When I think of embodied sound, I think of the sounds and silences hidden within an object. The conceptual piece that best informed my current understanding of embodied sound was Bill Fontana's "Harmonic Bridge." I appreciate embodied sound as those sounds that are not explicit, but can be coaxed out of materials into a more palpable experience. When we experiment with circuit bending, I see that as another form of releasing those embodied sounds suppressed by the original design of the circuit. I think of almost everything as having an embodied sound quality. An artists' manipulation of sound is an interaction that brings out these embodied sounds, but because of my connotation of the word "embody," I think of these sounds as being inherent of the object.
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