This essay argues for a transversal posthumanities-based pedagogy, rooted in an attentive ethico-onto-epistemology, by reading the schizoanalytical praxes of Deleuzoguattarian theory alongside the work of various feminist new materialist scholars.

In this article, we consider music and noise in terms of vibrational and transferable energy as well as from the evolutionary significance of the hearing system of Homo sapiens. Music and sound impinge upon our body and our mind and we can react to both either positively or negatively. Much depends, in this regard, on the frequency spectrum and the level of the sound stimuli, which may sometimes make it possible to set music apart from noise. There are, however, two (...) levels of description: the physical-acoustic description of the sound and the subjective-psychological reactions by the listeners. Starting from a vibrational approach to sound and music, we first investigate how sound may activate the sense of touch and the vestibular system of the inner ear besides the sense of hearing. We then touch upon distinct issues such as the relation between low-frequency sounds and annoyance, the harmful effect of loud sound and noise, the direct effects of overstimulation with sound, the indirect effects of unwanted sounds as related to auditory neurology, and the widespread phenomenon of liking loud sound and music, both from the point of view of behavioral and psychological aspects. (shrink)

In A Thousand Plateaus, Deleuze and Guattari refer to Glenn Gould as an illustration of the third principle of the rhizome, that of multiplicity: ‘When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate’ (1987: 8). In an attempt to make sensible their ostensibly modest statement, I proliferate the relationships between Glenn Gould's philosophy of sound recording, Deleuze's theory of (...) passive synthesis, and Deleuze and Guattari's concept of the stutter. I argue, ultimately, that Glenn Gould's radical recording practice stutters and deterritorialises the temporality of the recorded performance. More generally, the Deleuzian perspective broadens the scope of Gould's aesthetic practices that highlights the importance of aesthetic acts in the redistribution of sensory experience. But the study serves a broader purpose than celebrating a pianist/recordist that Deleuze admired. Rather, while his contemporaries began to use the studio as a compositional element in sound recording, Gould bypassed such a step towards the informational logics of recording studios. Thus, it is inappropriate to think of Gould as having immersed himself in ‘technology’ than the broader concept of a complex, one that redistributed the striated listening space of the concert hall. (shrink)

This text departs from a contradictory claim in deaf studies and sound studies: both disciplines describe a hierarchical regime of the sensible – visuocentrism and audiocentrism – which they try to counter with conceptualisations as “acoustemology” or “deaf gain.” However, as we argue, they both thereby erect what they claim to overcome: a sensual regime that privileges one sense over another and a restricted conception of subjectivity deriving from it. First, we draw a philosophical line in the critique of sensual (...) regimes. Then we propose a figure for the transcendence of the separation of the sensible: in re-reading of the myth of Odysseus and the sirens, we engage various examples from literature, art, and acoustics to describe sirens as a mythological and technical archetype of the transcendence of the sensual regime, as well as reified subjectivity. The question, then, is not how to escape the sirens, but how they can be approached. It is necessary, we argue, for sound studies to develop a critical self-consciousness of its own restricted concepts in order to move from sonic thinking towards a sirenic thinking. (shrink)

In this article, I develop and redirect Julian Henriques’s model of sonic dominance through examination of accounts of acoustic violence and torture involving headphones. Specifically, I show how auditory experience has been weaponized as an intracorporeal phenomenon, with headphones effecting a sense of sounds invading the interior phenomenological space of the head. By analysing reported cases of sonic violence and torture involving headphones through a composite theoretical lens drawn from the fields of music, sound and body studies, I argue that (...) in saturating the head’s perceived interior with sound, perpetrators of violence perform sonic dominance across two interrelated levels: the subjugation of interiorized auditory space via the notion of flooding, in which attention is directed towards the experience of the body as a vessel for sound; and the resulting manipulation of phenomenological head–mind linkages, with emphasis on the head as a ‘space’ for both sound and thought. (shrink)

This text has already been published in Time & Society, 2016, Vol. 25, pp. 613-633. We thank Gonzalo Iparraguirre for the permission to republish it here.: This article presents the introduction and the update of an ethnographic research on temporality among indigenous groups, published in 2011 in its full version as a book in Spanish. It seeks to prove the usefulness of the conceptual distinction between time, defined as the phenomenon of becoming in itself, and - Anthropologie – Nouvel article.

