Ever since MIT4 last week, I’ve been exploring a recent epiphany to do with the sonic characteristics, and not only the visual ‘construction’ of digital stories In this article from 1997, performance theorist and archaeologist Mike Pearson reflects on some of the issues raised by the Centre for Performance Research, Aberystwyth’s (then) recent conference on ‘An Archaeology of the Voice’. Archeology + Performance Studies – cool:
First, we might consider the voice as itself an artifact, manufactured through social practice. Its utterance is its raw material but as with a stone tool it is worked by hammering, splitting, trimming, polishing; as with a pot it is thrown, glazed, decorated, embellished, fired; as with a metal axe it is smelted, cast, moulded, alloyed. The processes of its fabrication are social, cultural, personal, artistic. It attains the deep patina of usage. Yet it is susceptible to wear, corrosion, mutation, decay; it displays marks of time and experience.