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Journal articles on the topic 'Acoustemology'
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1
Stevenson, Ian. "De Quincey’s acoustemology." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 4, no. 1 (December 15, 2014): 130–43. http://dx.doi.org/10.7146/se.v4i1.20484.
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This article reports on a reading of aspects of sound and knowledge in the writings of English essayist Thomas de Quincey (1785-1859). The article develops the concept of the sonic effect as it emerges in de Quincey’s sonic aesthetics. This is supported by a summary of de Quincey’s apparent critique of Kantian understanding and judgement as it relates to sound. The historical development of notions of effect contemporary to de Quincey is explored, and the parallels between his use of sound and subsequent sonic design in crime fiction and the development of audiovisual drama in general are considered. Three key sound effects: the knock, the sigh and the solemn wind are developed and analysed by de Quincey and are shown to be part of a unique de Quincian acoustemology. The research in this article formed the initial phase of a larger practice-based research project culminating in a new sound design for a hybrid performance-installation work.
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Spencer, Edward K. "Re-orientating Spectromorphology and Space-form through a Hybrid Acoustemology." Organised Sound 22, no. 3 (November 24, 2017): 324–35. http://dx.doi.org/10.1017/s1355771817000486.
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This article re-orientates Denis Smalley’s work on spectromorphology and space-form through a case study of electronic dance music (EDM) on YouTube. An EDM track and its related YouTube comments are analysed concurrently in order to examine how sound-shapes and sonic spatiality are experienced in practice on the social web. Using Stephen Feld’s notion of acoustemology as a theoretical base, I argue that semantic and somantic ways of knowing through sound are thoroughly entangled. A hybrid acoustemology model is outlined, merging spectromorphology and space-form with elements of ecosemiotics and music psychology. The model is then deployed during an acoustemology of the trance/breakbeat trackFinished Symphonyby Hybrid (1999). Selected YouTube comments onFinished Symphonyuploads are coded deductively using the descriptive system of Gabrielsson and Wik (2003). A larger set of comments is subsequently collected for inductive content analysis, which highlights some wider issues relating to the words we use for music and sound. The article concludes by calling forvantage point shiftsin music research.
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Smith, Mark M. "In Praise of Discord." JAAAS: Journal of the Austrian Association for American Studies 1, no. 2 (December 30, 2020): 191–98. http://dx.doi.org/10.47060/jaaas.v1i2.113.
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This piece explores writing on historical acoustemology. It charts the emergence of the field, identifies its strengths and weaknesses, and calls for greater critical engagement amongst its practitioners.
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Eisenberg, Andrew J. "Toward an Acoustemology of Muslim Citizenship in Kenya." Anthropology News 51, no. 9 (December 2010): 6. http://dx.doi.org/10.1111/j.1556-3502.2010.51906.x.
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Gieser, Thorsten. "Sensing and knowing noises: an acoustemology of the chainsaw." Social Anthropology 27, no. 1 (February 2019): 50–61. http://dx.doi.org/10.1111/1469-8676.12595.
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Russo, Francis. "Sonic Piety in Early New England." New England Quarterly 95, no. 4 (December 1, 2022): 610–44. http://dx.doi.org/10.1162/tneq_a_00962.
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Abstract This article reinterprets New England's 1720s Singing Controversy as a sensory event that altered the nature of puritan sonic piety in early New England. Far from a parochial peculiarity in the history of American music, the 1720s singing reforms were part of broader challenges to a previous way of knowing-an epistemology, or, in this context, an “acoustemology.”
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Toner, P. G. "On the Acoustemology of a Day in the Life of Bosavi." Asia Pacific Journal of Anthropology 22, no. 2-3 (April 11, 2021): 245–48. http://dx.doi.org/10.1080/14442213.2021.1906552.
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Spray, Stephanie Anne. "Aesthetic Experience and Applied Acoustemology: Blue Sky, White River Liner Notes." Anthropology News 52, no. 1 (January 2011): 14. http://dx.doi.org/10.1111/j.1556-3502.2011.52114.x.
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Smith, Mark M. "Sound—So What?" Public Historian 37, no. 4 (November 1, 2015): 132–44. http://dx.doi.org/10.1525/tph.2015.37.4.132.
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“Sound—So What?” proposes to answer the following questions: Why listen to the past? What are the interpretive dividends of paying attention to sounds, noises, and silences? What do we lose by not listening? The article answers these questions by charting how some key works in historical acoustemology have enhanced, textured, and revised our understanding of US history for all eras. The article examines how key themes in the history of religion, westward expansion, and urbanization have been refined and revised by a number of works that have listened carefully to the past.
