Resounding Relativity
by Camille Norment
The coordinates of the monument intersected several time-space trajectories
including the physical locations where pivotal moments of the various battles
took place and the abstract ambience of their respective natural environments.
Already when approaching the looming stone structure, the sound of ocean
waves could be heard crashing against the rocks, eager to silence the vehicles
that relentlessly encircled the monument so rudely without reverence. The
uncanny dislocation of myself and these unreachable spaces was both thrillingand unsettling; it was a struggle to keep sense of where I was and what it
meant. The observation deck provided long-range sensory devices allowing
visitors to access life at the far reaches of the city as it continued along with its
various tasks unaware of our remote invasion. I descended into theunderground passage intersected with the depths of a mumbling waterway sopresent I found myself holding my breath. The composition of these experiencesleft me in such awe and contemplation that I lingered, ignoring the advice that
if walked too slowly, I might actually drown… 1
The three distinct sound treatments in Sound Island (1994), a multi-tiered soundsculpture that occupied the L’Arc de Triomphe in Paris, situate it as a work that
encapsulates the breadth of Bill Fontana’s resoundings – the relocation of sound fromone site to embody another. The underground passages were concerned primarily
with the aesthetics of unheard ambient music as experienced through its real-timesonic occupation by the English Channel. On the ground level, the face of themonument resounded to reflect the historical past and the cultural present through theforceful sound of ocean waves splashing against the Normandy Coast, transported inrecollection of events past and in critique of environmental acoustic ecology. The
observation deck attempted to satisfy Fontana’s long felt desire to ‘hear as far as theeye can see’ by transmitting real-time sonic information from sixteen different
locations in Paris from cathedrals to cafes to their respective view points along thedeck. All together, Sound Island networked a body of environmental ambient music
whose musical power and sociological meaning was rendered by its juxtaposition
with a new location.
Bill Fontana is a lover of sound. Sometimes he falls in love with a sound and thensimply tries to find a new home for it.2 While his soundscapes readily lendthemselves to formalist readings concerning the nature of sound, site, musicality andthe act of listening, the uncanny phenomenology of the work can be further filtered toreveal several related experiential trajectories depictive of the contemporary sociocultural landscape. I am particularly taken by those that actively move beyond theformal considerations and aesthetic appreciations of hidden sounds towards creating
environments that serve as nodal points to alternate realities which, in turn, reveal
hidden, forgotten, or ignored aspects of our social, cultural, and historical experience.
By bringing ‘far away’ sounds ‘so close’, Fontana makes use of a speculative strategy
in which by using the uncanny to distance perceivers from an expected experience,
they are brought closer to their own reality.

A Web of Influences
With the advent and force of digitized culture, many of the worlds of the recent
imaginary, particularly the technological speculations of science fiction have all but
collapsed into reality. There is not much that we cannot imagine as being possible if
describable by technology. It is not surprising that much of the contemporary vision
has a parallel within the genre of speculative fiction.
The disjuncture and re-assignment of an expected sign/signifier relationship has long
been one of a complex web of strategies utilized in science fiction to bring a reader
closer to the workings of his or her own environment.3 Distancing produces
attentiveness, and this attentiveness reveals meanings that relate to the reader’s own
socio-cultural realities that may have otherwise been ignored or unknown.
Author/critic Samuel Delany proposes science-fiction as a way of reading a text4 inlight of the infinitely intersecting “web of influences” science fiction situates itself in,and consequently as a way of reflecting upon the actual world we live in. Delanydeems that the focus of science fiction should be “the juncture between the object andthe behavior it causes”.5 Similarly, Bill Fontana’s resoundings propose ‘re-listening’
as a way of reading ambient sound - enacting concentrated and reflective listening inorder to derive meaning from our socio-cultural environment, and he sets forth toproduce sonic information networks to facilitate this process.
