas animatrónicas de figuras falantes criadas por Ken Feingold e aos robôs falantes de Mark Böhlen. Através de uma análise comparativa, a autora explora as diferentes metalinguagens poéticas que ambos os artistas criam para desconstruir estruturas comunicativas que caraterizam a era pós-humana.
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Referências
BARBER, John (2014). “Internet radio and electronic literature: locating the text in the act of listening.” Electronic Book Review, http://www.electronicbookreview.com/thread/electropoetics/internetradio
BIRO, Matthew (2007). “Introduction.” In Feingold, Ken. Selected Works 1978-2007. New York: Ken Feingold Studio. 5-7.
BÖHLEN, Mark (2006). “When a Machine Picks a Fight. Notes on Machinic Male-Dicta and synthetic hissy fits.” CHI 2006 Workshop: Misuse and Abuse of Interactive Technologies. Montréal Québec Canada. 9-12.
BÖHLEN, Mark (2008). “Robots with Bad Accent: Living with Synthetic Speech.” Leonardo. Vol. 4.3: 209-214. doi: 10.1162/leon.2008.41.3.209.
CAYLEY, John (2017a). “Aurature at the End(s) of Electronic Literature.” Electronic Book Review. http://electronicbookreview.com/thread/electropoetics/aurature.
CAYLEY, John (2017b). “Reconfiguration: Symbolic Image and Language Art.” Humanities 6.1, 8. doi:10.3390/h6010008.
CONNOR, Steven (2012). “Panophonia.” A talk given at Pompidou Centre, 22 February 2012. http://www.stevenconnor.com/panophonia/panophonia.pdf.
DROBNICK, Jim (2004). “Listening Awry.” Jim Drobnick, ed. Aural Cultures. Toronto: Banff, YYZ Books/ Walter Phillips Gallery Editions, 2004. 9–18.
FEINGOLD, Ken (2007). Selected Works 1978-2007. New York: Ken Feingold Studio.
FEINGOLD, Ken (2017). “Concerning If/Then and Hell.” [email to the author]
FLORENCE, Penny (2016). A Review Essay: John Cayley’s The Listeners. Hyperrhiz 14. http://hyperrhiz.io/hyperrhiz14/reviews/1-florence-aurature.html
HATCHER, Ian (2017). “Multiplicity: An Interview with Ian Hatcher.” Interviewed by Steven Wingate. Rain Taxi Online Edition. Published 8 May, 2017. http://www.raintaxi.com/multiplicity-an-interview-with-ian-hatcher/.
KLOBUCAR, Andrew (2017). “Programming’s Turn: Computation and Poetics.” Humanities 6.2, 27. doi:10.3390/h6020027 .
KLUSZCZYŃSKI, Ryszard Waldemar, ed. (2014). Robotic Art and Culture: Bill Vorn and his Hysterical Machines. Gdańsk: Centrum Sztuki Współczesnej “Łaźnia”.
KLUSZCZYŃSKI, Ryszard Waldemar (2014).“Finding Oneself in Others. Introductory Reflections on Ken Feingold’s Art.” Ed. Ryszard Waldemar Kluszczyński. Ken Feingold: Figury mowy/Figures of Speech. Gdańsk: Centrum Sztuki Współczesnej “Łaźnia”. 6-23.
LABELLE, Brandon (2010). “Raw Orality: Sound Poetry and Live Bodies.” Ed. Norie Neumark, with Ross Gibson, and Theo van Leeuwen. VOICE: Vocal Aesthetics in Digital Art and Media. Cambridge, MA: MIT Press.147-71.
NEUMARK, Norie with Ross Gibson and Theo Van Leeuwen (2010). VOICE: Vocal Aesthetics in Digital Art and Media. Cambridge, MA: MIT Press.
NEUMARK, Norie (2010). “Doing Things with Voices: Performativity and Voice.” Ed. Norie Neumark, with Ross Gibson and Theo van Leeuwen. VOICE: Vocal Aesthetics in Digital Art and Media. Cambridge, MA: MIT Press. 95-119.
OŻÓG, Maciej (2009). “Art Investigating Science: Critical Art as a Meta-discourse of Science.” Proceedings of the Digital Arts and Culture Conference, University of California, December 12-15, 2009.
PETTMAN, Dominic (2017). Sonic Intimacy: Voice, Species, Technics (or, How to Listen to the World). Stan-ford, CA: Stanford University Press.
SHANKEN, Edward (2014). “Love is a Good Place to Start: Interview with Ken Feingold.” Ed. Ryszard Waldemar Kluszczyński. Ken Feingold: Figury mowy/Figures of Speech. Gdańsk: Centrum Sztuki Współczesnej “Łaźnia”. 108-137.
WÓJTOWICZ, Ewa (2014). “Writing Personalities: Art Vis-á-vis Artificial Intelligence. Ken Feingold’s Figures of Speech.” Ed. Ryszard Waldemar Kluszczyński. Ken Feingold: Figury mowy/Figures of Speech. Gdańsk: Centrum Sztuki Współczesnej “Łaźnia”. 76-107.
