Abstract

By staging a speculative meeting between Jimi Hendrix and Richard Wagner, this article focuses on how sound can be understood as “a thing,” or more precisely in relation to thingness. Such an understanding influences both the production of sound, sounds’ relation to technology, as well as how sound is heard, felt, or experienced. The article is also an experiment in historiography, in the sense that it tries to show how two historical moments can throw light on each other through a juxtaposition, as well as the role of vocabulary in such a juxtaposition.