AUDINT-Unsound:Undead

AUDINT-Unsound:Undead
Title AUDINT-Unsound:Undead PDF eBook
Author Steve Goodman
Publisher MIT Press
Pages 321
Release 2019-06-18
Genre Music
ISBN 1916405215

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Tracing the the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. For as long as recording and communications technologies have existed, operators have evoked the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. In Unsound:Undead, contributors from a variety of disciplines chart these undead zones, mapping out a nonlinear timeline populated by sonic events stretching from the 8th century BC (the song of the Sirens), to 2013 (acoustic levitation), with a speculative extension into 2057 (the emergence of holographic and holosonic phenomena). For the past seven years the AUDINT group has been researching peripheral sonic perception (unsound) and the ways in which frequencies are utilized to modulate our understanding of presence/non-presence, entertainment/torture, and ultimately life/death. Concurrently, themes of hauntology have inflected the musical zeitgeist, resonating with the notion of a general cultural malaise and a reinvestment in traces of lost futures inhabiting the present. This undead culture has already spawned a Lazarus economy in which Tupac, ODB, and Eazy-E are digitally revivified as laser-lit holograms. The obscure otherworldly dimensions of sound have also been explored in the sonic fictions produced by the likes of Drexciya, Sun Ra, and Underground Resistance, where hauntology is virtually extended: the future appears in the cracks of the present. The contributions to this volume reveal how the sonic nurtures new dimensions in which the real and the imagined (fictional, hyperstitional, speculative) bleed into one another, where actual sonic events collide with spatiotemporal anomalies and time-travelling entities, and where the unsound serves to summon the undead. Contributors Lawrence Abu Hamdan, Lendl Barcelos, Charlie Blake, Lisa Blanning, Brooker Buckingham, Al Cameron, Erik Davis, Kodwo Eshun, Matthew Fuller, Kristen Gallerneaux, Lee Gamble, Agnès Gayraud, Steve Goodman, Anna Greenspan, Olga Gurionova, S. Ayesha Hameed, Tim Hecker, Julian Henriques, Toby Heys, Eleni Ikoniadou, Amy Ireland, Nicola Masciandaro, Ramona Naddaff, Anthony Nine, The Occulture, Luciana Parisi, Alina Popa, Paul Purgas, Georgina Rochefort, Steven Shaviro, Jonathan Sterne, Jenna Sutela, Eugene Thacker, Dave Tompkins, Shelley Trower, and Souzana Zamfe.

AUDINT#Unsound:Undead

AUDINT#Unsound:Undead
Title AUDINT#Unsound:Undead PDF eBook
Author Steve Goodman
Publisher MIT Press
Pages 321
Release 2019-06-18
Genre Music
ISBN 1913029476

Download AUDINT#Unsound:Undead Book in PDF, Epub and Kindle

Tracing the the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. For as long as recording and communications technologies have existed, operators have evoked the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. In Unsound:Undead, contributors from a variety of disciplines chart these undead zones, mapping out a nonlinear timeline populated by sonic events stretching from the 8th century BC (the song of the Sirens), to 2013 (acoustic levitation), with a speculative extension into 2057 (the emergence of holographic and holosonic phenomena). For the past seven years the AUDINT group has been researching peripheral sonic perception (unsound) and the ways in which frequencies are utilized to modulate our understanding of presence/non-presence, entertainment/torture, and ultimately life/death. Concurrently, themes of hauntology have inflected the musical zeitgeist, resonating with the notion of a general cultural malaise and a reinvestment in traces of lost futures inhabiting the present. This undead culture has already spawned a Lazarus economy in which Tupac, ODB, and Eazy-E are digitally revivified as laser-lit holograms. The obscure otherworldly dimensions of sound have also been explored in the sonic fictions produced by the likes of Drexciya, Sun Ra, and Underground Resistance, where hauntology is virtually extended: the future appears in the cracks of the present. The contributions to this volume reveal how the sonic nurtures new dimensions in which the real and the imagined (fictional, hyperstitional, speculative) bleed into one another, where actual sonic events collide with spatiotemporal anomalies and time-travelling entities, and where the unsound serves to summon the undead. Contributors Lawrence Abu Hamdan, Lendl Barcelos, Charlie Blake, Lisa Blanning, Brooker Buckingham, Al Cameron, Erik Davis, Kodwo Eshun, Matthew Fuller, Kristen Gallerneaux, Lee Gamble, Agnès Gayraud, Steve Goodman, Anna Greenspan, Olga Gurionova, S. Ayesha Hameed, Tim Hecker, Julian Henriques, Toby Heys, Eleni Ikoniadou, Amy Ireland, Nicola Masciandaro, Ramona Naddaff, Anthony Nine, The Occulture, Luciana Parisi, Alina Popa, Paul Purgas, Georgina Rochefort, Steven Shaviro, Jonathan Sterne, Jenna Sutela, Eugene Thacker, Dave Tompkins, Shelley Trower, and Souzana Zamfe.

