PALGRAVE STUDIES IN SOUND Series Editor: Mark Grimshaw-Aagaard SOUND POETICS Interaction and Personal Identity Seán Street Palgrave Studies in Sound Series editor Mark Grimshaw-Aagaard Aalborg University Aalborg, Denmark Palgrave Studies in Sound is an interdisciplinary series devoted to the topic of sound with each volume framing and focusing on sound as it is conceptualized in a specific context or field In its broad reach, Studies in Sound aims to illuminate not only the diversity and complexity of our understanding and experience of sound but also the myriad ways in which sound is conceptualized and utilized in diverse domains The series is edited by Mark Grimshaw-Aagaard, The Obel Professor of Music at Aalborg University, and is curated by members of the university’s Music and Sound Knowledge Group More information about this series at http://www.springer.com/series/15081 Seán Street Sound Poetics Interaction and Personal Identity Seán Street Bournemouth Media School Bournemouth University Poole, UK Palgrave Studies in Sound ISBN 978-3-319-58675-5 ISBN 978-3-319-58676-2 (eBook) DOI 10.1007/978-3-319-58676-2 Library of Congress Control Number: 2017944179 © The Editor(s) (if applicable) and The Author(s) 2017 This work is subject to copyright All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed The use of general descriptive names, registered names, trademarks, service marks, etc in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations Cover illustration: © John Rawsterne/patternhead.com Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Springer International Publishing AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland I celebrate myself, and sing myself… Walt Whitman, ‘Song of Myself ’ For Jo Preface: Poetic Making This is a book with the idea of poetry at its heart, by one who writes poetry, who makes radio and who believes in an intimate connection between the two disciplines In it, the author will seek to explore the relationship between sound, interaction and identity, using the concept of the poetic as both metaphor and actual expression of the human condition It is a short book, as books by poets sometimes are, and it is part of the author’s ongoing research into the philosophy of sound, examining sonic signals as something heard both internally and externally, through imagination, memory and direct response In doing so, it seeks to explore how the mind ‘makes’ sound through experience, as it interprets codes on the written page, and creates an internal leitmotif that then interacts with new sounds made through an aural partnership with the external world, chosen and involuntary exposure to music and messages, both friendly and antagonistic to the identity of the self It will create an argument for sound as an underlying force that links us to the world we inhabit, an essential part of being in the same primal sense as the calls of birds and other inhabitants of a shared earth Before proceeding, however, it is necessary for me to define this a little further and to provide a personal context for the motive behind this writing What identity? Interaction with whom? Above all, why ‘poetics’? In 1958, four years before his death, Gaston Bachelard, professor of philosophy at the Sorbonne in Paris, published a remarkable book, called La poétique de l’espace The book was notable for many things, not least the way it took an everyday environment, the intimate locations in which ix x Preface: Poetic Making we each of us live our lives, and showed them to be places with significances we had not previously dreamed of Published in English in 1964 as The Poetics of Space, the book begins with an introduction in which Bachelard confesses to a degree of soul-searching as he enters upon his exploration: A philosopher who has involved his entire thinking from the fundamental themes of the philosophy of science, and followed the main line of the active, growing rationalism of contemporary science as closley as he could, must forget his learning and break with all his habits of philosophical research, if he wants to study the problems posed by the poetic imagination [Bachelard, xv] Here, observed Bachelard, was a realm of thinking where the traditional academic values counted for little, where receptivity and intuition took precedence because the idea of the poetic involves the understanding of concepts that in many cases bypass the intellect, a flash of light, a momentary impression in which ‘the poetic image is a sudden salience on the surface of the psyche’ [ibid.] His was to be a quest based not on causality, but in ‘reverberation’ and ‘in this reverberation, the poetic image will have a sonority of being’ [ibid., xvi] Poetry as an idea to be employed in this present writing belongs more to a state of mind than printed words (although it is that too) Poetry was after all, sound before it was print, spoken before it was written text Beyond that, however, ‘the poetic’ owes itself to the Greek for making, for a creative act We create artistically to express ourselves and to communicate with others Thus, I would argue that poetics, be they of space or of sound, are not concerned with a minority interest or elitist means of luxurious expression, but a fundamental exploration of what it means to be human In his 1948 autobiography, the American poet, William Carlos Williams, referred to the writing of his great, book-length poem Paterson, which is set in and around the New Jersey town of the same name, as an attempt ‘to find an image large enough to embody the whole knowable world about me’ because ‘a man is indeed a city, and for the poet there are no ideas but in things’ For Williams, place and sound became one with the human life around which it existed; the city noise, the people with whom which one interacted daily, and in particular, the Passaic River and falls with which the place is so strongly identified for anyone who knows the location The roar of the giant waterfall is everywhere in the long poem, Preface: Poetic Making xi either in the foreground, or as a distant but ever-present background soundscape, and ‘in the imagination this roar is a speech or a voice, a speech in particular; it is the poem itself that is the answer’ [Williams, 390–392] William Carlos Williams was, by profession, a medical doctor; he worked as a general practitioner, serving hundreds of patients, visiting their homes, helping them to health and sometimes seeing them die His two defining personal truths—the scientific and the poetic—were indivisible, and both operated within the interactive world of hometown America He practiced medicine, but, like Bachelard, he remained accessible to ‘a sudden salience on the surface of the psyche’ This book will cover many aspects of identity, but at its core will be the fervent encouragement to listen actively and critically; only by so doing will the poetics of sound offer up their prizes, showing how we are, fundamentally sonic beings, first and foremost I have worked as a radio practitioner for most of my life, and from the start, I felt the kindred disciplines of sound and poetry working together in the most meaningful expressive acts within my experience Sound and poetry are kin; they both provide images that the mind is required to interpret, but they are not prescriptive, allowing each of us our own personal sets of pictures Both can be transcendent, taking us to places beyond the physical limitations of our immediate environment, and both are at the root, sonic In an early edition of the BBC’s journal, Radio Times, an unnamed feature writer suggested that ‘it is not a strange thing that men have made poems about broadcasting, for the new magic…is of the very stuff of poetry’ [Radio Times, December 1927, quoted in Street, (1) 10] The pioneers of radio, including the BBC’s first managing director, later its first director-general, John Reith, were practical, technically adept and pragmatic, yet they were also visionary and imaginative Reith himself, in his book, Broadcast Over Britain, published in 1924, just two years after the foundation of the (then) British Broadcasting Company, saw an almost mystical power in the new medium: When we attempt to deal with ether we are immediately involved in the twilight shades of the borderland; darkness presses in on all sides, and the intensity of the darkness increased by the illuminations which here and there are shed, as the investigators, candle in hand and advancing step by step, peer into the illimitable unknown [Reith, 223] 106 S STREET others, the BBC radio producer Val Gielgud, with Holt Marvell in their crime novel, Death at Broadcasting House Recording technology seemingly crossed the last frontier and enabled the self to speak as it always had: For a few seconds there was only the hiss of the running of the steel tape Then a whining cockney voice, vibrant with passion, echoed weirdly through the darkened room Almost furtively Caird looked around at the faces Which of them, he wondered, shared his own feeling of horror – almost of incredulity – as they listened to this voice of a dead man; a man whom most of them had seen alive and well a little over twenty-four hours ago; and whose corpse now lay on a mortuary slab