This article explores the materiality of the voice outside of the body in two performances by Iris Garrelfs and Marlo Eggplant. It considers, beyond the body and beyond text, how the voice might be addressed as material in and of itself. In this consideration, the voice is not only a means of delivering text or creating sound in performance, and nor is it (only) expressive of the body: rather, its material and spatial dimensions can be located in physical space and outside of the body. Through this approach, Echo is not understood through her lack of a material body or vocal agency, but as the agentive aspect of the voice that is already vibrant—as described by Jane Bennett—and material-discursive—as described by Karen Barad. Using John Law’s considerations of materiality, heterogeneity, semiotic relationality, process and its precarity, and space and scale within Actor Network Theory, I consider how the materialism of the voice can be mapped as/to a network of interrelations in both real and imagined spaces. This network is explored in contemporary experimental performances that employ the voice as material: Lauschen (2016/18) by Iris Garrelfs, for voice and listening cones, and Marlo Eggplant’s September 2018 performance for voice and electronics at the Fortprocess festival. Through these works, I describe the material agency of the voice as a ‘vibrant echo’.

中文翻译：

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充满活力的回声：Iris Garrelfs 和 Marlo Eggplant 音乐中声音的物质符号学

本文探讨了 Iris Garrelfs 和 Marlo Eggplant 的两场表演中身体外声音的物质性。它考虑在身体和文本之外，如何将声音本身作为材料来处理。在这种考虑下，声音不仅是表演中传递文本或创造声音的手段，也不是（仅）表现身体：相反，它的材料和空间维度可以位于物理空间中，也可以位于身体之外. 通过这种方法，Echo 不被理解为她缺乏物质身体或声音能动性，而是作为已经充满活力的声音的能动性方面（如 Jane Bennett 所描述的那样）和物质话语（如 Karen Barad 所描述的那样）。利用约翰·劳对物质性、异质性、符号关系、过程及其不稳定的考虑，以及演员网络理论中的空间和尺度，我考虑如何将声音的唯物主义映射为/映射到真实和想象空间中的相互关系网络。该网络在以声音为素材的当代实验表演中得到了探索：Iris Garrelfs 的 Lauschen (2016/18)，用于声音和听音锥，以及 Marlo Eggplant 2018 年 9 月在 Fortprocess 音乐节上的声音和电子表演。通过这些作品，我将声音的物质性描述为“充满活力的回声”。用于语音和听音锥，以及 Marlo Eggplant 2018 年 9 月在 Fortprocess 音乐节上的语音和电子表演。通过这些作品，我将声音的物质性描述为“充满活力的回声”。用于语音和听音锥，以及 Marlo Eggplant 2018 年 9 月在 Fortprocess 音乐节上的语音和电子表演。通过这些作品，我将声音的物质性描述为“充满活力的回声”。