BIRO, Matthew (2007). “Introduction.” In Feingold, Ken. Selected Works 1978-2007. New York: Ken Feingold Studio. 5-7.
BÖHLEN, Mark (2006). “When a Machine Picks a Fight. Notes on Machinic Male-Dicta and synthetic hissy fits.” CHI 2006 Workshop: Misuse and Abuse of Interactive Technologies. Montréal Québec Canada. 9-12.
BÖHLEN, Mark (2008). “Robots with Bad Accent: Living with Synthetic Speech.” Leonardo. Vol. 4.3: 209-214. doi: 10.1162/leon.2008.41.3.209.
CAYLEY, John (2017a). “Aurature at the End(s) of Electronic Literature.” Electronic Book Review. http://electronicbookreview.com/thread/electropoetics/aurature.
CAYLEY, John (2017b). “Reconfiguration: Symbolic Image and Language Art.” Humanities 6.1, 8. doi:10.3390/h6010008.
CONNOR, Steven (2012). “Panophonia.” A talk given at Pompidou Centre, 22 February 2012. http://www.stevenconnor.com/panophonia/panophonia.pdf.
DROBNICK, Jim (2004). “Listening Awry.” Jim Drobnick, ed. Aural Cultures. Toronto: Banff, YYZ Books/ Walter Phillips Gallery Editions, 2004. 9–18.
FEINGOLD, Ken (2007). Selected Works 1978-2007. New York: Ken Feingold Studio.
FEINGOLD, Ken (2017). “Concerning If/Then and Hell.” [email to the author]
FLORENCE, Penny (2016). A Review Essay: John Cayley’s The Listeners. Hyperrhiz 14. http://hyperrhiz.io/hyperrhiz14/reviews/1-florence-aurature.html
HATCHER, Ian (2017). “Multiplicity: An Interview with Ian Hatcher.” Interviewed by Steven Wingate. Rain Taxi Online Edition. Published 8 May, 2017. http://www.raintaxi.com/multiplicity-an-interview-with-ian-hatcher/.
KLOBUCAR, Andrew (2017). “Programming’s Turn: Computation and Poetics.” Humanities 6.2, 27. doi:10.3390/h6020027 .
KLUSZCZYŃSKI, Ryszard Waldemar, ed. (2014). Robotic Art and Culture: Bill Vorn and his Hysterical Machines. Gdańsk: Centrum Sztuki Współczesnej “Łaźnia”.
KLUSZCZYŃSKI, Ryszard Waldemar (2014).“Finding Oneself in Others. Introductory Reflections on Ken Feingold’s Art.” Ed. Ryszard Waldemar Kluszczyński. Ken Feingold: Figury mowy/Figures of Speech. Gdańsk: Centrum Sztuki Współczesnej “Łaźnia”. 6-23.
LABELLE, Brandon (2010). “Raw Orality: Sound Poetry and Live Bodies.” Ed. Norie Neumark, with Ross Gibson, and Theo van Leeuwen. VOICE: Vocal Aesthetics in Digital Art and Media. Cambridge, MA: MIT Press.147-71.
NEUMARK, Norie with Ross Gibson and Theo Van Leeuwen (2010). VOICE: Vocal Aesthetics in Digital Art and Media. Cambridge, MA: MIT Press.
NEUMARK, Norie (2010). “Doing Things with Voices: Performativity and Voice.” Ed. Norie Neumark, with Ross Gibson and Theo van Leeuwen. VOICE: Vocal Aesthetics in Digital Art and Media. Cambridge, MA: MIT Press. 95-119.
OŻÓG, Maciej (2009). “Art Investigating Science: Critical Art as a Meta-discourse of Science.” Proceedings of the Digital Arts and Culture Conference, University of California, December 12-15, 2009.
PETTMAN, Dominic (2017). Sonic Intimacy: Voice, Species, Technics (or, How to Listen to the World). Stan-ford, CA: Stanford University Press.
SHANKEN, Edward (2014). “Love is a Good Place to Start: Interview with Ken Feingold.” Ed. Ryszard Waldemar Kluszczyński. Ken Feingold: Figury mowy/Figures of Speech. Gdańsk: Centrum Sztuki Współczesnej “Łaźnia”. 108-137.
WÓJTOWICZ, Ewa (2014). “Writing Personalities: Art Vis-á-vis Artificial Intelligence. Ken Feingold’s Figures of Speech.” Ed. Ryszard Waldemar Kluszczyński. Ken Feingold: Figury mowy/Figures of Speech. Gdańsk: Centrum Sztuki Współczesnej “Łaźnia”. 76-107.
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Publicado
2018-08-10
Como Citar
Górska-Olesińska, Monika. 2018. «Arte Da Linguagem Na Era Da Panofonia». Matlit: Materialidades Da Literatura 6 (2):87-98. https://doi.org/10.14195/2182-8830_6-2_7.
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