A literary mix tape that explores the entwined boundaries between sound, material culture, landscape and esoteric belief.
Trees rigged up to the wireless radio heavens. A fax machine used to decode the language of hurricanes. A broadcast ghost that hijacked a television station to terrorize a city. A failed computer factory in the desert with a slap-back echo resounding into ruin.
In High Static, Dead Lines, media historian and artist Kristen Gallerneaux weaves a literary mix tape that explores the entwined boundaries between sound, material culture, landscape, and esoteric belief. Essays and fictocritical interludes are arranged to evoke a network of ley lines for the "sonic spectre" to travel through -- a hypothetical presence that manifests itself as an invisible layer of noise alongside the conventional histories of technological artifacts.
The objects and stories within span from the mid-nineteenth century to the present day, touching upon military, communications, and cultural history. A connective thread is the recurring presence of sound -- audible, self-generative, and remembered -- charting the contentious sonic histories of paranormal culture.