Most recently, two distinctions—echoing the cross-disciplinary critique of the teleological and “quantitative” approach of human arts and sciences at the expanse of the “qualitative”—have been foregrounded by Amzallag (Philosophy and Technology 34, 785–809, 2021) and Crease (2011), respectively, between the modern understanding of “technology” (as technopraxis) and the “forgotten dimension/phase of technology” (called technopoiesis) and between the ontic and ontological measurement. Pace gently the denotation of technopoiesis as a juvenile phase of technological development and the “ontological measurements” as logical and (...) practical impossibility in the modern, mathematized metroscape, the paper reexamines the relevancy of the distinctions (ontic/ontological and po[i]etic/practical, both recalling Heidegger’s “hermeneutical” critique of Husserl’s phenomenology) in non-Platonic/Aristotelian contexts and, in the process, seeks to refine the vital notion of technopoiesis by looking at the intersection of these fuzzy domains. In particular, the ancient Chinese measurements and their understudied onto-poietic dimension in the shifting econ-political contexts may offer an alternative approach to the otherwise elusive presence of technopoiesis and its ontological roots. Arguing that the techno-onto-poiesis does not necessarily belong to the foregone Arcadian past, the paper proposes refined “signals” for recognizing the technopoietic as well as new “forms” of its presence—“interactive emergence” (the cross-stimulating agonistic interactions between techniques of different “stages”) and “poietic clusters” (poietic ideas and/or implements that survive as “cluster” into the future), calling for future investigation of technical inventiveness (even in modern times) that reveal the process of how technopoietic elements enter the lives of technology through least expected embodiment. (shrink)

Par l’attention qu’ils portent aux modalités sociales, économiques, politiques et culturelles – et non seulement techniques – de production du son, les travaux regroupés depuis une quinzaine d’année sous la dénomination de Sound Studies interrogent la pratique historienne dans ses hypothèses et dans la circonscription de son territoire. Alors qu’une partie des chercheurs issus de ce champ entend affranchir le sonore du musical, ce texte propose d’inverser la perspective et de mesurer l’apport de ces réflexions pour l’enquête historienne consacrée aux (...) sociabilités et aux circulations musicales. Musicologues entendant rompre avec une approche essentiellement internaliste de la partition musicale, historiens, acousticiens, ces chercheurs se sont attachés à des objets neufs et ont analysé les espaces sociaux à partir de problématiques renouvelées, impliquant une approche interdisciplinaire et une méthodologie croisant des expertises issues de champs variés. De l’historienne Emily Thompson, s’attachant à la construction scientifique des espaces sonores contemporains en lien avec l’architecture, au musicologue Jonathan Sterne, qui consacre une partie de ses travaux aux origine culturelles de la reproduction du son, toutes et tous considèrent que le sonore relève d’enjeux sociaux historicisés. Le concept même de « paysage sonore » mérite lui-aussi d’être questionné. S’attacher à une histoire du sonore conduit également à s’attacher à une histoire sociale de l’écoute que l’historien aura tout intérêt à croiser avec des approches d’acoustique musicale. Enfin, le champ des Sound Studies invite à une réflexion critique sur le processus de construction de l’archive sonore, en articulant l’apport des Sciences and Technology Studies consacrées à la (re)production du son à l’outillage propre à l’enquête historique à partir des témoignages sonores du passé, dans le sillage de la « phonographie documentaire ». (shrink)

In this paper, I enrich the context of Wittgenstein's Tractatus given over a decade ago in my book Witttgenstein Flies A Kite (and related earlier works dating from 2000). I've since located a sketch reprinted from a 1914 Paris magazine showing a lawyer using a model bus and dolls to depict a traffic accident; I present it here along with a discussion of the modelmaker movement of that time. The modelmaker movement was a movement at the intersection of popular culture (...) and technical expertise that really needs to be understood and recognized in discussing Wittgenstein's use of Modell and Bild. I discuss its role in relation to experimental models used in scientific research. Other new aspects presented here include: the very special role of model-fl ying clubs (known in Germany as Modell-Flugverein); the use of scientific forensics in courts of law, really just beginning then (c. 1914), and a part of popular culture as well; the significance of more recent work by others on Boltzmann's personal interest in flight, and on the widespread but now-forgotten discussion of dimensional analysis in the history of physics. I conclude that all these lend support to the views on the Tractatus I laid out in my book, and summarize and elaborate on some of them here, inasmuch as space permits. More generally, I argue that the philosophical community interested in interpreting Wittgenstein's early works stands to gain from becoming better acquainted with the scientific and technological developments of the milieu in which they were conceived. (shrink)

