Sound Studies最新文献

{"title":"Sound art before sound art","authors":"Christian de Mouilpied Sancto","doi":"10.1080/20551940.2023.2233250","DOIUrl":"https://doi.org/10.1080/20551940.2023.2233250","url":null,"abstract":"","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"1 1","pages":"307 - 310"},"PeriodicalIF":0.5,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83560283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Vocal recognition before recording: techniques of vocal documentation, classification and identification in the long nineteenth century","authors":"J. Hoegaerts","doi":"10.1080/20551940.2023.2235127","DOIUrl":"https://doi.org/10.1080/20551940.2023.2235127","url":null,"abstract":"ABSTRACT This paper aims to sketch out a cultural history of documenting, classifying and identifying voices in the nineteenth century. Focusing on a period before technologies like the spectogram became widely available, I demonstrate that experts in this period already harboured many of the ideas and ambitions that would later drive the development of technologies in speech recognition and the voiceprint. First, the idea that each human voice was unique – and therefore individual – was thoroughly developed in. Secondly, various embodied techniques for the description, comparison and recognition of particular voices were developed throughout the century, mobilising both the human ear and visual aids. Drawing on insights from the fields of voice studies and sound studies, and based on scientific, pedagogical, and musical expertise formulated and circulated in Britain, France, and Germany in the nineteenth century, the paper teases out the trajectory of these techniques, and changing vocabularies of vocal uniqueness. Central to the idea that voices were “as different from each other as faces”, were cultural assumptions about distinctions between different (European) national, cultural, and gendered voices, making the pre-history of speech recognition a cultural history, as much as it is a history of science or technology.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"1 1","pages":"166 - 186"},"PeriodicalIF":0.5,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81852788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"City of noise: towards a sonic understanding of urban geographies in Los Angeles","authors":"Renee Congdon","doi":"10.1080/20551940.2023.2232630","DOIUrl":"https://doi.org/10.1080/20551940.2023.2232630","url":null,"abstract":"Hagood, Mack. 2019. Hush: Media and Sonic Self-Control. Durham: Duke University Press. Kanngieser, Am. 2015. “Geopolitics and the Anthropocene: Five Propositions for Sound.” GeoHumanities 1 (1): 80–85. doi:10.1080/2373566X.2015.1075360. Low, Tim. 2016. Where Song Began: Australia’s Birds and How They Changed the World. Yale University Press. Potengowski, Anna, and Georg Wagner. 2017. “The Edge of Time: Paleolithic Bone Flutes of France and Germany.” Delphiam, Compact Disc. Robinson, Dylan. 2020. Hungry Listening: Resonant Theory for Indigenous Sound Studies. Minneapolis: University of Minnesota Press. Schafer, R. Murray. 1977. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester, VT: Destiny Books.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"86 1","pages":"291 - 294"},"PeriodicalIF":0.5,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76359554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Listening to and through petrosonics","authors":"Lara Weaver","doi":"10.1080/20551940.2023.2238956","DOIUrl":"https://doi.org/10.1080/20551940.2023.2238956","url":null,"abstract":"How has sound been a form of shaping, enabling, or disrupting regimes of petrocapitalism? In what ways can we listen through colonial legacies and extractivist paradigms to present day relations between humans and non-human environments? Can sounding fossil fuel discourses produce knowledge that has previously gone unheard? Such are the questions that inspired “Critical Perspectives on Petrosonics”, a study day organised by the Royal Musical Association (RMA) and British Forum for Ethnomusicology (BFE)","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"58 1","pages":"311 - 316"},"PeriodicalIF":0.5,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79469512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Eavesdropping by the eye: detecting sound events and the culture of acoustic intelligence","authors":"K. Bijsterveld","doi":"10.1080/20551940.2023.2247649","DOIUrl":"https://doi.org/10.1080/20551940.2023.2247649","url":null,"abstract":"ABSTRACT An increasing