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Rice, Tom. "Soundselves: An acoustemology of sound and self in the Edinburgh Royal Infirmary." Anthropology Today 19, no. 4 (August 2003): 4–9. http://dx.doi.org/10.1111/1467-8322.00201.
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Uimonen, Heikki. "Everyday Sounds Revealed: Acoustic communication and environmental recordings." Organised Sound 16, no. 3 (November 15, 2011): 256–63. http://dx.doi.org/10.1017/s1355771811000264.
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Environmental sounds give information to individuals who have learned to interpret them as members of their acoustic communities. Those living within a soundscape not only receive the acoustic information passively, but also construct their surroundings by their activities.A lot of acoustic information escapes our conscious attention partly for perceptual psychological reasons, partly because of the amount of acoustic information. A method called sound/listening walk has been applied to enhance these everyday meanings connected to sounds and to emphasise the cultural and historical layers related to them.The article introduces earlier research and methodology on the subject, applies the recording of acoustic environments to sound/listening walks and then proposes a preliminary method called recorded listening walk for acoustic communication research and soundscape education. The article draws theoretically on acoustic communication and acoustemology.
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Velasco-Pufleau, Luis. "Listening to Terror Soundscapes." Conflict and Society 7, no. 1 (June 1, 2021): 60–77. http://dx.doi.org/10.3167/arcs.2021.070105.
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Listening experiences provide valuable insights in understanding the meaning of events and shaping the way we remember them afterwards. Listening builds relationships with places and subjectivities. What kinds of relationships and connections are built through listening during an event of extreme violence, such as a terrorist attack? This article examines the relationships between sound, space, and affect through an acoustemology of Bataclan survivors’ sensory experiences of both the terrorist attack and its aftermath. I draw on the testimonies of nine survivors of the Bataclan terrorist attack in Paris, which unfolded on the evening of 13 November 2015 during a rock concert, as well as interviews with three parents of survivors and victims. This article explores how the study of listening experiences and aural memories of survivors contributes to understanding mnemonic dynamics and processes of recovery related to sound following violent events.
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Ramnarine, Tina K. "Acoustemology, Indigeneity, and Joik in Valkeapää’s Symphonic Activism: Views from Europe’s Arctic Fringes for Environmental Ethnomusicology." Ethnomusicology 53, no. 2 (April 1, 2009): 187–217. http://dx.doi.org/10.2307/25653066.
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Kallenberg, Jim Igor, and Hannah L. M. Eßler. "Odyssey Towards a Sirenic Thinking: An Attempt at a Self-Criticism of the Listening Paradigm Within Sound Studies." Open Philosophy 4, no. 1 (January 1, 2021): 231–51. http://dx.doi.org/10.1515/opphil-2020-0182.
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Abstract 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.
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Sykes, Jim. "Indian Ocean Listening Stations: Governmental Ears, Surveillance Acoustemologies, and the Maritime Silk Road." Diplomatica 3, no. 2 (December 28, 2021): 335–61. http://dx.doi.org/10.1163/25891774-03020006.
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Abstract In this article, I examine the discourse surrounding “listening stations” (surveillance outposts) that the Indian government has built to counter Chinese infrastructural projects in the Indian Ocean. As surveillance technologies are placed on out-of-the-way islands and deep underwater, the ocean is discursively situated in the press and diplomatic circles as a site where the geopolitical and sonic ‘noise’ of the metropole is evaded in virtue of the seeming fidelity of the sea, thus garnering potential for the listening stations to reveal China’s true geopolitical intentions. Drawing on classic securitization theory, as well as writings in the anthropology of security and sound studies, I argue that the positioning of listening stations as sites defined by listening and protection from Chinese encroachment obfuscates how they function as geopolitical speech and an expansion of Indian power. I coin the term “surveillance acoustemology” to refer to the ways that India’s listening stations spatialize India’s projected influence and its ability to hear its Chinese rival across the Indian Ocean.
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Talianni, Katerina. "The soundscape of Anthropocene." Airea: Arts and Interdisciplinary Research, no. 2 (October 7, 2020): 63–76. http://dx.doi.org/10.2218/airea.5037.
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Recently, much attention has been paid to the many different forms of collaborative or participatory practice both within, and out with the academy; from practice-based research to theoretical contributions and artistic experimentations. In terms of acoustemology as described by Steven Feld, the creative processes of collaborative soundscaping practices, developed as dialogic editing, produce theories of sound as knowledge production. Within this trend of doing anthropology in sound, sound art works aim to reconnect communities to the environment and indicate the emergence and presence of an ecological and aesthetic co-evolution. Such projects, in fostering interdisciplinary approaches, allow the development of hybrid types of knowledge through dialogic exchanges, and engage multiple agents by developing audile techniques. They also raise interesting questions within collaborative and interdisciplinary creative practice, in relation to the critical examination of the instrumentality of collaboration. By focusing on field recordings and soundscape compositions this paper discusses ecological sound art works that use collaborative creativity, new technologies, and phenomenological listening, to produce dialogic and collaborative forms of epistemic and material equity. These sound art works are the result of complex expressions of creative processes that involve multiple agents, while successfully voice their authorial presence. The interdisciplinary, collaborative and open-ended nature of these projects brings forward the social and political dimension of sound and listening, which could figure in more collaborative forms of knowledge production and inspire climate action.