The creation and manipulation of floating signifiers within science fiction paralleled
the emergence of the loosening of signs from signifiers and the general subjectivity ofperception that began to occur during industrial modernization. While the disjunctureof the historically assumed perception/experience synthesis was facilitated bymodernism and certainly by capitalism, it has come to depict the status quo forcontemporary sensory ‘consumption’. Increasingly, perception is dislocated,
mediated, and nothing is what it seems. In Suspensions of Perception, Jonathan Crary
traces the evolution of rifts in the perceptual field:
For the last 100 years perceptual modalities have been and continue to be in astate of perpetual transformation…If vision can be said to have any enduring
characteristic within the twentieth century, it is that it has no enduringfeatures. Rather it is embedded in a pattern of adaptability to newtechnological relations, social configurations, and economic imperatives.6
Clearly, it is not only vision that has fallen into non-fixity, but so also has sound, aslong experienced through the disembodiment of the voice and its ghost-like mediation
into numerous simultaneous sites via broadcast mediums such as radio. While theinherent properties of sound cause it to wander away from the site of its origin, thisquality was radically extended by the disjunctive functions inherent to analog
broadcast mediums and the mobilization of recorded material. In the digitizedenvironment, sites and sounds have been reduced to autonomous information units
ready to be re-contextualized into an infinite number of forms and meanings, anddistributed throughout a network of endless possibilities.
The purist’s creed of what constitutes science fiction mandates that a technology
serve as the point of departure for speculation and social reflection. In today’senvironment, it is vital to consider the dislocation of information entities and their
movement along networks as central to understanding today’s hyper-mediated sociocultural environment.
Accessing and distributing information and the tenuous relation between the material
and the immaterial is a prevalent theme throughout cyberpunk fiction that
foreshadowed today’s information culture during the 1980s and began to manifest
itself as reality in the 1990s when the World Wide Web hit popular culture.
The notion of ‘the ghost in the machine’ took on a new, concrete identity as an
ethereal lifeform who negotiates the labyrinths of digital networks, appearing at
various nodes of perceptibility, often with a covert agenda. Whether node hopping
through the digital landscape, or body hopping as consciousness, the disembodied
presence appears as an anomaly that disrupts the functionality, or identity of theoriginal site, and consequently, alters its essential meaning. We see this motif
repeated throughout science fictions that take the information network andinformation/site hybridization as the point of departure for representing the cultures,social interactions, and perceptions of the contemporary post-modern society.
Fontana hacks into the secrets of hidden and inaccessible site/sound junctions in thereal world, extracts sonic information, and distributes it through temporary networks
to create new sound/site entities with, new identities and new meanings. Like a ghostin the machine, Fontana’s disembodied sounds take possession of the sites to which
they are channeled, and in the most compelling of his projects, the sonic ghosts havesomething to say.
Sound has long been equated with the ‘ghostly’ given its inherent ethereal form andpervasive qualities. Though invisible and bodiless in origin, Fontana’s sounds aretransformed once they exit his networks and enter the public sphere. They come toembody the physical sites to which they are directed, taking root into their new
homes. The immense force with which the sounds occupy the space causes them totake on a visceral, physical quality; the bodiless becomes body. Fontana’s
resoundings are consuming bodies that engulf the body of the listener and takepossession of the site of its new coordinates, altering the perception-reality of both.
Within the structures of the contemporary cultural landscape, the disjunction ofsound/site information and their re-associations are no longer anomalies but rather
common practice. Fontana’s resoundings, however, manage to return the uncanny toan already deconstructed sensory environment. Perceiving a Fontana resounding, isan inquisitory experience. The perceptual uncanny nature of the nodes created by hissound/site juxtapositions lead to subtle crises of perceptual information. What is thatsound?; the listener is placed in a state of pensive awe while engaging an active
listening status. In the more poignant of Fontana’s soundscapes, the perceiver drifts
from inquiring What is that sound? To What does that sound mean?
At the onset, the Fontana project does not take socio-cultural commentary as its
primary objective. In fact, much of the work seems on the outset to have very little torelation to such a task at all. In the indirectness and subtlety of its criticality, theviewer is first given the pleasure of an intriguing and uncanny experience, placed atease to contemplate its derivatives and consequences.