number of private companies in the Global North are selling acoustic intelligence software to local authorities for the detection of sound events in public space that signal potential or actual infringements on security. Such sound events include screams, gunshots, exploding firecrackers, sounding car alarms, and breaking glass. This paper aims to show how three such companies – based in the Netherlands, South Korea, and the United States – situate their offerings in relation to eavesdropping, earwitnessing, and the history of human hearing and technology. It attempts to contextualise their rhetoric within a broader techno-cultural history of acoustic detection, eavesdropping, police and intelligence work, including intelligence work implemented by infamous state security organisations such as the Stasi. In so doing, this essay both unravels what these companies exclude from their public presentation and clarifies how research into historical shifts in the cultural tropes of earwitnessing and eavesdropping can help elucidate how present-day acoustic intelligence software is constructed as socially acceptable.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"141 1","pages":"233 - 252"},"PeriodicalIF":0.5,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86742193","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Thinking and teaching with the Stem Player","authors":"Antía González Ben","doi":"10.1080/20551940.2023.2235852","DOIUrl":"https://doi.org/10.1080/20551940.2023.2235852","url":null,"abstract":"The Stem Player https://www.stemplayer.com/ The Stem Player is a portable music player and remixing device launched by Kano Computing in the summer of 2021. The gadget exemplifies a new generation of userfriendly and portable devices that blur boundaries between passive consumption and active creation by inviting listeners to interact with pre-recorded music. The Stem Player combines visual, aural, and haptic elements to yield a unique and embodied user experience. Small enough to fit into an adult’s palm, this oval-shaped gadget is covered in a smooth silicone-like skin that is currently available in three muted colours: clear, tan, and black. When turned on, four neon backlit swipe controls stand out on the face of the device in an X shape. The rest of the device’s buttons, which are located along the rim and in the centre of the face, are visually inconspicuous (Figure 1). The swipe controls and the on/off button make the device vibrate softly, like a cellphone, when manipulated. The device looks and feels sleek and is easy to use with a single hand. The Stem Player allows users to listen to digital audio files stored therein and to remix tracks while listening. The device foremost operates as a traditional music player: its side buttons turn the device on and off, jump forward and backward in the track list, and adjust the volume (the maximum volume is loud but still comfortable). But the Stem Player has limited functionality as a music player; it has limited storage capacity (8GB) and can only be loaded via USB cable. As such, the Stem Player pales in comparison to other music reproduction devices currently available on the market, such as SanDisk Clip Jam and Mighty Vibe, which offer more storage capacity, allow track loading via Bluetooth and online downloads, and are smaller and cheaper. What sets The Stem Player apart from those competing devices is its unique design that optimises an interactive listening experience. The X-shaped swipe controls on the Stem Player’s face allow users to split songs into four-layered tracks called stems (hence the device’s name) and to remix the songs while listening. The device’s stem isolation tool is preprogrammed: pop and hip hop tracks are routinely split into vocals, samples and bass, drums, and the remaining instrumentals. The four-part split works best with tracks available in the official website, but the device will attempt to split any audio file uploaded onto it (albeit with mixed results). A button located in the centre of the device switches the swipe controls’ function from stem isolation to remixing. By swiping left, right, up, or down, the user-listener can remix the song by looping two bar and four bar segments, speeding up or slowing down the track, and reversing the track. The self-proclaimed “new medium” (STEM n.d.), the Stem Player was designed to make remixing a central part of the listening experience. Users of sound reproduction technologies have, to an extent, always manipulated s","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"14 