under police guard? (Gielgud & Marvell, 44) The sound of the self, and the voice, the ultimate interactive instrument linking the individual and the rest of society, is a product of what we are, and most of that is invisible, shaped as it is by thought, experience and memory As Nancy says: ‘Resonance is at once that of a body that is sonorous for itself and resonance of sonority in a listening body that, itself resounds as it listens’ (Nancy, 40) Our own personal sound connects us by a transparent thread to the world; the poet and classicist Anne Carson reminds us of how intimate that communication is: ‘Every sound we make is a bit of autobiography It has a totally private interior yet its trajectory is public A piece of inside projected to the outside’ (Carson, 130) Roland Barthes famously wrote of the ‘grain’ of voice, rooted in what and where we have come from, ‘the materiality of the body speaking its mother tongue; perhaps the letter…’ (Barthes, 182) and more specifically ‘the body in the voice as it sings, the hand as it writes, the limb as it performs’ (Ibid., 188) We may take this further and allow ourselves the idea that the we may perhaps leave a print of ourselves on the very objects that carry the signals to which we listen The American author and academic, David Suisman, invoking questions raised by Eric Rothenbuhler and John Durham Peters, in their article entitled ‘Defining Phonography: An Experiment in Theory’,10 has pointed out that ‘a vinyl LP record that has been played a hundred times sounds different—with its pop, clicks, and surface noise—than one whose historical journey has been shorter or less momentous The stylus is like a plough in the furrows of the past, churning up sounds long since buried Each time the needle is set in 6 SEARCHING FOR THE SOUND OF SELF 107 the groove, the auditor bears witness to a physical connection between the past and the present’ (Suisman, in Stadler, 15) Likewise, to extend this principle, I may consider that, as I have grown through the world, a sound patina has attached itself to me; I am after all, an analog being, and just as the needle in the groove of a disc or a cylinder picks up the hints of past playings: scratches, dust, fingerprints and so on, time has carved its sound on my being, as it has left its emotional marks upon my face Technology has given us the means to counter time by recalling the moment and place of previous interaction through the physical evidence of its existence through sound The irony is that technology has also created a world in which we may feel as alone as we have ever been; receding into our virtual worlds, even in group situations, where we increasingly interact with others at second or even third hand, or closing them out entirely by moving behind personal screens into electronic fantasy worlds Through social media, we declare our ‘status’ updates to ‘friends’ who ‘follow’ us, ‘block’ us and ‘unfriend’ us often without meeting one another at all, let alone communicating through sound Memory is changing too; instant access to information negates the requirement for the process of concept learning and the evolution/development of ideas, and our brains are adjusting accordingly It becomes easier all the time to leap from the question to the answer without experiencing the journey, so we arrive without knowing how we got here Further, when we arrive, we may feel that the ‘new’ is so full of ubiquitous shifting and progression that it has lost the ability to shock us, to amaze us At the same time, perhaps we may yet be susceptible to the involuntary tremor caused by the memory of a sound when it catches us unawares, and this may be very simple, say, a single note or the gasp of a voice, something that awakens listening and through it, recognition At its most sophisticated, it takes the form of music, the power of which, as Oliver Sacks writes, ‘whether joyous or cathartic, must steal on one unawares, come spontaneously as a blessing or a grace’ (Sacks, 328) ‘Daventry Calling’ Yet beneath this sophistication, there lies something more primal as we have seen It has been noted that there is the potential for a particular voice to dominate a power struggle through force of personality, confidence and conviction conveyed through vocal dynamics, be that culture 108 S STREET a representation of class or knowledge The so-called ordinary voice becomes relegated and marginalised, and the ‘voice beautiful’ in song and spoken word may be felt to hold a tyranny of expression that intimidates and inhibits the statement of other identities, just as a perceived ‘perfect’ human face