This introduction charts several of rhythm's various returns as a way of laying out the theoretical and methodological field in which the articles of this special issue find their place. While Henri Lefebvre’s rhythmanalysis is perhaps familiar to many, rhythm has appeared in a wide repertoire of guises, in many disciplines over the decades and indeed the centuries. This introduction attends to the particular roles of rhythm in the formation of modernity ranging from the processes of industrialization and the proliferation (...) of new media technologies to film and literary aesthetics as well as conceptualizations of human psychology, social behaviour and physiology. These are some of the historical antecedents to the contemporary understandings of rhythm within body studies to which most of the contributions to this issue are devoted. In this respect, the introduction outlines recent approaches to rhythm as vibration, a force of the virtual, and an intensive excess outside consciousness. (shrink)

On the plateau 1837: Of the Refrain, Deleuze and Guattari set the stage for an idea of sound as an affective and political entity, whose role is at the core of the construction of subjectivity. The analysis of the Deleuze and Guattari’s plateau allows to highlight the ways in which sound creates affective and cultural territories and their subsequent subjective positions. In this respect, the body becomes a political battlefield through its ability to experience sound both passively and actively. In (...) the central part of the text, the study of Deleuze and Guattari will be approached by the distinction introduced by Steve Goodman concerning two different developments in sonic forces: a dispersive, centrifuge effect and an attractive, centripetal one. Through this examination, will be possible to draw a common line in the works of certain artists and contemporary researcher such as Kodwo Eshun, Ben Frost and Brian Massumi. The peculiarity of their projects lies in the ability to use sound as an instrument to make non- anthropocentric forces audible and perceptible. One of the main challenge of contemporary times is the ethical and political question on sound and its relation to the human subject. How can we remove the human subjectivity to analyze a sonic approach to the Anthropocene? This question will bring to the examination of certain sonic practices that could be seen as fundamental critical instruments for our present. (shrink)

En este artículo, exploramos las posibilidades que nos ofrece la filosofía de la individuación de Simondon para subvertir las divisiones ontológicas entre materia y pensamiento, y entre materia inerte y materia viva. Para ello, partimos de la transformación del concepto de potencia operado en su filosofía respecto a la concepción clásica, con el fin de desarrollar el concepto de una estructura auto-actualizante que atraviesa todas las dimensiones de lo real. Nos detenemos a continuación en las diferencias que observa Simondon entre (...) la individuación física y la individuación biológica, centrándonos en el papel que juega en ellas la noción de afectividad. Finalmente, delineamos los desarrollos actuales de una filosofía de los afectos, conectándolos con la filosofía de Simondon pero mostrando a la vez en qué medida nos obligan a ir más allá de ella. (shrink)

This text has already been published in P. Vostal, Inquiring into Academic Timescapes, Bingley, Emerald Publishing Limited, 2021, pp. 59-72. We thank Gonzalo Iparraguirre for the permission to republish it here. The aim of this chapter is to explore how temporalities produced by academia defines the way we learn and interpret social life, politics, and development. Academia imposes these temporalities by teaching and managing intrinsic temporal notions of social dynamics, as the - Sociologie – Nouvel article.

How might argumentation scholars approach sound? Using the analytics afforded by strategic maneuvering, this essay identifies three unique features of sonic presentational devices: they are immersive, immediate and embodied. Although these features offer arguers presentational resource, they also pose new problems to the reasonable resolution of disagreement: immersion hazards overlap, immediacy risks rate of delivery beyond reflection, and materiality can coerce listeners. To theorize strategic use of sound, I reconstruct and analyze a popular Radiolab segment “The Unconscious Toscanini of the (...) Brain.” I find Radiolab uses three different sonic figures: synchronicity, or the translation of data into sound to foreground temporal relations; musical stings, an auditory invocation of embodied memory and the wave, a sonic strategy to arouse and narrow attention. I conclude that Radiolab’s use of sound is reasonable because it extends the critical discussion. (shrink)

This review has already been published in Theory, Culture and Society, June 17, 2015. We gratefully thank Paola Crespi for the permission to reproduce it. Eleni IKONIADOU, The Rhythmic Event. Art, Media, and the Sonic, Cambridge, MIT Press, 2014, 117 pages. A much-needed contribution to the field of media philosophy, sound and digital studies, this book is petit and extremely dense. Part of Brian Massumi and Erin Manning's Technologies of Livedion series with MIT Press, - Recensions.