Abstract and Keywords
Building upon the queer phenomenology of Sarah Ahmed and recent work in sound studies, this chapter examines two related practices (field recording and the transcription of field recording) to argue for a general position: sound, as such, is queer. The author transcribes two field recordings, rendering their immanent flow of recorded sound and speech into written form, and comments upon moments of inadequate transcription that are said to demonstrate the queerness of sound. Focusing on moments in which an object or event fails to generate a legible sonic trace, the resistance of sound to transcription functions as a test case for the theoretical assertion, widely held at present in queer theory, that queerness denotes the nonnormative.
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