Dialectic of Pop

Dialectic of Pop
Title Dialectic of Pop PDF eBook
Author Agnes Gayraud
Publisher MIT Press
Pages 481
Release 2020-01-28
Genre Philosophy
ISBN 1913029603

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A philosophical exploration of pop music that reveals a rich, self-reflexive art form with unsuspected depths. In the first major philosophical treatise on the subject, Agnès Gayraud explores all the paradoxes of pop—its inauthentic authenticity, its mass production of emotion and personal resonance, its repetitive novelty, its precision engineering of seduction—and calls for pop (in its broadest sense, encompassing all genres of popular recorded music) to be recognized as a modern, technologically mediated art form to rank alongside cinema and photography. In a thoroughgoing engagement with Adorno's fierce critique of "standardized light popular music," Dialectic of Pop tracks the transformations of the pop form and its audience over the course of the twentieth century, from Hillbilly to Beyoncé, from Lead Belly to Drake. Inseparable from the materiality of its technical media, indifferent and intractable to the perspectives of high culture, pop subverts notions of authenticity and inauthenticity, original and copy, aura and commodity, medium and message. Gayraud demonstrates that, far from being the artless and trivial mass-produced pabulum denigrated by Adorno, pop is a rich, self-reflexive artform that recognises its own contradictions, incorporates its own productive negativity, and often flourishes by thinking "against itself." Dialectic of Pop sings the praises of pop as a constitutively impure form resulting from the encounter between industrial production and the human predilection for song, and diagnoses the prospects for twenty-first century pop as it continues to adapt to ever-changing technological mediations.

Teklife, Ghettoville, Eski

Teklife, Ghettoville, Eski
Title Teklife, Ghettoville, Eski PDF eBook
Author Dhanveer Singh Brar
Publisher MIT Press
Pages 184
Release 2021-04-27
Genre Music
ISBN 1912685795

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How black electronic dance music makes it possible to reorganize life within the contemporary city. Teklife, Ghettoville, Eski argues that Black electronic dance music produces sonic ecologies of Blackness that expose and reorder the contemporary racialization of the urban--ecologies that can never simply be reduced to their geographical and racial context. Dhanveer Singh Brar makes the case for Black electronic dance music as the cutting-edge aesthetic project of the diaspora, which due to the music's class character makes it possible to reorganize life within the contemporary city. Closely analysing the Footwork scene in South and West Chicago, the Grime scene in East London, and the output of the South London producer Actress, Brar pays attention to the way each of these critically acclaimed musical projects experiment with aesthetic form through an experimentation of the social. Through explicitly theoretical means, Teklife, Ghettoville, Eski foregrounds the sonic specificity of 12" records, EPs, albums, radio broadcasts, and recorded performances to make the case that Footwork, Grime, and Actress dissolve racialized spatial constraints that are thought to surround Black social life. Pushing the critical debates concerning the phonic materiality of blackness, undercommons, and aesthetic sociality in new directions, Teklife, Ghettoville, Eski rethinks these concepts through concrete examples of contemporary black electronic dance music production that allows for a theorization of the way Footwork, Grime, and Actress have--through their experiments in blackness--generated genuine alternatives to the functioning of the city under financialized racial capitalism.

Sonic Warfare

Sonic Warfare
Title Sonic Warfare PDF eBook
Author Steve Goodman
Publisher MIT Press
Pages 291
Release 2012-08-24
Genre Music
ISBN 0262266334

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An exploration of the production, transmission, and mutation of affective tonality—when sound helps produce a bad vibe. Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the “psychoacoustic correction” aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or “sound bombs”) over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations. Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture. Goodman concludes with speculations on the not yet heard—the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths.

The Reformation of War

The Reformation of War
Title The Reformation of War PDF eBook
Author John Frederick Charles Fuller
Publisher London, Hutchinson
Pages 316
Release 1923
Genre Military art and science
ISBN

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How to Wreck a Nice Beach

How to Wreck a Nice Beach
Title How to Wreck a Nice Beach PDF eBook
Author Dave Tompkins
Publisher Melville House
Pages 354
Release 2011-11-08
Genre Music
ISBN 1612190936

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The history of the vocoder: how popular music hijacked the Pentagon's speech scrambling weapon The vocoder, invented by Bell Labs in 1928, once guarded phones from eavesdroppers during World War II; by the Vietnam War, it was repurposed as a voice-altering tool for musicians, and is now the ubiquitous voice of popular music. In How to Wreck a Nice Beach—from a mis-hearing of the vocoder-rendered phrase “how to recognize speech”—music journalist Dave Tompkins traces the history of electronic voices from Nazi research labs to Stalin’s gulags, from the 1939 World’s Fair to Hiroshima, from artificial larynges to Auto-Tune. We see the vocoder brush up against FDR, JFK, Stanley Kubrick, Stevie Wonder, Neil Young, Kraftwerk, the Cylons, Henry Kissinger, and Winston Churchill, who boomed, when vocoderized on V-E Day, “We must go off!” And now vocoder technology is a cell phone standard, allowing a digital replica of your voice to sound human. From T-Mobile to T-Pain, How to Wreck a Nice Beach is a riveting saga of technology and culture, illuminating the work of some of music’s most provocative innovators.