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Titel och upphov Sonic warfare : sound, affect, and the ecology of fear
Utgivning, distribution etc. MIT Press , Cambridge, Mass. ; 2010 : c2010
Utgivningsår
Fysisk beskrivning
Serietitel - ej biuppslagsform
Seriebiuppslag under titel
Anmärkning: Bibliografi etc. Includes bibliographical references and index.
Term
ISBN 978-0-262-01347-5 (hardcover : alk. paper) 978-0-262-01347-5 0-262-01347-9 (hardcover : alk. paper) 0-262-01347-9
Antal i kö:
*00001118nam a22003497a 4500
*00128666
*007|||||||||||||||||||||||
*008110824s2010 mau | b 001 0 eng||
*020 $a978-0-262-01347-5 (hardcover : alk. paper)
*020 $a978-0-262-01347-5
*020 $a0-262-01347-9 (hardcover : alk. paper)
*020 $a0-262-01347-9
*035 $a(Ko)32873
*040 $dDLC$dDLC$dYDXCP$dCDX$dGumu
*1001 $aGoodman, Steve
*24510$aSonic warfare :$bsound, affect, and the ecology of fear /$cSteve Goodman
*260 $aCambridge, Mass. ;$a2010 :$bMIT Press ,$cc2010
*300 $axx, 270 p. :$c24 cm.
*4900 $aTechnologies of lived abstraction
*504 $aIncludes bibliographical references and index.
*650 4$aMusic
*650 4$aAcoustics and physics.
*650 4$aMusic
*650 4$aSocial aspects.
*650 4$aMusic
*650 4$aPhilosophy and aesthetics.
*830 0$aTechnologies of lived abstraction.
*8520 $hMUSIK & LJUDKONST - Ij
^
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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.
Series Foreword p. vii Acknowledgments p. ix Introduction p. xiii 1998: A Conceptual Event p. 1 2001: What Is Sonic Warfare? p. 5 2400-1400 B.C.: Project Jericho p. 15 1946: Sonic Dominance p. 27 1933: Abusing the Military- Entertainment Complex p. 31 403-221 B.C.: The Logistics of Deception p. 35 1944: The Ghost Army p. 41 1842: Sonic Effects p. 45 1977: A Sense of the Future p. 49 1913: The Art of War in the Art of Noise p. 55 1989: Apocalypse Then p. 59 1738: Bad Vibrations p. 63 1884: Dark Precursor p. 69 1999: Vibrational Anarchitecture p. 75 13.7 Billion B.C.: The Ontology of Vibrational Force p. 81 1931: Rhythmanalysis p. 85 1900: The Vibrational Nexus p. 91 1929: Throbs of Experience p. 95 1677: Ecology of Speeds p. 99 99-50 B.C.: Rhythm out of Noise p. 105 1992: The Throbbing Crowd p. 109 1993: Vorticist Rhythmachines p. 113 1946: Virtual Vibrations p. 117 2012: Artificial Acoustic Agencies p. 123 1877: Capitalism and Schizophonia p. 129 1976: Outbreak p. 133 1971: The Earworm p. 141 2025: Deja Entendu p. 149 1985: Dub Virology p. 155 1928: Contagious Orality p. 163 2020: Planet of Drums p. 171 2003: Contagious Transmission p. 177 2039: Holosonic Control p. 183 Conclusion: UnsoundùThe (Sub)Politics of Frequency p. 189 Glossary p. 195 Notes p. 199 References p. 251 Index p. 265