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  1. Theatre and the materialities of communication.Michael Darroch - unknown
    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.
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  • When nightingales break the law: Silence and the construction of reality. [REVIEW]Sandra Braman - 2007 - Ethics and Information Technology 9 (4):281-295.
    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 (...)
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  • When the Poem Must Come to an End: Reply to Amzallag’s Commentary on the Coexistence of Technopoiesis and Technopraxis'.Shan Wu - 2023 - Philosophy and Technology 36 (2):1-4.
    Our recent paper examines the relevancy of the latest dual conception of technopoiesis and technopraxis, the former denoting a situation of the prevailing, manifest importance of a technical process upon its end-product and the latter the overall approach of technology conditioned by a dominantly teleological perspective, proposing the idea of techno-onto-poiesis (counterbalanced by techno-ontic-praxis) that points to the efflorescence of techniques (and their material and metaphysical potentiality) that are classified typologically rather than sequentially. Alongside Edgerton’s view, the response calls on (...)
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  • Pictures, models, and measures.S. G. Sterrett - 2017 - Belgrade Philosophical Annual 30 (30):99-137.
    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 (...)
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  • Refining Technopoiesis: Measures and Measuring Thinking in Ancient China.Shan Wu - 2023 - Philosophy and Technology 36 (2):1-41.
    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 (...)
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  • Technology, Embodiment, and Affect in Voice Sciences: The Voice is an Imaginary Organ.Mickey Vallee - 2017 - Body and Society 23 (2):83-105.
    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 (...)
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  • Primordial Haptics, 1925–1935: Hands, Tools and the Psychotechnics of Prehistory.Max Stadler - 2022 - Body and Society 28 (1-2):60-90.
    ‘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 (...)
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  • Music to My Ears: A Material-semiotic Analysis of Fetal Heart Sounds in Midwifery Prenatal Care.Annekatrin Skeide - 2022 - Science, Technology, and Human Values 47 (3):517-543.
    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 (...)
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  • Listening Like a Computer: Attentional Tensions and Mechanized Care in Psychiatric Digital Phenotyping.Beth M. Semel - 2022 - Science, Technology, and Human Values 47 (2):266-290.
    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 (...)
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  • Do Voices Matter? Vocality, Materiality, Gender Performativity.Annette Schlichter - 2011 - Body and Society 17 (1):31-52.
    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 (...)
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  • To Have an Ear: Music and the Otological Experience.Atia Sattar - 2016 - Journal of Medical Humanities 37 (3):289-298.
    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 (...)
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  • A Vibrating Body: Sound in Redefined Space and Time.Luís Cláudio Ribeiro - 2020 - Avant: Trends in Interdisciplinary Studies 11 (3).
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  • Technology and institutions: living in a material world. [REVIEW]Trevor Pinch - 2008 - Theory and Society 37 (5):461-483.
    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 (...)
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  • The Emergence of Sound Art: Opening the Cages of Sound.Carmen Pardo - 2017 - Journal of Aesthetics and Art Criticism 75 (1):35-48.
    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 (...)
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  • L’histoire culturelle des circulations musicales au prisme des Sound Studies : réflexions théoriques et retours de terrain.Jean-Sébastien Noël - 2019 - Diogène n° 258-259-260 (2):168-182.
    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 (...)
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  • Voicing the Clone: Laurie Anderson and Technologies of Reproduction.Maria Murphy - 2021 - Feminist Review 127 (1):56-72.
    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 (...)
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  • Études thé'trales et Sound Studies. Vers une histoire aurale du thé'tre.Marie-Madeleine Mervant-Roux - 2019 - Diogène n° 258-259-260 (2):154-167.
    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 (...)
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  • Music as Water: The Functions of Music from a Utilitarian Perspective.Liam Maloney - 2017 - Avant: Trends in Interdisciplinary Studies 8 (T):57-67.
    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 (...)
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  • Sound, Site and the City in Nadia Vadori-Gauthier’s Resistant Dancing Project ‘Une minute de danse par jour’.Edyta Lorek-Jezińska - 2020 - Avant: Trends in Interdisciplinary Studies 11 (3).
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  • The living record: Alan Lomax and the world archive of movement.Whitney E. Laemmli - 2018 - History of the Human Sciences 31 (5):23-51.
    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 (...)
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  • What's not music, but feels like music to you?Vijay Iyer - 2021 - Behavioral and Brain Sciences 44.
    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?”.
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  • Abstract Time and Affective Perception in the Sonic Work of Art.Eleni Ikoniadou - 2014 - Body and Society 20 (3-4):140-161.
    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 (...)
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  • Rhythmic Bodies: Amplification, Inflection and Transduction in the Dance Performance Techniques of the “Bashment Gal”.Julian Henriques - 2014 - Body and Society 20 (3-4):79-112.
    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 (...)
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  • Listening-touch, Affect and the Crafting of Medical Bodies through Percussion.Anna Harris - 2016 - Body and Society 22 (1):31-61.
    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 (...)
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  • The Muting of the Other: The Technological Reconfiguration of Our Auditory Experience of Others.Ivan Gutierrez - 2021 - Open Philosophy 4 (1):179-189.
    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 (...)
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  • Technologically-mediated auditory experience: Split horizons.Ivan Gutierrez - 2023 - Phenomenology and the Cognitive Sciences 22 (2):525-540.
    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 (...)
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  • Auditory Arguments: The Logic of 'Sound' Arguments.Leo Groarke - 2018 - Informal Logic 38 (3):312-340.
    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.
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  • Breathing beyond Embodiment: Exploring Emergence, Grieving and Song in Laboratory Theatre.Caroline Gatt - 2020 - Body and Society 26 (2):106-129.
    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 (...)
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  • Odyssey Towards a Sirenic Thinking: An Attempt at a Self-Criticism of the Listening Paradigm Within Sound Studies.Hannah L. M. Eßler & Jim Igor Kallenberg - 2021 - Open Philosophy 4 (1):231-251.
    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 (...)
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  • Designing Soundscapes for Argumentation.Justin Eckstein - 2018 - Philosophy and Rhetoric 51 (3):269-292.
    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 (...)
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  • Improvisation Unfolding: Process, Pattern, and Prediction.Marc Duby - 2018 - World Futures 74 (3):187-198.
    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 (...)
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  • Automobility and the Power of Sound.Michael Bull - 2004 - Theory, Culture and Society 21 (4-5):243-259.
    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 (...)
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  • Synchronicity: Time, Technicians, Instruments, and Invisible Repair.Joeri Bruyninckx - 2017 - Science, Technology, and Human Values 42 (5):822-847.
    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 (...)
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  • An Acoustic Turn? Recent Developments and Future Perspectives of Sound Studies.Hans-Joachim Braun - 2017 - Avant: Trends in Interdisciplinary Studies 8 (1):75-91.
    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 (...)
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  • Aesthetic opacity.Emanuele Arielli - 2017 - Proceedings of the European Society for Aesthetics.
    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 (...)
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  • Sound’s Matter: ‘Deleuzian Sound Studies’ and the Problems of Sonic Materialism.Iain Campbell - 2020 - Contemporary Music Review 39 (5):618-637.
    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 (...)
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  • The Compression and Expansion of Musical Experience in the Digital Age.Jesse Lawson - unknown
    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 (...)
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