This paper considers the technologically-mediated constitution of auditory experience based on the analogy of a healthy natural soundscape as a well-balanced orchestra in which living creatures use the full range of acoustic frequencies to communicate and survive. Using the idea of (inner) horizonality proposed by Edmund Husserl, I argue that key technological inventions enabling the transmission and recording of sound made possible a new form of experience characterized by split horizonality. This new form of technologically-mediated auditory experience brought with it (...) potential for both creative expression and manipulation. A broader historical trend driven by technology towards individualization that culminated with our present-day experience of constantly connected mobile phones deeply embedded in our everyday lives calls into question the soundness of thinking of our technologically-mediated auditory worlds in terms of the analogy of a healthy natural soundscape as a well-balanced orchestra. (shrink)

In the 1980s, new reproductive technologies such as in vitro fertilisation and embryo transfer became commercially available in the United States, and somatic cell nuclear transfer—the cloning process by which Dolly the Sheep would be conceived in 1996—was in its experimental phase. While anxieties concerning these new technologies escalated in the popular sensorium, Laurie Anderson explored the phenomenon of cloning in a short musical film called What You Mean We? (1986) in which Anderson consults a design team to clone herself (...) in order to manage her demanding workload. The videographic image of the clone is Anderson herself, performing in drag, and her clone’s body is partially created through the use of a pitch shifter which changes Anderson’s voice to that of the cloned—but ostensibly male—version of herself. In this article, I investigate Anderson’s technological consideration of the body, which extends beyond her own corporeality, to interrogate the biological and affective capacities of clones. I consider how Anderson addresses the convergence of reproductive technologies, the market and the creation of subjects within this market as participating in a shift in how voices are heard, governed and reproduced in the latter half of the twentieth century. (shrink)

This article evaluates the theoretical and practical grounds of recent debates around Christoph Cox’s realist project of a ‘sonic materialism’ by returning to Gilles Deleuze, a key theoretical resource for Cox. It argues that a close engagement with Deleuze’s work in fact challenges many of the precepts of Cox’s sonic materialism, and suggests a rethinking of materialism in the context of music. Turning to some aspects of Deleuze’s work neglected by Cox, the ‘realist’ ontological inquiry Cox affirms is challenged through (...) the ‘onto-ethology’ that Deleuze and Félix Guattari develop in their A Thousand Plateaus, with this diversely constructive theory of relations explicated through musical examples from John Cage and Pauline Oliveros. To conclude, this article suggests that Deleuze can indeed be understood as subscribing to a materialism, but a materialism that is practical rather than doctrinal. (shrink)

While vocal acts, such as interpellation and speech acts, constitute a network of theoretical nodes in Butler’s writings, her theory of gender performativity neglects to theorize the mediation of such acts through the voice and its technologies. In a close reading of Butler’s influential texts, the paper examines the ramifications of a notion of gender performativity that ignores the performative aspects of the voice, asking what it means to think a body without a voice. What notions of materiality and subjectivity (...) does such a thinking it assume? How does it understand the relationship of performativity, performance and sound technology? I argue that the repression of the sonoric aspects of the voice can be read as a symptom of the role of materiality in the theory of gender performativity. Despite Butler’s attempts to attend to the material body within a discourse of the performative, the notion of materiality is constrained through the economy of the sign and remains subordinated to the realm of intelligibility, a hierarchy that Butler explicitly rejects. However, the material voice will finally supplement and subvert the theory of gender performativity. (shrink)

