Studios resist reductive analyses. Although isolated, they have their own frontstages and backstages, and like the laboratories studied by Knorr-Cetina, function as more than simply “internal environments.” The placeness of studios leaves both audible traces (the early reflections of sounds) and visible ones, if we think of those studios that become shrines or pilgrimage sites, or photo or video documentation of studios that provide the outside world a brief glimpse into the interior isolation of recording studio life. It would seem (...) that major facilities such as Abbey Road, Ocean Way or Sun Records are emphatically not “placeless place[s]” (Gieryn 2008), nor are they decontextualized from their immediate geographic surroundings. -/- Although atomized project studios (including bedroom studios, garages, and barns) may not immediately appear to be embedded within the social relations of a bounded local culture, many such studios are embedded within the social relations of specific online networked cultures,20 as is evinced by the vibrant online recording engineer communities that support everything from amateur acoustician pedagogy to advanced mixing techniques and even online mixing/remixing competitions. Such studios can be considered as “local anchoring points in the cultural metropolises of the global urban network” (Watson, Hoyler and Mager 2009). Knorr-Cetina (1992) suggests something similar when she discusses how laboratories function not just as “internal environments” but rather as “a link between internal and external environments, a border in a wider traffic of objects and observations”. Like their larger counterparts, project studios are acoustic environments isolated from various perceived outsides, use the very same technologies of audition to make up for the constrained paths of audibility, and similarly shape the kinds of musical and social practices that can transpire within (even if this shaping process effectively restricts the studio’s usage to a single musician at a time). I argue that the more we wish to understand the vibe and sound of the studios, the more we may wish to consider the studio as an active agent in the process of recording production, an actor in the social worlds that inhabit its very wombs and bunkers. (shrink)

The aim of my paper is to put Ricœur’s philosophy in dialogue with human geography. There are at least two good reasons to do so. The first concerns the epistemological foundation of geography: Whereas humanistic or phenomenological geographers inspired by Heidegger or, to a lesser extent, by Merleau-Ponty have sometimes taken on an anti-scientific approach, the Ricœurian articulation of understanding and explanation may contribute to building a bridge between the experiential side of place-meanings and the scientific explanations of spatial elements (...) and their relationships. The second reason has to do with the application of the Ricœurian “model of the text” to landscape: It is a direction that Ricœur never explicitly took, but it is worth exploring, especially considering that “landscape as a text” was quite a popular metaphor among human geographers in the 1980s and 1990s. In this paper I will discuss both issues in order to outline a “Ricœurian path to geography,” which, while never explicitly developed by the philosopher, may represent an innovative and fruitful actualization of his thought. (shrink)

Midwest Studies In Philosophy, EarlyView.

Since the late 1960s, but particularly since the beginning of the twenty-first century, sound studies have experienced increasing attention in several scholarly disciplines. This development has to be welcomed but, following all the different turns in cultural and social studies, it should not lead us to proclaim a new “acoustic turn.” What we do need is a continuing integration of sound studies into the study of the senses as an “area of attention” and, more generally, into the cultural and social (...) studies. Sound studies should be pursued in an interdisciplinary way with a cross-cultural globalized perspective. (shrink)

This article aims to contribute to the understanding of the functions of music in stores and similar semi-public settings through a critical discourse analysis of the music in Abercrombie & Fitch. This is an important field of study, which can arguably only grow in significance. Semi-public commercial places are increasingly struggling to create a strong and appealing image or brand. A range of challenges facing the retail sector lay down the premises for such a struggle: a retail market ever more (...) competitive, parity products en masse, increased sales via the Internet, time-pressured consumers and, currently, declining sales. For creating and preserving a strong brand, music can play a decisive role in combination with other supplementary aspects of store design such as scents, interior and décor. The article examines the following questions which are concerned with the aesthesis or perception of music rather than with its production or construction : What are the defining structural and semiotic characteristics of the in-store music in A&F? In what way does the music combine with other semiotic resources on display in the store? How might the semiotic resources affect experiences and interactions among consumers and store assistants? Inspired by Norman Fairclough's model for critical discourse analysis and based on exploratory and open-ended observations in A&F stores in London and Copenhagen during 2011, the article begins with a text analysis and then proceeds to relevant dimensions of processing analysis and social analysis. In particular, three functions of the music in A&F are discussed: an ‘architectural function’, a ‘psychobiological function’ and a ‘knowledge activation function’. (shrink)

This paper argues that, contrary to what many musicologists and classical musicians have maintained, music can, and should, be analysed as discourse. It then surveys a number of approaches to the critical analysis of musical discourse and applies these approaches to a range of examples, including sonatas, advertising jingles and news signature tunes.

