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Wurtzler, S. (1992). "She sang live, but the microphone was turned off": The live, the recorded and the subject of representation. In R. Altman (Ed), Sound Theory Sound Practice. (pp. 87–103). New York: Routledge. 
Added by: Mark Grimshaw-Aagaard (03/03/2006, 13:56)   Last edited by: Mark Grimshaw-Aagaard
Resource type: Book Chapter
Published
BibTeX citation key: Wurtzler1992
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 Categories: Film Music/Sound
Creators: Altman, Wurtzler
Publisher: Routledge (New York)
Collection: Sound Theory Sound Practice		 Views: 29/1378
Notes
The discourse between 'live' and 'recorded' -- draws on TV and popular music studies.
Added by: Mark Grimshaw-Aagaard  Last edited by: Mark Grimshaw-Aagaard
Quotes
p. 88  
A representation posits "an absent original event"
  Added by: Mark Grimshaw-Aagaard  (03/12/2004, 10:36)

Keywords:   Authenticity, Reproduction/Representation
p. 88  
The audiophile has a "fetishistic relationship to the means of representing [in order to gain] increased access to an original performance event"
  Added by: Mark Grimshaw-Aagaard  (03/12/2004, 10:36)

Keywords:   Authenticity, Reproduction/Representation
p. 88  
Representational technologies (including virtual reality) are representations for which there is no original event: "[C]opies are produced for which no original exists"
  Added by: Mark Grimshaw-Aagaard  (03/12/2004, 10:36)

Keywords:   Authenticity, Reproduction/Representation
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