Hannah Lutz | Åbo Akademi (original) (raw)

Papers by Hannah Lutz

In his 2009 book Det postdigitala manifestet [The postdigital manifesto], Fleischer focuses mainl... more In his 2009 book Det postdigitala manifestet [The postdigital manifesto], Fleischer focuses mainly on how digitalization affects our relationship to music. Nevertheless, many of his thoughts may be advantageously applied to sound poetry, particularly as collective experience. Struggling to challenge the idea of saving and owning with the idea of listening as becoming, we enter Fleischerian territory. In discussing music experiences increasingly shaped by abundance and access, in which we stare at our screens paralyzed by the task of choosing between all the songs we "have", Fleischer finds the concept of the postdigital useful. This does not signify "a new stage in cultural history, but rather a maturing of the digital experience which causes us to attach renewed importance to presence". 14 Hence he suggests a postdigital understanding of music influenced by new materialism. By this definition, the files on your computer are merely potential music: music is that which takes place, that which is materialized in time and space, that which affects bodies. Fleischer imagines a future in which collective experiences become increasingly important as our access to digital files becomes increasingly unrestricted. In contrast to the private, practically unlimited accumulation of music files, a collective event imposes limits through its physical and temporal manifestation, through bodies restricting and affecting other bodies. This heightens sensation and makes certain kinds of becomings possible: "Since [collective experiences] cannot be copied, deleted or calculated, they set strong desires in motion. Desires can spread contagiously in the postdigital, from one temporary community to the next, provided that some of the participants return." 16 This contagion in the postdigital, which sets bodies in motion, challenges the idea of saving, owning, and reproducing with rhizomatic movements of becoming. It suggests an ontology built on sharing and desire, and communities built horizontally, in all directions, and not resonating with a central system of control. a politics oF listening This brings me back to the sound-text relation in Rinne's poetry and the ontological implications of reconceptualizing this relation. In her performances, Rinne appears to be actively engaging with the text poem and freeing herself from it simultaneously. This movement, I suggest, illustrates the poet's affirmative approach to borders as passages, reminiscent of Deleuze and Guattari's imperative: "Lodge yourself on a stratum, experiment with the opportunities it offers, find an advantageous place on it, find potential movements of deterritorialization, possible lines of flight. [...] It is through a meticulous relation with the strata that one succeeds in freeing lines of flight." 17

In his 2009 book Det postdigitala manifestet [The postdigital manifesto], Fleischer focuses mainl... more In his 2009 book Det postdigitala manifestet [The postdigital manifesto], Fleischer focuses mainly on how digitalization affects our relationship to music. Nevertheless, many of his thoughts may be advantageously applied to sound poetry, particularly as collective experience. Struggling to challenge the idea of saving and owning with the idea of listening as becoming, we enter Fleischerian territory. In discussing music experiences increasingly shaped by abundance and access, in which we stare at our screens paralyzed by the task of choosing between all the songs we "have", Fleischer finds the concept of the postdigital useful. This does not signify "a new stage in cultural history, but rather a maturing of the digital experience which causes us to attach renewed importance to presence". 14 Hence he suggests a postdigital understanding of music influenced by new materialism. By this definition, the files on your computer are merely potential music: music is that which takes place, that which is materialized in time and space, that which affects bodies. Fleischer imagines a future in which collective experiences become increasingly important as our access to digital files becomes increasingly unrestricted. In contrast to the private, practically unlimited accumulation of music files, a collective event imposes limits through its physical and temporal manifestation, through bodies restricting and affecting other bodies. This heightens sensation and makes certain kinds of becomings possible: "Since [collective experiences] cannot be copied, deleted or calculated, they set strong desires in motion. Desires can spread contagiously in the postdigital, from one temporary community to the next, provided that some of the participants return." 16 This contagion in the postdigital, which sets bodies in motion, challenges the idea of saving, owning, and reproducing with rhizomatic movements of becoming. It suggests an ontology built on sharing and desire, and communities built horizontally, in all directions, and not resonating with a central system of control. a politics oF listening This brings me back to the sound-text relation in Rinne's poetry and the ontological implications of reconceptualizing this relation. In her performances, Rinne appears to be actively engaging with the text poem and freeing herself from it simultaneously. This movement, I suggest, illustrates the poet's affirmative approach to borders as passages, reminiscent of Deleuze and Guattari's imperative: "Lodge yourself on a stratum, experiment with the opportunities it offers, find an advantageous place on it, find potential movements of deterritorialization, possible lines of flight. [...] It is through a meticulous relation with the strata that one succeeds in freeing lines of flight." 17