Due to the simultaneous linguistic and musical quality of voicing, voiced breath poses theoretical challenges to notions of ‘embodiment’, especially as they are used in theatre practice/studies. In this article, I make two intertwining arguments to address questions of the place of semantic meaning and conscious thought in performance practice/theories as they arose in my anthropological engagement with laboratory theatre. Firstly, theatre and performance practice/theories keen to embrace ‘embodiment’ often leave out things like explicit analysis, reflexivity, referential or semantic meaning (...) and so on because, as my ethnography shows, they are judged as secondary, and thus belonging implicitly more closely to disembodied ‘mind’. I engage in anthropological comparison to show how other ways of being/knowing complicate any sense in which practices labelled ‘embodied’ can be seen as primary in contrast to conscious, linguistic or explicit knowing. Instead I outline an onto/epistemology of emergence that offers an alternative imaginary in which no binaries exist a priori. Rather all is a matter of ongoing mutual constitution. Secondly, while the discourses of embodiment in performance practice/theory that I critique may continue to reproduce dualist assumptions, theatre approaches influenced by Grotowski’s anti-method, focusing on continual revision of practice, offer insights for scholarship concerned with the ontological indistinguishability of social, psychological and physical phenomena. Laboratory theatre practices offer a prospective way of knowing, enabling an exploration of the ontological equality of breath, in this case in song, and the sorts of meaningfulness associated with language and analysis. In 2011, my Nanna (grandmother in Maltese) passed away in circumstances that remain traumatic to me. I turned with to my daily practices to find ways to scream, to grieve: to anthropology and to a particular practice of song in laboratory theatre, where encounter is actively sought. Arising from ethnographic and analytic engagement with such practices, in this article, I offer an anthropologically inflected critique of notions of embodiment in performance studies and performance philosophy. I present the alternative imaginary of emergence onto/epistemologies and the prospective investigative practices of laboratory theatre. I do this by weaving autobiographical, ethnographic and anthropological threads to explore my own practice relating to the work of my collaborator Gey Pin Ang, a Singaporean director, actor and pedagogue. (shrink)

In 1965, the American folklorist Alan Lomax set out on a mission: to view, code, catalogue and preserve the totality of the world’s dance traditions. Believing that dance carried otherwise inaccessible information about social structures, work practices and the history of human migration, Lomax and his collaborators gathered more than 250,000 feet of raw film footage and analyzed it using a new system of movement analysis. Lomax’s aims, however, went beyond the merely scientific. He hoped to use his ‘Choreometrics’ project (...) as the foundation for a universally available visual and textual atlas of human movement. This article explores how Lomax’s archival ambitions supported his efforts to enact a wholesale ‘recalibration of the human perceptual apparatus’ and situates Choreometrics at the nexus of new techniques of data-gathering and the cultural ferment of the 1960s. (shrink)

The main aim of this article is to argue the case for understanding improvising as a real-time emergent process grounded in collaborative action, while noting that talking about improvisation, bluntly put, is not the same as improvising. The ways in which improvisers respond and adapt to changing circumstances in the moment and over time, it is argued, connect directly to the discipline of process philosophy and involve pattern recognition and creation skills as well as the ability to predict the actions (...) of conspecifics. The conclusion considers some benefits and challenges in approaching improvisation from a process-based and systems-theoretical perspective. (shrink)

Unlike sonographic examinations, sonic fetal heartbeat monitoring has received relatively little attention from scholars in the social sciences. Using the case of fetal heartbeat monitoring as part of midwifery prenatal care in Germany, this contribution introduces music as an analytical tool for exploring the aesthetic dimensions of obstetrical surveillance practices. Based on ethnographic stories, three orchestrations are compared in which three different instruments help audiences to listen to what becomes fetal heartbeat music and to qualify fetal and pregnant lives in (...) relation to each other. In the Doppler-based orchestration, audible heartbeat music is taken as a sign of a child in need of parental love and care cultivated to listen. The Pinard horn makes esoteric fetal music that can be appreciated by the midwife as a skilled instrumentalist alone and helps to enact a child hidden in the belly. The cardiotocograph brings about soothing music and a reassuring relationship with a child but also durable scripts of juridical beauty. This material-semiotic analysis amplifies how well-being is shaped in midwifery prenatal care practices. (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)

