Re-Listening to Derrida and Benjamin
News on the publication of Two Plays for the Stage was announced on the Performance Philosophy website during 2021 but only received my attention this year, when I ordered a copy of the book out of curiosity. After reading it and making copious notes, I contacted the two authors to give them my impressions, particularly those concerning my responses to it in terms of sound. The trigger for this ReView came from an email discussion with John Schad on critical-creative writing, which I interpret as creative criticism, meaning that this could take any form appropriate to the artist’s discipline. Indeed my essay in an earlier edition of the journal (Wilkins, 2016) took the form of a labyrinthine script during its writing process, this as a response to Freddie Rokem's initial article (Rokem, 2015). It later manifested itself in an audio piece presented in Vol. 7.1, a collaboration between myself and Leona Jones entitled With W/Ringing Ears. (Jones, Wilkins, 2022). Fred Dalmasso’s research into the syncope (2017), which surfaces within the concluding essay to the book, has interested me for some time in terms of its possible parallels in the world of sound.
In this current contribution I present a parallel sound-world that was spontaneously invoked during my reading of Derrida | Benjamin. I refer to key phrases / quotes that became pointers for triggering the sonic responses that follow. This is by no means an attempt to suggest audio for any future production of the plays, rather a series of independent sonic ideas that spring from the writings of John Schad and Fred Dalmasso.
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Badiou, Alain.  2009. Pocket Pantheon. Translated by David Macey. London: Verso.
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Benjamin, Walter.  1996–2003. “Children’s Literature” in Walter Benjamin: Selected Writings, 2.1 vols, eds. Howard Eiland and
Michael W Jennings, and Gary Smith, pp. 250–256. London: Harvard University Press.
Benjamin, Walter.  2014. “Much Ado About Kasper”, in Radio Benjamin, edited by Lecia Rosenthal, translated by Jonathan Lutes et al. London: Verso.
Dalmasso, Fred, Véronique Dalmasso, and Stephanie Jamet, eds. 2017. La syncope dans la performance et les arts visuels: Syncope in Performing and Visual Arts. Paris: Le Manuscrit.
Diderot, Denis. [1796, 1830] 1966. Rameau’s Nephew / D’Alembert’s Dream, translated by J. Barzun and R. H. Bowen. London: Penguin.
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Janecek, Gerald. 1996. Zaum: The Transrational Poetry of Russian Futurism, San Diego: San Diego State University Press, Accessed March 21, 2023.
Jones, Leona, and Caroline Wilkins. 2022. “With W/Ringing Ears.” In Performance Philosophy 7(2): 149–156. https://doi.org/10.21476/PP.2022.72350
Martone, Mario, and Elena Ferrante. 1995. L’Amore Molesto, film. Lucky Red (2004. Italy, DVD). Accessed April 29, 2022. https://www.imdb.com/title/tt0112352/; https://www.youtube.com/watch?v=1EY_FFfT-KM.
Rokem, Freddie. 2015. “The Processes of Eavesdropping: Where Tragedy, Comedy and Philosophy Converge.” Performance Philosophy 1: 109–118. https://doi.org/10.21476/PP.2015.1120
Von Trier, Lars, 2022. Accessed April 29, 2022. https://www.britannica.com/biography/Lars-von-Trier.
Wilkins, Caroline. 1986. Piece for accordion and phonograph : for solo accordion & gramophone. https://www.australianmusiccentre.com.au/workversion/piece-for-accordion-and-phonograph/6895
Wilkins, Caroline. 1986. Music for mechanical instruments : electro-acoustic work.
Wilkins, Caroline. 1999. Mecanica natura : radiophonic work.
Wilkins, Caroline. 2016. “The Panacousticon: By way of echo to Freddie Rokem.” Performance Philosophy 2(1): 1–18. https://doi.org/10.21476/PP.2016.2179
Wilkins, Caroline. 2017. “Zaum: Beyond Mind — Beyond Time?” Polysèmes: La Démesure du temps. https://doi.org/10.4000/polysemes.1906
Wilkins, Caroline, and Oded Ben-Tal. 2010. Zaum : beyond mind : sound theatre for voice and live/interactive electronics. https://www.australianmusiccentre.com.au/workversion/zaum-beyond-mind/24538
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