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Trommer, Michael, and Graham Wakefield. "Points Further North: An Acoustemological Cartography of Non-Place." Abstracts of the ICA 1 (July 15, 2019): 1. http://dx.doi.org/10.5194/ica-abs-1-369-2019.
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<p><strong>Abstract.</strong> This paper discusses the <i>Points Further North project</i>, a VR documentary that was undertaken with a view to foregrounding how sound can be deployed as the primary mechanism for laying out the complex, often subjugated relationships manifested between physical spaces and those who inhabit them. Specifically, It examines how ambisonic and haptic audio’s profoundly affective emotional, tactile and topologically enveloping capacities can be articulated within an acoustemological framework (acoustemology is best defined by ethnographer Steven Feld as “sonic ways of being in and knowing the world”) in order to evoke a heightened sense of awareness, perhaps even an agency, with respect to the largely abstracted ramifications arising from the consumerist lifestyles that are endemic to the developed world. The project exploits the possibilities inherent in the amplification of the vibratory and electromagnetic spectra that permeate our urban environments: infrasonic/tactile elements are disseminated via the Subpac wearable haptic interface in order to constitute a corporeal and emotional presence, and the radiant (yet invisible) transmissions of our information, economic and surveillance networks are captured and sonified via the via use of electromagnetic transducers. Both sonically and thematically, <i>Points Further North</i> seeks to uncover that which sound studies scholar Salomé Voegelin, terms “our locality on the invisible index of sound”, capitalizing upon sound’s capacity to delineate the ethereal topographies engendered via the vast, sublime – yet sublimated – infrastructures that we find ourselves immersed within.</p>
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Helmreich, Stefan. "Gravity’s Reverb: Listening to Space-Time, or Articulating the Sounds of Gravitational-Wave Detection." Cultural Anthropology 31, no. 4 (October 24, 2016): 464–92. http://dx.doi.org/10.14506/ca31.4.02.
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In February 2016, U.S.-based astronomers announced that they had detected gravitational waves, vibrations in the substance of space-time. When they made the detection public, they translated the signal into sound, a “chirp,” a sound wave swooping up in frequency, indexing, scientists said, the collision of two black holes 1.3 billion years ago. Drawing on interviews with gravitational-wave scientists at MIT and interpreting popular representations of this cosmic audio, I ask after these scientists’ acoustemology—that is, what the anthropologist of sound Steven Feld would call their “sonic way of knowing and being.” Some scientists suggest that interpreting gravitational-wave sounds requires them to develop a “vocabulary,” a trained judgment about how to listen to the impress of interstellar vibration on the medium of the detector. Gravitational-wave detection sounds, I argue, are thus articulations of theories with models and of models with instrumental captures of the cosmically nonhuman. Such articulations, based on mathematical and technological formalisms—Einstein’s equations, interferometric observatories, and sound files—operate alongside less fully disciplined collections of acoustic, auditory, and even musical metaphors, which I call informalisms. Those informalisms then bounce back on the original articulations, leading to rhetorical reverb, in which articulations—amplified through analogies, similes, and metaphors—become difficult to fully isolate from the rhetorical reflections they generate. Filtering analysis through a number of accompanying sound files, this article contributes to the anthropology of listening, positing that scientific audition often operates by listening through technologies that have been tuned to render theories and their accompanying formalisms both materially explicit and interpretively resonant.
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Rice, Tom, and Steven Feld. "Questioning Acoustemology: an interview with Steven Feld." Sound Studies, October 12, 2020, 1–14. http://dx.doi.org/10.1080/20551940.2020.1831154.
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Paquete, Hugo. "Velocidade terminal: Tempo chronoscopico dos corpor obritais na composição sonora e musical." AVANCA | CINEMA, February 26, 2021. http://dx.doi.org/10.37390/avancacinema.2020.a125.