Sociological studies of work and time have argued that academic temporalities are increasingly rationalized and rendered accountable, resulting in a divergence of planned and experienced time in academic work. Shared research facilities that provide platform technologies to large user pools are no exception to this, as its administrations seek to increase the profitability of limited instrument time. Based on an ethnographic study of three facilities at an American university, this article examines how diverging rhythms are enacted in organizational schedules and (...) instrument work and kept aligned on the laboratory floor. Drawing insights from time studies and repair sociology, I argue that although technologies of time accounting provide powerful templates for action, they become effective only through ongoing “synchronization” work. Synchronization calls attention to discrete techniques and work practices, such as the adjustment of users’ bodies, user expectations, or work processes, that technical staff draw upon to resolve slippages between organizational rhythms and the temporal realities of data collection. This analysis suggests that technicians’ local and embodied practices not only affect their own professional roles but also organizational stability and productivity in time-sensitive environments. (shrink)

This article explores the rhythmic body with the example of the embodiment of the ‘bashment gal’ and the role she plays in the dancehall sound system session. It considers rhythm as an energetic patterning process operating both within and between media. Rhythm provides a means of communication and making sense that does not rely on representation or code. There are three elements to performance techniques of the rhythmic body – amplification, inflection and transduction. Amplification for the bashment gal’s performance techniques (...) involves increasing the size or effort of her dance movements, dancing in a chorus line accelerating her tempo. In what is considered as a hyper-sexualized arena of the dancehall session, it is argued that the bashment gal has to be understood in terms of African traditions where sexual pleasure and fertility are not separate. With rhythmic inflection the bashment gal gives distinctiveness to her performance, as is much prized in the style and fashion of the dancehall scene. The transduction of patterning from one medium to another, via tympanic surfaces, helps to forge the sound system session and the bashment gal as a rhythmic whole and fosters her sense of identity as a rhythmic body. (shrink)

This article is interested in ‘voice imaging’ as a technical field through which people experience new relations between organic and inorganic forms of life. Grounded in a study of voice imaging in historical and contemporary scientific research, the article applies and expands on Bernard Stiegler’s ‘General Organology’, with an eye to understanding the voice as a dynamic capacity for volition. By exploring the scientific research into voice imaging, the article argues that the voice, as a cultural image, is an imaginary (...) organ that transgresses the boundaries of technological, biological, physical, psychological, social and cultural frameworks. (shrink)

Are we really sure to correctly know what do we feel in front ofan artwork and to correctly verbalize it? How do we know what weappreciate and why we appreciate it? This paper deals with the problem ofintrospective opacity in aesthetics (that is, the unreliability of self-knowledge) in the light of traditional philosophical issues, but also of recentpsychological insights, according to which there are many instances ofmisleading intuition about one’s own mental processes, affective states orpreferences. Usually, it is assumed that (...) aesthetic statements are intuitivelyclear and self-evident. However, a long tradition in psychological researchhas called the idea of introspective transparency and the infallibility of self-knowledge into question (Wilson 2002). This topic has only recently beenrecognized as an interesting problem in aesthetics (Melchionne 2011, Irvin2014). In this paper I will discuss the main shortcomings in introspective self-knowledge, mostly referring to psychological findings. As a consequence, thedevelopment of a folk psychological account of aesthetic experience could beneeded, investigating how people develop intuitive and naïve theories abouttheir aesthetic reactions, taste, and feelings, distinct from a more objectiveand empirically grounded account of how judgment and preferences areactually formed in ourselves, even on a neurobiological level. However, itwill also be argued that bypassing the individual judgment and his expressedchoices in favor of allegedly more objective levels of description would notbe an innocent step to take. (shrink)

