Found-sound music evokes orphaned memories belonging to anonymous others

Evidence

Jeck has referred to the sonic sources he uses as ‘fragments of memory, triggering associations’ but it is crucial that the memories are not necessarily his; the effect is sometimes like sifting through a box of slides, photographs and postcards from anonymous people, long gone. … The random sounds, the passing conversations, make you feel like you are witnessing stray frames from a film no whole version of which exists anywhere. — Mark Fisher, Ghosts of My Life, 336

Categorization

• XREF: This connects to Fisher’s core ‘hauntology’ thesis across this book — dead media and orphaned cultural fragments — and to his discussions of how sampling-based music like Burial and Kode9 works. — connects to: Crackle and vinyl noise mark an audio scavenger’s reclamation of lost sound — Mark Fisher, Ghosts of My Life: Writings on…, 334; Music made entirely of treated found sounds raises the question of objects singing — Mark Fisher, Ghosts of My Life: Writings on…, 337; Rapid sound change drives nostalgic fictionalization of past sounds — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 607 (+2 more)

Broader Connections

• Music made entirely of treated found sounds raises the question of objects singing #expands (0.80) — Mark Fisher, Ghosts of My Life, 337
• Rapid sound change drives nostalgic fictionalization of past sounds #corroborates (0.72) — Schafer, Murray R, The Soundscape- Our Sonic Environment…, 607
• Sound perception is a constructive act mediated by memory, association, and social role #expands (0.72) — Almo Farina, Soundscape Ecology, 950
• A group can turn ambient environmental sounds into shared composition #expands (0.72) — Pauline Oliveros, Deep Listening, 291