or body may earn its owner preferential visual attention, precedence or gravitas The natural truth—if not the societal trend—may be seen as somewhat different Voice is the ultimate shared expression of the self It is the form of expression of which all else is an extension, and it is at its root, animal ‘It is easy to observe,’ writes Georges Bataille, ‘that the overwhelmed individual throws back his head while frenetically stretching his neck so that the mouth becomes, so far as possible, a prolongation of the spinal column…as if explosive impulses were to spurt directly out of the body through the mouth, the form of screams’.11 Bataille’s image is reminiscent of some of the paintings of Francis Bacon and conveys an essence of a basic being that is both fundamental and disturbing in its primacy Every voice, dialect, accent and language is part of a sonic murmuration that envelopes the earth, if not consciously audible, then at least as a metaphor It shows itself most obviously in crowded places, but even when distant and not consciously present, it remains symbolically part of the zeitgeist of the time At its most basic and fundamental level, it is manifested in the act of our breathing, and when we recognise this, we go some way towards repairing, in Noah Pikes’s words, ‘ the artificial separation that the classical voice has…made between the clear bright sound and that of breath alone, carrying little or no vocal sound with it You hear it when sighing, yawning or whispering and it is a basic and expressive part of our primal vocal world…It is the very life energy of the voice itself We recognise its importance…in the double sense of the word “atmosphere” (breath-sphere) One meaning of psyche originally was “breath.” In including the breath sound as an integral part of the voice…we return psyche to voice and give it atmosphere’.12 Thus, the sound of the self that responds is the breath of life, its formant; little wonder that we find ourselves moved or repelled by the codes and messages the world sends us, according to personality and individual circumstance We breathe to the rhythm of our own personal drum, while subtly contributing to the ongoing music of an orchestra of which we are ourselves a member We play our music for ourselves, and it blends with our society, a personal identity that feeds into a community and 6 SEARCHING FOR THE SOUND OF SELF 109 shapes the sound of the tribe Egon Friedell, writing at the start of a decade that would take sectarianism and racism to its most violent conclusion in history, wrote: ‘there are national gods, national identities…This is the real dividing line between peoples and not race or custom,…not politics or social structure…The god is everywhere another god’ (Friedell, 230) We may extend Friedell’s idea to the god in each individual, that listens, responds and speaks silently The ‘god’ of which he speaks is the self, and in this sense, it is an idea echoed by Joseph Campbell, who wrote of inner and out sets of ‘rules and gods,’ with a conflict between society’s governing principles that are ‘always “out there”‘ and ‘the sense of the inward-turned meditation There is where the god is that is dictating to you’ (‘Creativity’ in Campbell, 152) Here is the voice at the root of things, and it speaks to us and through us at the same time, dictating the words that express itself Michel de Certeau said ‘the voice makes people write’ (de Certeau, 161), but it also makes us sing, speak, think, create, interact and crucially listen We are the kin of that solitary Hawaiian bird, calling out in the hope of an answer, sending out our call sign, awaiting recognition, a response from somewhere, as Alfred Noyse sent out his words from the Daventry transmitter on Borough Hill, Northamptonshire in 1925: Daventry calling…Daventry calling… Like the bird, our sounds, whether they be words or not, can have the capacity to express something beyond their meaning within their very euphony, as T.S Eliot said: The feeling for syllable and rhythm, penetrating far below the conscious levels of thought and feeling, invigorating every word; sinking to the most primitive and forgotten, returning to the origin and bringing something back, seeking the beginning and the end (Eliot, 118–119) We each have our own call sign, station identification signal; we possess at our centre, a propensity for sound, and the instinct to share it Every voice, every individual behind every voice is unique, and there is an unbroken thread that links each sonic identity from its first awareness of sound—to the memory of the womb—through to the man or woman who