The rapid increase of technologically enhanced listening platforms gives listeners access to music with ever-increasing ease and ubiquity, giving rise to the suggestion that we should now conceptualize music as a resource similar to water; something that is utilized to achieve everyday goals. This paper proposes that music is a utilitarian resource employed by listeners to augment cognitive, emotional, behavioral, and physiological aspects of the self. To better explore these notions this paper examines the potential role of the “functions of (...) music,” first espoused by Alan P. Merriam in 1964. Merriam suggested music has a situational use and an underlying function. The research presented here asserts that listeners interact with specific musical materials to achieve or orientate themselves towards contextually-rooted goals. Reinforcing Tia DeNora’s suggestion that music is a “technology of the self” this research presents the results of a 41 publication meta-analysis exploring the possible functions of music. The resultant Aggregate Thematic Functions Framework identifies 45 possible utilitarian functions of music, spread across five domains of action. The framework also proposes a meta-domain and an emotional sub-domain. (shrink)

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 analyses the connections between forms of solitary automobile habitation and the use of mobile sound technologies in automobiles: the radio, cassette, sound system and mobile phone. It does this through an empirically informed analysis of automobile use. In doing so it re-evaluates our understanding of the occupation of space and place, arguing that traditional concepts of urban space have underestimated the active role that the users of these communication technologies might have in transforming the meaning of these spaces (...) as they pass through them. The article points to the powerful, and potentially problematic, role that sound technologies play in the daily experience of moving through the city. (shrink)

This article addresses the relationship between technology and institutions and asks whether technology itself is an institution. The argument is that social theorists need to attend better to materiality: the world of things and objects of which technical things form an important class. It criticizes the new institutionalism in sociology for its failure to sufficiently open up the black box of technology. Recent work in science and technology studies (S&TS) and in particular the sociology of technology is reviewed as another (...) route into dealing with technology and materiality. The recent ideas in sociology of technology are exemplified with the author’s study of the development of the electronic music synthesizer. (shrink)

This dissertation is situated within the field of media studies, with a particular focus on the "materialities of communication." The concept of "materialities" is oriented to the underlying conditions that allow communication to take place: the places, carriers and modes of communication that serve to shape and even alter meaning. My dissertation asks how this "material turn" can usefully be applied to and help develop the study of theatre.

As the record industry’s fortunes decline, consumers experience increasing access to the world’s recorded music, legally and otherwise, through digital technologies. At the same time, recordings not only take up less physical space , they are compressed — not just as data, but in terms of dynamic range. While it allows for constant audibility in noisy environments like cars and offices, dynamic range compression has frustrated many listeners for limiting the impact of the music and causing “ear fatigue.” These listeners (...) long for access to the purity of the original recording before it was “squashed,” but the problem is that the original recording does not, in a sense, exist. Producers and mastering engineers assemble the tracks recorded and create a particular sonic product that can later be revisited and “remastered.” Ostensibly this process is meant to get closer to the original sound, but in reality it simply comprises a different manner of interpreting the existing recording. Theodor Adorno had written of surprisingly similar phenomena more than half a century ago in essays like “The Radio Symphony” and the notes collected in Towards a Theory of Musical Reproduction. Though infamous for his hostility toward popular music and its “infantile” listeners, Adorno’s writings on music contain much that is valuable for an understanding of how pop works in the digital age. Combined with a consideration of works on music and postmodernity by Fredric Jameson, Jacques Attali, François Lyotard and others, Adorno’s work helps one to consider how reification continues to work in an era where music is seemingly no longer a “thing.”. (shrink)

‘Psychotechnics’, Weimar Germany’s science du jour, typically is framed as a symptom of ‘technological media’ – obscuring the persistent significance of ‘dexterity’, ‘skill’ and ‘manual labour’ at the time. More broadly, there is a tendency to construe ‘the haptic’ as predominantly a casualty of modernity: skilled hands replaced by conveyor belts; skilled hands defended by the rearguard actions of arts-and-crafts movements; skilled hands destroyed by industrialized warfare. Drawing on contemporary investigations into the ‘organ of touch’, this essay aims to complicate (...) this picture by reconstructing the proto-ergonomic project of Friedrich Herig, a German engineer, amateur prehistorian and expert on craft labour who rose to distinction in the 1920s as a designer of ‘ideal’ hand tools. Herig’s eclectic sources of inspiration reveal that matters of ‘touch’, far from obsolete, were intimately bound up with matters of tools – their design, uses and putative origins – and thus, with matters of labour. (shrink)

