The exploitation of ‘tangible ghosts’: Conjectures on soundscape recording and its reappropriation in sound art

Abstract

As if the (terrified) Photographer must exert himself to the utmost to keep the Photograph from becoming Death. But I, already an object, I do not fight. (Barthes 1988: 14) Perhaps this is the ultimate way of playing with reality. (Baudrillard 1997: 38) Every day the urge grows stronger to get hold of an object at very close range by way of its likeness, its reproduction. (Benjamin 1992). © 1999, Cambridge University Press. All rights reserved.