This paper is part of a series in which we had worked in the last 6 months, and, specifically, intend to investigate the notion of timbre through the ecological perspective proposed by James Gibson in his Theory of Direct Perception. First of all, we discussed the traditional approach to timbre, mainly as developed in acoustics and psychoacoustics. Later, we proposed a new conception of timbre that was born in concepts of ecological approach. The ecological approach to perception proposed by Gibson (...) (1966, 1979) presupposes a level of analysis of perceptual stimulated that includes, but is quite broader than the usual physical aspect. Gibson suggests as focus the relationship between the perceiver and his environment. At the core of this approach, is the notion of affordances, invariant combinations of properties at the ecological level, taken with reference to the anatomy and action systems of species or individual, and also with reference to its biological and social needs. Objects and events are understood as relates to a perceiving organism by the meaning of structured information, thus affording possibilities of action by the organism. Event perception aims at identifying properties of events to specify changes of the environment that are relevant to the organism. The perception of form is understood as a special instance of event perception, which is the identity of an object depends on the nature of the events in which is involved and what remains invariant over time. From this perspective, perception is not in any sense created by the brain, but is a part of the world where information can be found. Consequently, an ecological approach represents a form of direct realism that opposes the indirect realist based on predominant approaches to perception borrowed from psychoacoustics and computational approach. (shrink)

This article treats the use of sonification in Percy Military Training Hospital’s intensive care unit, through an interview with Anaesthetist Professor Bruno Debien. It starts with a description of the environment completed by some technical information concerning the equipment. This is followed by a commented transcription of the interview with Bruno Debien and concludes with reflections on the nature of audio alarms and their relation to different modes of listening.

As part of a series of Ethnomethodological Studies of Work, this paper focusses upon a short stretch of a final concert performance of the Saint-Saens Septet by a set of amateur musicians in which timing errors occur but in response to which various manoeuvres successfully restore synchrony. I set out to demonstrate that these afford a strategic access for ethnomethodologists to sets of musicians' practices whereby musical synchrony is ongoingly accomplished. The central curiosity of this study is the set of (...) distinctive practices whereby a musical text set out in a spatial, linear sequence of markings is realized in a collective performance that unfolds not only in precise time values but also in synchrony.This paper analyzes three errors in a short passage and the ways in which they are corrected either by the errant musician himself or by the other musician in response. In these cases, the restoration of synchrony and the routine performance of the piece thereafter are accomplished successfully in the sense that those listening to the tape of it generally fail to notice any problem! This contrasts to my detection of problems during both my participation in the performance and repeated listening of the resulting audio-tape, I argue that it is this systematic difference in possible hearings that musicians are oriented to when attempting to fake it. Thus, the essential interest is in members' methods for maintaining as well as restoring synchrony. (shrink)

This article, taking a social semiotic approach, analyses two pieces of music written, shared and exalted by two pre-1945 European fascist movements – the German NSDAP and the British Union of Fascists. These movements, both political and cultural, employed mythologies of unity, common identity and purpose in order to elide the realities of social distinction and political–economic inequalities between bourgeois and proletarian groups in capitalist societies. Visually and inter-personally, the fascist cultural project communicated a machine-like certainty about a vision for (...) a new society based on discipline, conformity and the might of the nation. In this article, we are interested in the ways that these very same discourses are also communicated through sound and music in two songs: The Horst Wessel Lied and the BUF marching song, two songs that used the same melody. We analyse the discourses communicated by the semiotic choices made in melody, arrangements, sound qualities, rhythms as well as in lyrics. The article first identifies some of the underlying semiotic resources for meaning making in sound and then shows how these are used in order to communicate specific ideas, values and attitudes. (shrink)

Drive en Mille Sons (Drifting in a Thousand Sounds)is a musical work that uses mobile media technology to artistically examine the relationship between music and the listener. Contemporary media technologies, be they at work, home or in your pocket, emphasize playback. These devices are designed to facilitate the storage and retrieval of pre-made media assets. This work leverages the processing capabilities that rest dormant within these technologies. Drawing from the writings of Guy Debord and the situationist/surrealist practice of the drive, (...) drifting becomes a metaphor for instrumental performance in which the openness and emergence of interactivity is articulated through sound, as music. (shrink)

This article examines the particular aesthetic experience brought about by soundwalks. In each case, the point of departure is the phenomenological analysis of two case study: Janet Cardiff’s Walks and the audio-tours Remote x by Rimini Protokoll. Drawing upon Husserl and Merleau-Ponty, I will examine the conflicts of perception and the peculiar shift from one order of perception to another that punctuate the spectator’s walking, as well as the intertwining of the real and the imaginary coming into being in such (...) performances and experienced at the very level of his bodily inscription in space. More specifically, my aim is to address the challenge that the aesthetic experience here in question sets to Husserl’s phenomenology of perception and to show how the extension of the notion of perception achieved by Merleau-Ponty makes it possible to overcome the paradox. (shrink)