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Applying the theory of acousmatic sound presented in chapters 4 and 5, this chapter analyzes the role of acousmatic sound in philosophical accounts of the voice, from Husserl to Žižek and Dolar. The acousmatic voice’s source remains underdetermined or uncertain, provoking the question: “Who speaks?” The acousmatic voice can be heard in four other voices, around which the chapter is organized: the phonographic voice of recording technologies, the phenomenological voice of Husserl’s first Logical Investigation, the ontological voice of conscience in Heidegger’s Being and Time, and the psychoanalytic voice in Lacan (as developed by Mladen Dolar in A Voice and Nothing More.) Each of these four voices, and the philosophical work that each voice is intended to achieve, runs aground when it encounters the acousmatic voice.
Keywords: Edmund Husserl; Michel Chion; Thomas Edison; gramophone; automata; Martin Heidegger; Slavoj Žižek; Mladen Dolar; phantasmagoria; psychoanalysis
Chapter. 25059 words.
Subjects: Music Theory and Analysis
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