stands marginalised or neglected or unheard and tells the world: 110 S STREET ‘listen to me’ The two-way process of communication begins with a call, but a conversation requires there to be a response The silent sound heard as a book’s pages turn, the mind that accepts or rejects the messages media makes, the policy-makers and would-be leaders, the solitary being who finds themselves dumb-struck by sickness or despair: the principles behind these are one and the same, and the link is the sound of self, the set of notes inside the mind that has developed and grown into a complex fugue of thoughts, ideas and ideologies through a lifetime of interaction Whether or not we possess unimpaired sound faculties, the most powerful hearing aid at our disposal is our brain Many years ago, the composer Pauline Oliveros created a meditation for herself: ‘Listen to everything all the time and remind yourself when you are not listening’ (Oliveros 28) It is necessary to make the act a conscious one, because our ears, unlike our eyes, never close, and so we need to refocus, recalibrate their sensitivity in partnership with the mind in order to receive signals we might otherwise miss, in other words to locate and understand the sound under the sound Gaston Bachelard extends this to the silent sound of meaning, which ‘can be found if readers are willing re-establish…the primacy of what is said over what is heard’ (Bachelard, 246) This is sound interaction at its most subtle and profound We only receive one chance at that first passing impression of a sound as it brushes through our mind, either physically or imaginatively; certainly, recording may enable us to replay it, but that can only be a memory The live event happens and is past, in Oliveros’s words: ‘I listen so that I may be here now even though now has already gone’ (Oliveros 249) We are what we hear, and the voice—spoken, written and cultural—with which we seek to engage the world in interaction affirms that We are also made of our own sound To communicate our true sound is a right and a duty It is part of the sound of our own time and place We might ask, what would be the voice with which we as a species would wish to be heard by other worlds in the universe? To dwell on that thought would be to open a debate of bewildering complexity For now, it is best that we begin with ourselves, listen critically, carefully and compassionately, and express ourselves with sound that remains faithful to our unique human essence, part of the world, but a world in ourselves at one and the same time We live in the moment, and in concert with the moment, we sing 6 SEARCHING FOR THE SOUND OF SELF 111 Notes 1. Pikes, Noah, ‘Giving Voice to Hell’ in Spring 55: A Journal of Archetype and Culture Putnam, Connecticut, 1994 2. Toop, David, interviewed in The Sound of Fear, BBC Radio 4, 19 October 2011 http://www.bbc.co.uk/programmes/b015zpf5 Accessed 31.12.2016 3. Sullivan, Anne and Keller, Helen: demonstration filmed in 1930 https:// www.youtube.com/watch?v=GzlriQv16gg Accessed 13.1.2017 4. Raine, Kathleen, in conversation with the author, September 1994 5. In early 2017, the US company, Canary Speech, demonstrated the development of software in this area See BBC News report: Can Your Voice Reveal Whether You Have an Illness? http://www.bbc.co.uk/news/business-38637257, (accessed 17/1/2017) 6. Linguistics and the detailed study of the evolution of language are outside the remit of this short book The work of Noam Chomsky among others has examined this area at length, and I would refer the interested reader to such writings Theories include such as ‘some time ago there were primates with pretty much our sensorimotor and conceptual-intentional systems, but no language faculty, and some natural event took place that brought about a mutation that installed a language faculty’ (Chomsky, 62) It is an area of uncertainty and often heated debate See also Tom Wolfe’s attack on Darwin and in particular Chomsky (Wolfe, 86–107) 7. Shakespeare, William: The Merchant of Venice, Act 3, Scene 8. See Preston, Jon: Voice in Radio (Unpublished PhD thesis) London: Goldsmiths, University of London, 2017 9. Abse, Dannie, from an interview in The Observer, June 1990, p 61 10. Rothenbuhler, Eric W and Durham Peters, John: ‘Defining Phonography: An Experiment in theory’, in Musical Quarterly 81, (1997), pp 242–264 11. Bataille, Georges ‘Mouth’ from Critical Dictionary and Related Texts, originally appearing in Documents, 1929–1930, ed George Bataille, as included in Encyclopaedia Acephalica, ed Alaister Brotchie (London: Atlas Press, 1995), 62–64, and quoted here in Kahn, 348 12. 