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This essay presents the methodologies, meanings and challenges in the development of the “Dromology of Orbital Bodies”, Hugo Paquete project, started between 2019-2020 and still ongoing. The project aims to track military and commercial satellites, by converting their movement information in real time by a process of data sonification received from the hacked satellites. Therefore, this essay presents the technical challenges in the project building, as well some of the obtained sonic results. Also is presented the dimension of conceptual meanings associated with the project from a philosophical and critical point of view, in a combination of conceptual approach and technical exploration where concepts such as chronoscopic time, cyberpunk, gray ecology and acoustemology are related as conceptual frames, of a time where the sound happens mediated by technology. The presented concepts are influences in the production, composition and musical performance processes that I develop with special interest in systems theory and where unpredictability operates alongside real-time relationships. In this experimentation I use sound granularization and compositional aesthetic techniques historically centered in a noise and micro post-digital rhythm aesthetics.
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Kytö, Meri. "Kerrostalokodin akustemologiaa – yksityisen äänitilan rakentuminen." Elore 17, no. 1 (May 1, 2010). http://dx.doi.org/10.30666/elore.78849.
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This article deals with the articulation of sonic space in urban apartment block homes in Finland. The home soundscape does not limit itself to the inside of the apartment but includes sounds seeping from the outside like the clatter of the elevator, nearby traffic signals, a neighbour singing in the shower and the leaping steps of the paperboy on the stairs. Following the methodological idea of acoustemology (i.e., acoustic epistemology), the producing of sounds and listening are connected with cultural practices that, in their turn, produce and mould our concepts of place, space and time. What can one learn about the borders of apartment homes by listening and how do meanings like privacy make sense in the sonic relations to the neighbours and the surrounding environment? The writings gathered via the One Hundred Finnish Soundscapes project (2004–2006) produced descriptions of apartments from the 1920s to the present day, giving a glimpse of the soundscape competences of the residents. The analysis of the written descriptions suggests that there are mainly three different ways of constructing sonic privacy in apartment blocks. These include emphasizing feelings of belonging through identification and anticipation of recurring sounds. In many descriptions privacy is understood as isolation and the different techniques of constructing oneself temporary privacy are concretely shutting out the sonic presence of the outside world, fostering an attitude of disregard to the surrounding sounds or to actively enveloping oneself with sounds. The analysis is supported by an insight into the bylaws of housing cooperatives, adding an aspect of official sonic etiquette to the constant negotiation on when and what kind of sound is approved.
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Sikau, Lea. "Rehearsing Posthumanism." Interactive Film & Media Journal 2, no. 2 (May 25, 2022). http://dx.doi.org/10.32920/ifmj.v2i2.1557.
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In this paper, I explore the rehearsal process of a new opera production about mind uploading by the composer, librettist, and director Michel van der Aa, called Upload. It was produced at the Dutch National Opera in Spring and premiered at the Bregenzer Festspiele in July 2021. As an ethnographer and writer for the Opera Forward Festival, I attended two months on site in the rehearsal spaces in Amsterdam and conducted twelve interviews with the production team. Drawing on Upload as the main case study for this presentation, my key intervention lies in proposing a methodology for examining operas that explore new, digital technology not only on stage but in processes of rehearsal. By focusing on an opera on posthumanism, I seek to shed light on how nonhuman and human materialities collide and learn to intertwine – beyond the dichotomy of vision and with a focus on the sonosphere of the rehearsal space – over the course of eight weeks. Due to Upload’s extensive use of new technology in the rehearsal space, this production challenges operatic production logics. It brings both wanted and parasitic sounds to the rehearsal. The posthuman, or after-human, setting disperses agential connections between humans and machines. By eliciting new modes of collaborating with machines within the operatic framework, this piece offers ways of reconsidering the notion of the Gesamtkunstwerk in 21st-century operas. Focusing on rehearsal ethnography, I extend the concept of the operatic work beyond the score and the performance. By theorizing present rehearsal practices in their moment of emergence, I explore what it means to rehearse with an avatar in a posthuman setting. To enter this debate, I explore ways of knowing through the audible space, drawing on Steven Feld’s concept of acoustemology, as well as Jane Bennett’s notion of ‘vibrant matter’ that argues for the agency of nonhuman materialities. Moreover, I investigate the figure of the avatar, one of the epitomes of posthumanism, through taking on a science and technology studies lens. By drawing on the notion of experimental systems introduced by Hans-Jörg Rheinberger, I dissect how the avatar turns the operatic rehearsal from a production machinery with technical objects into an experimental system with unknown variables, called epistemic things. The opera deals with uploading your mind to a server, turning it into an avatar, and losing your physical body in the process. In the opera, the father turns into an avatar while his daughter remains in the world we know. Content-wise, this operatic work circles around the human in their entanglement with new media, specifically focusing on virtual realities. It sheds light on the friction arising when technology and human collide in novel ways, leading beyond binary discussions of non-human or human, virtual, or material. How does the artistic focus on a tech-driven chimera reconfigure the entire rehearsal process – even to the extent that I scribbled 'silent' as the very first fieldnote?