Cette contribution revient sur le dialogue qui s’est développé depuis dix ans entre des chercheurs en Études théâtrales et des chercheurs en Sound Studies dans le cadre de deux projets successifs. Après avoir rappelé le contexte dans lequel a été élaborée la présente réflexion, précisé ce que j’entends ici par Sound Studies et donné quelques informations sur les Études théâtrales, je montrerai comment la relation intense que les secondes ont entretenue avec les premières a contribué à l’élaboration d’une véritable réécriture (...) de l’histoire du théâtre et comment les théâtrologues ont pu, en s’appuyant sur leur bases disciplinaires propres, opposer des approches critiques au modèle des Sound Students. (shrink)

This article explores negotiations over the humanistic versus mechanized components of care through an ethnographic account of digital phenotyping research. I focus on a US-based team of psychiatric and engineering professionals assembling a smartphone application that they hope will analyze minute changes in the sounds of speech during phone calls to predict when a user with bipolar disorder will have a manic or depressive episode. Contrary to conventional depictions of psychiatry as essentially humanistic, the discourse surrounding digital phenotyping positions the (...) machine as a necessary addition to mental health care precisely because of its more-than-human sensory, attentional capacities. The bipolar research team likewise portrays their app as capable of pinpointing sonic signs of mental illness that humans, too distracted by semantic meaning, otherwise ignore. Nevertheless, the team members tasked with processing the team’s data must craft and perform a selectively attentive machinic subject position, which they call “listening like a computer”: a paradoxical mode of attention and inattention. By tracing the team’s discursive and on-the-ground enactments of care and attention as both humanistic and machinic, I tune a critical ear to the posthuman promises of digital phenotyping. (shrink)

The category “music” as used in this area of science is inconsistent and unstable, and its logical relationship to the word “musicality” – used by scientists to denote the human capacity for music – is circular. Therefore, rather than pursue the question, “Why did music evolve?” let us ask more inclusively, “What experiences in humankind's deep past might have felt like music?”.

Increasingly privatized auditory spaces resulting from the mutual engendering of auditory cultural practices and sound technologies that separated the sense of hearing and segmented acoustic spaces have had a muting effect on our experience of Others that has intensified since the advent of mobile listening devices. In Section 1 of the article, I outline features of the social realm of the nineteenth to twentieth centuries that made modern sound technologies possible and then features of the technological realm that have shaped (...) today’s social realm – all with an eye toward our experience of other people. Then, in Section 2, I reach for a few phenomenological tools from the work of Jean-Paul Sartre, Emmanuel Levinas, and Don Ihde to draw out the phenomenological vectors that have taken shape within the enmeshed sociotechnological context described in Section 1. Specifically, I show how technologically mediated auditory experience has been individualized and how the use of sound technologies on the go – whether wearing earphones or in a car – has had a muting effect on our experience of others. (shrink)

The growing abundance of medical technologies has led to laments over doctors’ sensory de-skilling, technologies viewed as replacing diagnosis based on sensory acumen. The technique of percussion has become emblematic of the kinds of skills considered lost. While disappearing from wards, percussion is still taught in medical schools. By ethnographically following how percussion is taught to and learned by students, this article considers the kinds of bodies configured through this multisensory practice. I suggest that three kinds of bodies arise: skilled (...) bodies; affected bodies; and resonating bodies. As these bodies are crafted, I argue that boundaries between bodies of novices and bodies they learn from blur. Attending to an overlooked dimension of bodily configurations in medicine, self-perception, I show that learning percussion functions not only to perpetuate diagnostic craft skills but also as a way of knowing of, and through, the resource always at hand; one’s own living breathing body. (shrink)