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William Carlos Williams New York: New Directions Books, 1967 Wolfe, Tom The Kingdom of Speech London: Jonathan Cape, 2016 Wong Yeang Chui, Jane Affirming the Absurd in Harold Pinter London: Palgrave MacMillan, 2013 Wood, James History of International Broadcasting, Volume London: Institution of Electrical Engineers, 2000 Index A Abba, 45 Alzheimer’s, 100 Anderson, Laurie, B Bachelard, Gaston Air and Dreams, 17 The Poetics of Space, viii Baldwin, Stanley, Barbican Arts Centre, 73 BBC features department, 9, 102 Northern region, 86 Beatles, The, 39, 45 Benjamin, Walter, 72 Berlyne, Daniel, 43 Black, Colin, 41 Brecht, Bertolt, 68, 74, 87 Bridson, D.G., 86, 87 Burrows, Arthur, C Cage, John 4’33”, 31, 95 Chomsky, Noam, 71, 87 Churchill, Winston, 53 Coppola, Francis Ford Apocalypse Now, 8, 29 D Daily Telegraph, 45 Darwin, Charles, 100, 101 Daventry Transmitter, 109 De la Mare, Walter, 13 Descartes, Rene, 38 Doer, Anthony All the Light We Cannot See, 25 Dreyer, Carl The Passion of Joan of Arc, 29 E Edison, Thomas, 24, 105 Emoto, Masaru, 104, 105 © The Editor(s) (if applicable) and The Author(s) 2017 S Street, Sound Poetics, Palgrave Studies in Sound, DOI 10.1007/978-3-319-58676-2 119 120 Index F Facebook, 78 Freud, Sigmund, 59, 81 Friz, Anna The Clandestine Transmissions of Pirate Jenny, 80 G Gascoyne, David, 99 Gielgud, Val Death at Broadcasting House, 106 Godwin, Fay Land, 81 Goebbels, Joseph, 69, 70 Griessing, Otto, 69 H Handphone Table, The (Laurie Anderson), 83 Harding, E.A (‘Archie’), 9, 102 Hardy, Thomas The Autobiography of Thomas Hardy, The Return of the Native, 22 ‘Silences’ (Poem), 13 Hawaiian Kaua’i Bird (Moho braccatus), 90 Hazlitt, William The Letter-Bell Hitler, Adolf, 48, 69 Holst, Gustav Egdon Heath, 22, 23 Hopkins, Gerard Manley ‘The Habit of Perfection’, 35 Hull, John M., 40, 58 I Idem-identity, 44, 45 Ipse-identity, 44 Isserlis, Steven, 40 ITMA, 51 J Jones, David The Anathemata, 103 Jonson, Ben One Man in his Humour, 76 Joyce, William (‘Lord Haw-Haw’), 69 K Keats, John ‘To Autumn’, 26 ‘Ode on a Grecian Urn’, 20 Keller, Helen, 98, 102 Kubrick, Stanley 2001, A Space Odyssey, L Lynn, Vera, 45 M MacColl, Ewan, 87 Marconi-Stille (Blattnerphone) recording, 105 Marley, Bob, 45 McCormick, Neil, 45 Melrose Abbey, 18, 19 Mitchell, Denis, 87 Mix-tapes, 45 Murch, Walter, 8, 29 Music While you Work, 50, 51 Muzak, 77 N Nazi radio broadcasts, 48, 69 Non-Cochlear listening, 12, 14, 98 Index Noyse, Alfred, 109 'The Dane Tree', x O Ovid Metamorphoses, 96 Owen, Wilfred ‘Anthem for Doomed Youth’, 26 ‘But I was Looking at Permanent Stars’, 26 Oxford English Dictionary, 46 P Parker, Charles, 87 Parkinson’s Disease, 100 Paulin, Tom, 19 Piette, Adam, 23 Pikes, Noah, 4, 94, 108 Pinter, Harold, 28, 88 Pound, Ezra, 69 Priestley, J.B Postscript, 52 Proust, Marcel In Search of Lost Time, 62 R Radio Ballads, The, 87 Radio Times, ix Raine, Kathleen, 99 Reith, John, 6, 42 Broadcast Over Britain, ix Ricoeur, Paul, 44 Robinson, Tim Connemara, 59 Rodenburg, Patsy, 73, 76, 78, 79, 85 Royal National Theatre, 73 121 S Schafer, R Murray, 24 Schizophrenia, 62, 63 Scott, Walter ‘The Lay of the Last Minstrel’, 18 Shakespeare, William A Midsummer Night’s Dream, 77 King Lear, 27 The Merchant of Venice, 111 Shen, Patrick In Pursuit of Silence, 67 Shewring, Chu-Li, 82 Social Media, 10, 51, 71, 78, 94, 107 Stenger, Susan Sound Strata of Coastal Northumberland, 30, 32 Stravinsky, Igor The Rite of Spring, 40 Sullivan, Anne, 98 T Tavener, John The Protecting Veil, 40 Thatcher, Margaret, 73 Thomas, Dylan Under Milk Wood, 15, 21 Thomas, Edward Oxford, 68 In Pursuit of Spring, 68 Twitter, 71, 78 V Volksempfänger (‘People’s Radio’), 69 W Watson, Chris, Welles, Orson War of the Worlds (Radio broadcast), 88, 90 122 Index Wells, H.G The Shape of Things to Come, 86 The War of the Worlds (Book), 14, 79 Williams, William Carlos, viii, ix Wolfson, Alfred, 4, Wordsworth, William, 5, 63 Wundt, Wilhelm ‘U-Shaped Curve’, 43 ‘Wundt Curve’, 43 ... responses and that we transmit and receive signals to and from the world around us in a variety of ways, personal, communal, cultural and political Further, that the sound within us and the sound. .. xiii Contents Poetry and the Idea of Sound Silent Sound: Imagination and Identification 17 Transmitters and Receivers: Shared and Selected Sound 37 Invasion of the Sound Aliens 57 Uncomfortably... University, and is curated by members of the university’s Music and Sound Knowledge Group More information about this series at http://www.springer.com/series/15081 Seán Street Sound Poetics Interaction