Junction: Marcel Duchamp and John Cage
When asked about the influence of digital technology and networks on his work,
Fontana remarks that when he began formulating his ideas in the mid-1970s, digitaltechnology did not exist.7 As a composer at the time, he was driven by the aesthetic
notion of the inherent musicality of sound in the environment, and by the desire to
make this music manifest. Of particular interest was the desire to create systems thatwould reveal the compositions that existed naturally in the environment as acomposite of juxtaposed ambient components that could otherwise not be heard froma single vantage point. Early examples of this included Kirribilli Wharf (1976) inwhich, simultaneously at 8 different locations, he recorded the percussive composedof rhythms created by water closing and opening the holes in pipes that descended
into the water from a floating pier in the Sydney Harbor. By the late 1970s this
exploration had evolved into the creation of musical information networks in order toexplore the conceptual possibilities that could be yielded from explicitly manipulating
sound/site relationships. While it is true that the digital information network did notexist as we know it today, by then, the analog cultural environment of media
exchange and transportation had already drastically re-shaped perception (andproduction) into apt receptors for what was to come. The speculative strategies ofscience fiction were certainly not precedent, but rather one example amongst many art
forms that had been simultaneously responding to the postmodern de-constructed
perspective. Fontana readily found the subjectivity of perception an apt strategy forcreation, and sought to explore the malleability of mind in relation to musicality. In
lieu of writing musical compositions, he wanted to capture the magical moment ofinspiration that occurred when he recognized music in ambient sounds. “When I
became musical, all the sounds around me also became musical”.8
Simultaneously encountering the work of both Marcel Duchamp and John Cage, (andhaving been a student of the later), confirmed the young Fontana’s interest inenvironmental sounds as music and also that this pursuit had a definable place as art.
Cage’s practice largely looked to formal and certainly practical expansions of soundand/as music. A change of mind-state or perceptual context was to occur within themind of the listener that would allow any sound found in our surroundings to beperceived as music. The notion of ‘silence’ became recognized as non-existent;
ambience (and the body itself) was full of sounds and they could be activated asmusic when ‘performed’ by an attentive ear. Duchamp lent Fontana his preoccupation
with found objects and the assertation that the identity of an object is not fixed, butrather dependent upon the physical context in which it is placed and experienced. The
meaning of any object changes when that object is placed in a new context, especially
if that new context operates within a different set of power relations. Recognizing thecontextual mutation of meaning reveals that meaning itself is subjective anddependent upon a complex working of personal and cultural perception mechanismsthat collide as reading in the mind of the perceiver. In literary terms, a passage that
reads, “the planet made an astonishing music that I’d never heard before” would
conventionally be treated as a metaphor given the assumption that planets cannot
actually make music. In the perceptual context of a science fiction reading, where ‘allthings are possible’, one can imagine that the particular planet described wassomehow able to make music. Intersecting this reading strategy with the views of

Cage, Duchamp, and Fontana, we understand that this planet does make music if weonly listen and choose to perceive it as such.
Focusing on one aspect of a perceptual experience, causes it to be isolated andavailable to be intersected with an infinite number of other signs. Fontana understoodthat by extracting an ambient sound from one context, and placing it within a newcontext would have a fundamental impact on the meaning of the sound. Though theemphasis in his resounding strategy was placed upon aurality, his sounds are not to beread alone, but rather as a coupling between them and their new environment; adeconstruction of perception and creation of a transformed sound/site entity.
Ethereal Objects, Space-Time Bodies
Sounds leaving fromDifferent places and formingSounding
A sculpture that lasts9
Inherent to sound is the world of unseen and intangible ‘things’ moving invisibly overtime. Fontana refers to his version of the ‘Duchampian object’ as ‘sound sculpture’, aseemingly contradiction in terms. The conventional art object conceptually fixes time
onto a physical form in space, leaving the perceiver at liberty to extract subjective
temporal references from it at will. Sound forces us to experience time on its own
terms. While sound does occupy space, it is dynamic, seeking to move through andbeyond it. ‘Sculpture’ as a term, gives us a solid reference for considering thedimensionality of something intangible; it provides a usable metaphor forcontemplating immaterial form in space. It implies clear, definitive boundaries to aform whose boundaries are dependent upon the space that contains it, and the ear thathears it. Time is perhaps the strongest inherent boundary to sound.
In spite of decades of the deconstruction of conventional art forms, the art world still
relishes the art object over all other forms. It affirms presence and feigns a timedefying stability. Sound, in its temporality, is an ever-fleeting presence, an experiencesuspended in a continual disappearance into memory. It is a visceral parallel to thefleeting nature of life itself. Historically, the popular imagination has long equatedstasis with the eternal.10
Perhaps one of the most iconoclastic symbols of time in Western society is Big Ben in
London. It stands like an architectural relic, seeming to belong more to history than
to today’s urban landscape, but remains steadfast in reminding us that time is present,
it is continuous, and that we are small within its plane. As a single bell chimes, thesound it emits rides time like a poetic refrain. Time, like sound, stops for no one.