1","pages":"302 - 306"},"PeriodicalIF":0.5,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79171282","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Titles available for review","authors":"V. Erlmann","doi":"10.1080/20551940.2023.2232608","DOIUrl":"https://doi.org/10.1080/20551940.2023.2232608","url":null,"abstract":"A Philosophy of Ambient Sound: Materiality, Technology, Art and the Sonic Environment, by Ulrik Schmidt. Singapore: Palgrave Macmillan, 2023. Echo’s Chambers: Architecture and the Idea of Acoustic Space, by Joseph L. Clarke. Pittsburgh, Pennsylvania: University of Pittsburgh Press, 2021. Field Notes on Listening, by Kit Dobson. Hamilton, Ontario, Canada: Wolsak & Wynn, 2022. Multimodality and Identity, by Theo Van Leeuwen. London: Routledge, 2021. Sounding Bodies: Music and the Making of Biomedical Science, by Peter Pesic. Cambridge, Massachusetts: MIT Press, 2022. Structure and Synthesis: The Anatomy of Practice, by Mark Fell. Falmouth, United Kingdom: Urbanomic, 2021. The Sounds of Life: How Digital Technology Is Bringing Us Closer to the Worlds of Animals and Plants, by Karen J. Bakker. Princeton, New Jersey: Princeton University Press, 2022. Uncurating Sound: Knowledge with Voice and Hands, by Salomé Voegelin. New York: Bloomsbury Academic, 2023. Whale Music: Thousand Mile Songs in a Sea of Sound, by David Rothenberg. Newark, New Jersey: Terra Nova Press, 2023.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"28 1","pages":"317 - 318"},"PeriodicalIF":0.5,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90639056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Forensic voices: cultures of sonic detection and identification in the West","authors":"K. Bijsterveld, Anna Kvíčalová","doi":"10.1080/20551940.2023.2232211","DOIUrl":"https://doi.org/10.1080/20551940.2023.2232211","url":null,"abstract":"ABSTRACT This introduction to the special issue “Forensic voices: Cultures of sonic detection and identification in the West” explains the notion of “forensic voices,” positions this in scholarly literature on sound in forensic practices, and introduces the individual contributions.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"4 1","pages":"155 - 165"},"PeriodicalIF":0.5,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87389910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Forensic listening in the artwork of Lawrence Abu Hamdan","authors":"C. Kelly","doi":"10.1080/20551940.2023.2232139","DOIUrl":"https://doi.org/10.1080/20551940.2023.2232139","url":null,"abstract":"Lawrence Abu Hamdan’s first major monograph. The book,","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"4 1","pages":"282 - 284"},"PeriodicalIF":0.5,"publicationDate":"2023-07-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84039604","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rhythms of Asia: assembling voices, noises, sounds, and technologies","authors":"Renee Congdon","doi":"10.1080/20551940.2023.2229194","DOIUrl":"https://doi.org/10.1080/20551940.2023.2229194","url":null,"abstract":"Bruno, Giuliana. 2014. Surface: Matters of Aesthetics, Materiality, and Media. Chicago: University of Chicago Press. Carson, Rachel. 1962. Silent Spring. Boston: Houghton Mifflin. Davis, Mike. 1990. City of Quartz: Excavating the Future in Los Angeles. London, UK; New York: Verso. Gautier, Ana María Ochoa. 2014. Aurality: Listening and Knowledge in Nineteenth-Century Colombia. Durham, UK; London, UK: Duke University Press. https://doi.org/10.2307/j.ctv11smfj3 . Lupton, Ellen, and Andrea Lipps, eds. 2018. The Senses: Design Beyond Vision. New York: Cooper Hewitt, Smithsonian Design Museum and Princeton Architectural Press. Nash, Linda. 2007. Inescapable Ecologies: A History of Environment, Disease, and Knowledge. Berkeley, CA: University of California Press. https://doi.org/10.1525/9780520939998 . Pallasmaa, Juhani. [1996] 2012. The Eyes of the Skin: Architecture and the Senses. Chichester, UK: Wiley. Schafer, R. Murray. 1970. The Book of Noise. Wellington, New Zealand: Price Milburn. Schafer, R. Murray. 1994. The Soundscape: Our Sonic Environment and the Tuning of the World. Rochester, NY: Destiny Books. Solà-Morales Rubió, Ignasi. 1995. “Terrain Vague.” In Anyplace, edited by Cynthia Davidson, 118–123. Cambridge, MA: MIT Press.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"21 1","pages":"294 - 298"},"PeriodicalIF":0.5,"publicationDate":"2023-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77997322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}