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From Virgil Thomson’s 1934 musical score for Gertrude Stein’s opera Four Saints in Three Acts, to readings of The Making of Americans (1925) using digital tools, artists and scholars have used musical composition and computational tools to help express something otherwise obscured in traditional readings of Stein’s texts. At first glance, it seems there is little in common between these efforts: readers argue that setting a Steinian text to music is a welcome abstraction that brings the text to new heights of expression, while computing them seems to concretise their subtleties and diminish their expressive possibilities. I argue that it is the situated hermeneutical framework in which visualisations, like musical scores, invite us to “play,” that guides our scholarly, interpretive performances with Stein’s texts. In particular, the visualisations I introduce here help us reconsider the significance of oral traditions in Stein’s self-proclaimed magnum opus, The Making of Americans.  De la partition de Virgil Thomson en 1934 pour l’opera Four Saints in Three Acts de Gertrude Stein aux lectures de The Making of Americans (1925) utilisant des outils numeriques, artistes et chercheurs ont utilise la composition musicale et les outils informatiques pour contribuer a exprimer ce qui reste obscur dans les lectures traditionnelles des ecrits de Stein. De prime abord, ces deux approches semblent n’avoir que peu de choses en commun : les lecteurs rapportent que la mise en musique des textes de Stein en musique est une abstraction louable qui porte les textes vers de nouveaux sommets d’expression, alors que leur appliquer des outils informatique semble rendre plus concretes leurs subtilites et diminuer leur potentiel d’expression. Je soutiens que c’est le cadre hermeneutique situe dans lequel les visualisations comme les partitions nous invitent a « jouer », qui guide nos approches academiques et interpretatives des textes de Stein. En particulier, les visualisations que je presente ici nous aident a reconsiderer l’importance de la tradition orale dans ce qu’elle decrit comme son œuvre majeure, The Making of Americans.

Distant Listening or Playing Visualisations Pleasantly with the Eyes and Ears