Each strike lingers and echoes throughout the city to its farthest reaches and readilyfades away into the embracing ambience. Each strike is a moment of birth, life, anddeath. In both versions of The Speeds of Time (2004, 2008), Fontana miked thisacoustic icon and extended its spatial capacity by transmitting the sound elsewhere in
the city, but still within earshot of the original sound source, strengthening its force.
In the 2008 version, sounds from the struck bell were sourced from Big Ben and as far
away as the rooftop areas beyond Parliament square, producing an acoustic soundmap of that area of the city that include not only the strike, echo, and decay of thebells, but the other sonic life as well. By marking the spatial movement of a series ofseemingly ‘singular’ sounds, he in fact reveals sound as a dynamic and flowing force
whose waveforms create continuity as they resonate into the environment. As there isno ‘silence’, there is no singularity to sound, but rather a permeating body in acoustic
collaboration with its environment.
Fontana’s soundscapes create nodal junctions that complicate the consideration oftime on multiple levels. As much as sound is unfixed by nature, ambient sound seems
to linger and hover in space; the persistence of its presence acts in defiance of time.
Fontana’s ambience creates a sustained atmosphere, collapsing temporal boundaries
into an eternal acoustic entity. There is no beginning, there is no end – just a living
space of sound. The process of his real-time networking furthermore manipulates thetime dimension. It simultaneously makes vivid the process of decay in the natural
lifespan of a sound object and extends its life by furthering its reach. Fontana offers
us sound that lasts.
Many of Fontana’s sound sources are ‘ghostly’ in their inability to be heard without
mediation. In tapping into these sounds, and relocating them to the public sphere, hegives the sounds a body, a container in which to live and be heard. In the “Harmonic
Bridge” (2006) project, Fontana attached a network of accelerometers to various
points along the structure of the Millenium Bridge in London to capture the hidden
sounds created by the structure when activated by the movement of bodies over its
surface, and other ambient forces such as wind. The sound map was transmitted to
the Turbine Hall in Tate Modern, a location the bridge naturally feeds into, yielding
an acoustically compelling and conceptually haunting musical evidence of the
movement of thousands of unseen bodies as well as the bridge’s resonance with thewind. The bridge itself is recognized as a body alive in interaction with its
environment. Its acoustic life-force was accessed and made to embody the space of
the Turbine hall so its secret existence could be known.
The notion of embodiment in Fontana’s extends itself beyond the mediation of asound source to a new site to operate on many conceptual levels of simultaneous
embodiment. In “Harmonic Bridge”, the acoustic micro-world of the bridge came toembody a singular new site. Simultaneously in other works, such as the early
Kirribilli Wharf, and later in the Venice and San Franciscso/Cologne works. Fontana
actively seeks to mediate a listening experience that would allow the perceiving bodyto be in many locations at once. While science fiction still forecasts the bending ofspace and time to afford being in two places at once, as of yet, broadcast technology
is the closet we get to being simultaneously present in multiple locations. For
Fontana, there is an infinite amount of music that remains unheard because of thephysical limitations of our bodies as well as the inherent time-space lifespan of asound body. His works seek to make our bodies ethereal as to permit pervasive
sensuality, and to make ethereal sounds embodied as to give them life; all becoming
ghosts in the machines, haunting spaces to give new experience and to make hidden
experience known.

The Secrets of Phantom Voices
Invisible things are not necessarily not-there.
Toni Morrison, “Unspeakable Things Unspoken”
Sound bodies can be seen as ‘living entities’ whose life systems, realities, and logics
are intrinsically intertwined with those of our own in a symbiotic relationshipinvolving presence, time, experience and memory. The metaphor of the ‘ghost’ is not
unknown to the world of sound. There is, of course the obvious relationship toinvisible and pervasive presence inherent to sound, but many sound artists such as
Carsten Nicolai have taken the notion so literally as to utilize methods of capturingparanormal activity in the production of sound works. Though Fontana is not actively‘looking for ghosts’, by revealing sounds unknown, or reactivating those forgotten,
ignored, or simple inaccessible, he mediates a social acoustic haunting that spansfrom formal aesthetics to socio-cultural and historical experience. In Avery Gordon’s
examination of the ‘ghostly’ as a metaphor for examining sociological phenomena she
writes, “Haunting is one of the most important places where meaning –comprehension – and force intersect.”11 Fontana’s interest in the new meanings thatcan be created in ‘resounding’ environments, manifests itself in hauntings that employ
the force of the uncanny to reveal hidden truths and forge new understandings.
