The Digital Space and Digital Voice

‘The continual integration of electronics with vocality marks a history that not only produces an electronic aesthetic but stages electronics as a general social and psychological framework – of fragmentation, multiplication, and dissipation.’ (Emphasis added). LaBelle, B., 2010, Raw Orality: Sound Poetry and Live Bodies, in Neumark, H., Gibson, R. and Van Leeuwen, T. (eds.), 2010, Voice: Vocal Aesthetics in Digital Arts and Media, MIT Press, p.166.

Contemporary usage and familiarity with digital equipment in the personal and professional arena is well established. The ubiquity of recording equipment, the Internet as a site to listen to radio podcasts and music, or to connect with the voices and faces of friends over Skype, and now with Snapchat and Vine, sending whole or intentionally fragmented moments, is now commonplace. Indeed what once was a laborious process of literally cutting films and audio tape, now can happen with the push of the button. This familiarity with the digital in a great way has aided my research. Scepticism has been minimised, and people are aware that the digital space is a place in which one could and should present projects and practice.

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