Abstract
The performative nature of this article simultaneously functions at multiple levels. It is at once an article about, among other things, the significance of the sonic and its qualitative differences from more ocular forms of expression, the inability to discern between that which occurs of its own accord and that which is manufactured, and questions of attention, intention, and expression. It is also an inversion of how sound is most often utilized in scholarship. In this case, rather than sounds explicating text, the text of this article functions as a kind of libretto for the sonic version of this piece.
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