While in most of Fontana`s resoundings, the ‘ghostly’ is enacted as an aesthetic
experience of re-embodied sound, “Distant Trains” (1984) is a work that poignantly
brings forth acoustic haunting as a sociological phenomena that activates collective
memory.
When visiting the ruins of the former Anhalter Bahnhof train station in Berlin,
Fontana recalls the unsettled feeling of historical presence he experienced:
The first time I visited the Anhalter Bahnhof, the empty field behind theshattered facade seemed strangely quiet, as if haunted by the sounds of trains
and people. This ‘acoustic haunting’ was so vivid that I decided to design asound sculpture that would suggest the same experience to anyone passing
through the site.12
The ‘silence’ Fontana recalls was filled with ambient noise of present activity in thesurroundings, but also full of the hidden or forgotten noise of the former train station.
As a concentrated listener, Fontana was able to hear the music of the present and pastcollide within him. His desire became to give the existing acoustic phantoms astronger life force so as to be experienced by anyone who passed through the site.
The result was a sound sculpture in which the sound from Germany’s most active
train station, Köln Hauptbahnhof– then the most active in Europe, was played from aseries of speakers buried within the ground of the ruins.
When the work was realized, the Berlin wall was still standing as a marker of thehistorical and political thread that united Berlin’s past with its present and split thecity in half. Conflict was ever so present in the city, yet had become well blended
into background of most of the inhabitants’ daily lives. Train stations enabled thephysical movement of people from one place to another, but in Berlin, it also
represented the political restriction of people’s movement. The term

"Geisterbahnhöfe", or “ghost stations” came to describe the infamous stations in theeast where trains went straight through without stopping in order to prevent East
Berliners from escaping to the West. The conceptual image of the train had also
become historically tainted by the transportation of millions of men, women, andchildren to their deaths in the years preceeding and during World War II, until 1945
when the Anhalter Bahnhof terminus was destroyed beyond use.
“Distant Trains” created a time portal that connected the past with a repressedcollective memory that lingered as only a whisper in the present. The displacement of
the acoustic body in physical space opened a channel through time-space along which
both the sound and that of the listener would travel. The work had a strong emotional
impact on those who experienced it, especially those who were old enough to have
lived through the war. It was a catalyst for remembering, and consequently for avisceral re-experiencing the past and a closer examination of the present. The soundbody that came to occupy the Anhalter Bahnhof was a ghost asking to be heard; one
had only to listen and reflect.
If haunting describes how that which appears to be not there is often a seethingpresence, acting on and often meddling with taken-for-granted realities, theghost is just the sign, or the empirical evidence if you like, that tells you ahaunting is taking place. The ghost is not simply a dead or missing person, but
a social figure, and investigating it can lead to that dense site where history andsubjectivity make social life. …Being haunted draws us affectively, sometimes
against our will and always a bit magically, into the structure of feeling of areality we come to experience, not as cold knowledge, but as transformative
recognition.13“Distant Trains” ultimately speaks of the ‘the disappeared’, those rendered silent; theattempt to erase a people forever from existence. So uncanny a rendering of the story,
yet so beautiful it is in its subtle, indirect tongue, as seeming to express its own
humility at the truths it unveils. The relationship between what we hear and what weknow is often unsettling.
Sound is intricately woven with memory and Fontana’s acoustic haunting makes thiseven more manifest. Even in “Sound Island”, whose resoundings may appear as
simple iron at the onset, does the sonic apparition seem coupled with a message.
Reinforcing the almost forgotten identity of a monument erected to honor lives lost in
battle, speak the shore sounds of the Normandy Coast, the location of WWII D-Day
invasion. New meanings often start with the remembering of things past.
