Sonic warfare : sound, affect, and the ecology of fear / Steve Goodman.
نوع المادة :
نصالسلاسل:Technologies of lived abstractionالناشر:Cambridge, Mass. : MIT Press, [2010]تاريخ حقوق النشر: copyright 2010وصف:xx, 270 pages ; 24 cmنوع المحتوى:- text
- unmediated
- volume
- 9780262013475 (hbk)
- 0262013479 (hbk)
- ML3805 G66 2010
| نوع المادة | المكتبة الحالية | رقم الطلب | رقم النسخة | حالة | تاريخ الإستحقاق | الباركود | |
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كتاب
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UAE Federation Library | مكتبة اتحاد الإمارات General Collection | المجموعات العامة | ML3805 G66 2010 (إستعراض الرف(يفتح أدناه)) | C.1 | Library Use Only | داخل المكتبة فقط | 30010000393462 | ||
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كتاب
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UAE Federation Library | مكتبة اتحاد الإمارات General Collection | المجموعات العامة | ML3805 G66 2010 (إستعراض الرف(يفتح أدناه)) | C.2 | المتاح | 30010000244640 |
Browsing UAE Federation Library | مكتبة اتحاد الإمارات shelves, Shelving location: General Collection | المجموعات العامة إغلاق مستعرض الرف(يخفي مستعرض الرف)
| ML3799 .C85 2019 Cultural sustainabilities : music, media, language, advocacy / | ML3800 .L614 2018 Sound judgment : selected essays / | ML3800 .L614 2018 Sound judgment : selected essays / | ML3805 G66 2010 Sonic warfare : sound, affect, and the ecology of fear / | ML3805 G66 2010 Sonic warfare : sound, affect, and the ecology of fear / | ML3830 .B33 2014 The sonic boom : how sound transforms the way we think, feel, and buy / | ML3830 .B33 2014 The sonic boom : how sound transforms the way we think, feel, and buy / |
Includes bibliographical references and index.
1. 1998: A Conceptual Event -- 2. 2001: What Is Sonic Warfare? -- 3. 2400-1400 B.C.: Project Jericho -- 4. 1946: Sonic Dominance -- 5. 1933: Abusing the Military-Entertainment Complex -- 6. 403-221 B.C.: The Logistics of Deception -- 7. 1944: The Ghost Army -- 8. 1842: Sonic Effects -- 9. 1977: A Sense of the Future -- 10. 1913: The Art of War in the Art of Noise -- 11. 1989: Apocalypse Then -- 12. 1738: Bad Vibrations -- 13. 1884: Dark Precursor -- 14. 1999: Vibrational Anarchitecture -- 15. 13.7 Billion B.C.: The Ontology of Vibrational Force -- 16. 1931: Rhythmanalysis -- 17. 1900: The Vibrational Nexus -- 18. 1929: Throbs of Experience -- 19. 1677: Ecology of Speeds -- 20. 99-50 B.C.: Rhythm out of Noise -- 21. 1992: The Throbbing Crowd -- 22. 1993: Vorticist Rhythmachines -- 23. 1946: Virtual Vibrations -- 24. 2012: Artificial Acoustic Agencies -- 25. 1877: Capitalism and Schizophonia -- 26. 1976: Outbreak -- 27. 1971: The Earworm -- 28. 2025: Deja Entendu -- 29. 1985: Dub Virology -- 30. 1928: Contagious Orality -- 31. 2020: Planet of Drums -- 32. 2003: Contagious Transmission -- 33. 2039: Holosonic Control -- 34. Conclusion: Unsound - The (Sub)Politics of Frequency.
"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." "Most theoretical discussions of sound and music cultures in relationship to power, Goodman argues, have a missing dimension: the politics of frequency. Goodman supplies this by drawing a speculative diagram of sonic forces, investigating the deployment of sound systems in the modulation of affect. 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."-- BOOK JACKET.