The purpose of this article is to explore the concept of rhythm as enabling relations and thus as an appropriate mode of analysis for digital sound art installation. In particular, the article argues for a rhythmanalysis of the sonic event as a ‘vibrating sensation’ (Deleuze and Guattari) that incorporates the virtual without necessarily actualizing it. Picking up on notions such as rhythm, time, affect, and event, particularly through their discussion in relation to Susanne Langer’s work, I argue for the consideration (...) of the sonic event as an instance of a different kind of temporality subsisting underneath clock-time and sense perception. Ultimately, and this is the position of this essay, an investigation into experimental projects that interweave digital, sound, and aesthetic dimensions enables the articulation of a rhythmic time that helps account for the unknown, indeterminate, and unintentional forces immanent to the sonic. (shrink)

This article discusses “auditory” arguments: arguments in which non-verbal sounds play a central role. It provides examples and explores the use of sounds in argument and argumentation. It argues that auditory arguments are not reducible to verbal arguments but have a similar structure and can be evaluated by extending standard informal logic accounts of good argument. I conclude that an understanding of auditory elements of argument can usefully expand the scope of informal logic and argumentation theory.

Arguments do not occur against silent backdrops. From the drone of televisions to the music in a retail space to the symphony of combustion engines on the street, we are perpetually immersed in sound. We live in a noisy world. The combined sounds of these environments, or soundscapes, provide the very conditions of social interaction. Charles Hirschkind remarked that soundscapes are as necessary "to politics and public reason as are markets, associations, formal institutions, and information networks". These soundscapes are far (...) from neutral and can be designed to promote desired outcomes: soothing tones as you board an airplane to alleviate fear, a blaring voice over the loudspeaker to compel... (shrink)

This article discusses listening that is appropriate to sound art and the associated changes in the paradigms, or thought patterns, that occur so often when we move from visual to aural perception. The distinction between historically accepted and rejected sounds is used to show how putting sounds in cages has fashioned a form of listening and of life. Twentieth-century experimental music and, especially, the music and the reflections of John Cage have opened these cages of sound and at the same (...) time weakened the visual paradigm for intellectual knowledge. This article examines sound art as a place where artistic practices coincide with certain theoretical issues centered on sound. The centrality of sound is approached first, and music and sound art are discussed in relation to space. Second, the attention to sound in the reception of prominent examples of sound art focuses on site-specific relationships with the city and with listening. The article concludes by affirming the need for an aesthetic reflection that takes into consideration the implications of these profound transformations. However, that is another cage yet to be opened. (shrink)

This essay analyzes the historical development of otology in relation to music. It illustrates the integral role of music perception and appreciation in the study of hearing, where hearing operates not simply as a scientific phenomenon but signifies particular meaningful experiences in society. The four historical moments considered—Helmholtz’s piano-keyed cochlea, the ear phonautograph, the hearing aid, and the cochlear implant—show how the sounds, perceptions, and instruments of music have mediated and continue to mediate our relationships with hearing. To have an (...) ear, one does not just bear a physiological hearing mechanism; one experiences the aesthetics of musical sound. (shrink)

Strikingly, theorizing about digital technologies has led us to recognize many habitual subjects of research as figures against fields that are also worthy of study. Communication, for example, becomes visible only against the field of silence. Silence is critically important for the construction of reality – and the social construction of reality has a complement, the also necessary contemplative construction of reality. Silence is so sensitive and fragile that an inability to achieve it, or to get rid of it, or (...) to correct the wrong kind of silence often provides early indicators of individual, group, communal, and society-wide stresses from information technologies. Indeed, we might treat difficulties with silence as miners treated canaries in coal mines, as early warning signals. The story has already been told that nightingales in London now have to sing so loudly in order to be heard above the ambient noise that the birds are in danger of breaking the noise ordinance law. Surely something has gone awry if nightingales break the law when they sing. Finding ways to protect silence as an arena of personal and social choice is a particularly poignant, evocative, and instructive ethical and policy horizon at this frontier moment for the human species. This article introduces the theory of the contemplative construction of reality, explores what the study of silence tells us about reality construction processes, and outlines a research agenda. (shrink)