Un-Sounding: A New Method for Processing Non-linguistic Poetry

ion is necessary in theorizing and fundamental to language-making. Although Hayles contends that “no theory can account for the infinite multiplicity of our interactions with the real” (12), she also warns of the potential effects of abstraction: “But when we make moves that erase the world’s multiplicity, we risk losing sight of the variegated leaves, fractal branchings, and particular bark textures that make up the forest” (12). Schmaltz’s “Path Dependency” traces these fractal branchings—the body’s movement in the creation of these stimulations. As mentioned, with the click of the camera with Solt’s diagrammatic codes and the pen scraping on the page in Bergvall’s line poems, sound is a feature of Schmaltz’s works as well, whether the breath of the body and sounds of it exerting energy or the resultant sounds of the key clicks and bodily interaction with technology The unsound