notes
Introduction
1. Azoulay, The Civil Contract of Photography, 16.
2. Gilroy, The Black Atlantic, 37.
3. One of the most moving examples of the affective tactility of sound is the
experience of deaf people listening, responding to, and producing music.
There are numerous instances of deaf people experiencing sound and en-
joying music in particular through physical sensations. This capacity to ex-
perience sound in ways that bypass hearing and the ears has been explored
most notably by the National Orchestra of Wales, which staged a series of
workshops and concerts for deaf children who passionately responded to the
music of the orchestra by lying on specially designed “sound boxes” through
which they “listened” by feeling the contact of sound waves on their bodies.
Aharona Ament describes these embodied sonic sensations as “feelings that
hum along the body when the music infiltrates the molecules in the walls and
in ourselves as well.” See http://gapersblock.com/transmission/2010/07/22
/beyond_vibrations_the_deaf_musical_experience/;
http://www.bbc.com
/news/entertainment- arts-21601130.
4. Perec, Species of Spaces and Other Pieces. My thanks to Anne Garreta for pointing
out this useful reference.
5. In her 2011 essay, “Photography,” Ariella Azoulay argues that no individual
is ever in sole control of what she describes as the “event of photography.”
She explains, “The camera generates events other than the photographs an-
ticipated as coming into being through its mediation, and the latter are not
necessarily subject to the full control of the agent who holds the camera”
(70). Azoulay further differentiates between the event of photography and
the photographed event that a photographer attempts to capture. “Both the
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