From the Author:
The essay is about how "Phonobellow" both comments on and participates in the epistemological and perceptual broadening subjects might experience when encountering new technologies. It does this through its narrative elements, which surround the invention of the phonograph and high-speed camera; through a variegated compositional practice indebted to spectral music and to the philosophy of acousmatic listening by Pierre Schaeffer; and through the novelty of the phonobellow itself. I trace all of these elements back through French spectral composers including Grisey, Saariaho, Murail, and Risset; and (following "Phonobellow") farther back to Edison and Muybridge and Rilke.
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