Acoustic Ecology
Fontana’s resoundings certainly satisfy and intersect the Duchampian and Cagian
postmodern trajectories, but in today’s hyper-audio/visual environment also strikeresonance with the Futurist re-positioning of ‘noise’ as music in reflection of themodern industrial society. Futurism was fascinated with the rapid and manifestchanges in society brought forth by industrialism. The world was full of new sounds– the noise of the machine, and these sounds were seen as a direct reflection upon thesociety that created them. In Fontana’s treatment of sound objects as autonomous andtransportable ‘free association’ entities, he similarly began to forge connections
between postmodern subjectivity and the radical expansion and industrialization ofvisual and auditory culture. Resounding seems to affirm that people are still not
listening or are perhaps unable to given the contemporary paradigm of sensory
overload and subsequent desensitization.
The experiential anomaly of “Sound Island”, while voicing historical, is also firmly
rooted in the phenomenology of hyper-mediated culture. The sounds of waves
against the shore were so powerful in force, and so matched in acoustic harmony withthe ‘white noise’ of the traffic circling the monument, that one was immersed in theillusion that the cars were silent. Fontana’s ability to use sound to transformperception utilized the daily unconscious efforts required to mask out undesirable
sounds from the urban environment - self-imposed deafness. The resounding of themonument site emphasized the usual ‘noise’ emitted from the city’s busiest traffic
circle and transformed passive hearing into active listening; the ‘noise’ that would be
suppressed, seemed to have disappeared. When the anomaly disappeared, for those
who had experienced it, so did the ease of ignoring the acoustic pollution that had
returned.
Listening has fallen into the cultural logic of late capitalism as today’s social
landscape demands that we switch attention rapidly from one thing to another.14
Attention is to be spread across a vast plane, distraction is to be expected, and there ismuch we simply need to ignore. In animating the environment as an altered life form,
Fontana furthermore expresses a desire to confront the acoustic implications ofcontemporary industrial and media culture and consider what active roles sounddesign can play in addressing the issues of hyperaudibility. How can we be expected
to listen when there is so much we need to tune out, and even less we would
remember?
Fontana’s acoustic ecology puts the mediated bodies of micro and distant worlds inconversation with the sociological and reveals that the ghost in the machine is in facta social figure we should listen to.
I tried to find the rhythm of the world where I used to live... But I was haunted
by the idea that I remembered her wrong.
Solaris1

Description of “Sound Island” rendered as a science fiction text by the author.
Conversation with Bill Fontana at NOTAM “Soundscape in Art” symposium, Oslo, 8 April 2010.
3
The strategy applies the broader literary category of ‘speculative fiction’ as well. ‘Science fiction’ will bereferenced in this text because of its relationship to technology and Fontana’s emphasis on the
mediation of sounds using ‘acoustic information networks’.
4
Samuel R. Delany, “Critical Methods: Speculative Fiction”, Quark 1, ed. Samuel R. Delany and Marilyn
Hacker (New York: Paperback Library, 1970), 191.
5
Ibid.
6
Jonathan Crary, “Modernity and the Problem of Attention”, Suspensions of Perception, (Cambridge:
MIT Press, 1991), 13.
7Bill Fontana, “Music Information Networks”, Available at:
http://www.resoundings.org/Pages/musical%20networks.html [Accessed 2 April 2010].
8Bill Fontana, “Reoundings”, Available at: http://www.resoundings.org/Pages/Resoundings.html[Accessed 2 April 2010].
2

9

Excerpt from Duchamp’s “A Bride Stripped Bare by her Bachelors Even” as cited in Fontana’s“Resoundings”.
10
As a colorful literary example, Dante described both heaven and hell as states of suspension. The
later presents a frozen realm in which the beating of the wings of the ice-encased beast produced arhythm so fast that it was barely discernable as movement at all. In the former, paradise offers eternity
locked in the bliss of a singular vision. Both realms are awesome negations of time itself. In sound, weare immersed in time and confronted with the fleeting dynamism of life itself.
11
Avery Gordon. Ghostly Matters: Haunting and the Sociological Imagination. (Minneapolis: Universityof Minnesota Press, 1997).
12
Bill Fontana. “The Relocation of Ambient Sound: Urban Sound Sculpture”, Available at:
http://www.resoundings.org/Pages/Urban%20Sound%20Sculpture.html [Accessed 2 April 2010].
13
Avery Gordon. Ghostly Matters: Haunting and the Sociological Imagination. (Minneapolis: Universityof Minnesota Press, 1997). p.8
14Jonathan Crary, “Modernity and the Problem of Attention”, Suspensions of Perception, (Cambridge:
MIT Press, 1991), 29.