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Sound art before sound art 声音艺术之前的声音艺术
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-07-03 DOI: 10.1080/20551940.2023.2233250
Christian de Mouilpied Sancto
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引用次数: 0
Vocal recognition before recording: techniques of vocal documentation, classification and identification in the long nineteenth century 录音前的声音识别:在漫长的19世纪的声音记录、分类和识别技术
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-07-03 DOI: 10.1080/20551940.2023.2235127
J. Hoegaerts
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.
本文旨在勾勒出19世纪记录、分类和识别声音的文化史。我把重点放在像频谱图这样的技术广泛应用之前的一段时间里,证明了这一时期的专家们已经有了许多想法和抱负,这些想法和抱负后来推动了语音识别和声纹技术的发展。首先,每个人的声音都是独一无二的,因此是独立的,这一观点在1980年得到了彻底的发展。其次,整个世纪发展了各种具体技术,用于描述、比较和识别特定的声音,调动了人耳和视觉辅助。根据声音研究和声音研究领域的见解,并基于19世纪在英国、法国和德国制定和传播的科学、教学和音乐专业知识,本文梳理了这些技术的发展轨迹,以及声乐独特性的变化词汇。声音“就像面孔一样彼此不同”这一观点的核心,是关于不同(欧洲)民族、文化和性别声音之间差异的文化假设,这使得语音识别的史前历史成为一部文化史,就像它是一部科学或技术史一样。
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引用次数: 0
City of noise: towards a sonic understanding of urban geographies in Los Angeles 噪音之城:对洛杉矶城市地理的声音理解
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-07-03 DOI: 10.1080/20551940.2023.2232630
Renee Congdon
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.
麦克·哈古德,2019。嘘:媒体和声音自我控制。杜伦:杜克大学出版社。康吉泽,2015。地缘政治与人类世:声音的五种主张地球科学,1(1):80-85。doi: 10.1080 / 2373566 x.2015.1075360。蒂姆·洛,2016。歌曲从哪里开始:澳大利亚的鸟类以及它们如何改变世界。耶鲁大学出版社。波坦科夫斯基,安娜和乔治·瓦格纳,2017。"时间的边缘:法国和德国旧石器时代的骨笛"德尔菲姆,我是光盘。迪伦·罗宾逊,2020。饥饿倾听:本土声音研究的共振理论。明尼阿波利斯:明尼苏达大学出版社。谢弗,R.默里,1977。音景:我们的声音环境和世界的调谐。佛蒙特州罗切斯特:命运书店。
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引用次数: 0
Listening to and through petrosonics 听和通过岩石声学
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-07-03 DOI: 10.1080/20551940.2023.2238956
Lara Weaver
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)
声音是如何塑造、支持或破坏石油资本主义政权的?我们如何通过殖民遗产和榨取主义范式来了解当今人类与非人类环境之间的关系?声音响亮的化石燃料话语能产生以前闻所未闻的知识吗?英国皇家音乐协会(RMA)和英国民族音乐学论坛(BFE)组织了一个名为“岩石音乐学的批判视角”的研究日活动。
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引用次数: 0
Eavesdropping by the eye: detecting sound events and the culture of acoustic intelligence 用眼睛偷听:探测声音事件和声智能的培养
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-07-03 DOI: 10.1080/20551940.2023.2247649
K. Bijsterveld
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.
在全球北方,越来越多的私营公司正在向地方当局出售声学情报软件,用于检测公共空间中的声音事件,这些声音事件表明可能或实际侵犯了安全。这些声音事件包括尖叫声、枪声、鞭炮爆炸声、汽车警报声和玻璃破碎声。本文旨在展示三家这样的公司——分别位于荷兰、韩国和美国——如何将它们的产品定位于窃听、听觉见证以及人类听觉和技术的历史。它试图将他们的言论置于更广泛的声学探测、窃听、警察和情报工作的技术文化史中,包括臭名昭著的国家安全组织(如斯塔西)实施的情报工作。在这样做的过程中,这篇文章既揭示了这些公司从他们的公开演讲中排除了什么,也阐明了对听觉见证和窃听的文化比喻的历史转变的研究如何有助于阐明当今的声学智能软件是如何被构建为社会可接受的。
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引用次数: 0
Thinking and teaching with the Stem Player 与Stem Player一起思考和教学
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-07-03 DOI: 10.1080/20551940.2023.2235852
Antía González Ben
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
Stem Player https://www.stemplayer.com/ Stem Player是由Kano Computing于2021年夏天推出的便携式音乐播放器和混音设备。这款设备是新一代用户友好型便携式设备的典范,它通过邀请听众与预先录制的音乐互动,模糊了被动消费和主动创作之间的界限。Stem Player结合了视觉、听觉和触觉元素,以产生独特的、具体化的用户体验。这个椭圆形的小玩意小到可以放进一个成年人的手掌里,上面覆盖着一层光滑的硅胶皮肤,目前有三种颜色可供选择:透明、棕褐色和黑色。打开后,四个霓虹灯背光滑动控制器以X形突出在设备的表面。该设备的其余按钮位于边缘和面部中心,在视觉上不显眼(图1)。滑动控制和开/关按钮使设备在操作时像手机一样轻柔地振动。这款设备外观和手感都很光滑,单手使用也很方便。Stem Player允许用户收听存储在其中的数字音频文件,并在收听时重新混合音轨。这款设备最主要的操作方式是传统的音乐播放器:它的侧边按钮可以打开和关闭设备,在曲目列表中向前和向后跳转,并调节音量(最大音量很大,但仍然舒适)。但是Stem Player作为音乐播放器的功能有限;它的存储容量有限(8GB),只能通过USB线加载。因此,与市场上现有的其他音乐复制设备相比,Stem Player相形见绌,例如SanDisk Clip Jam和Mighty Vibe,它们提供更大的存储容量,允许通过蓝牙加载曲目和在线下载,而且体积更小,价格更便宜。让Stem Player与其他竞争设备区别开来的是其独特的设计,优化了交互式聆听体验。Stem Player面部的x形滑动控制允许用户将歌曲分成四层,称为“茎”(因此设备的名称),并在收听时重新混合歌曲。该设备的干隔离工具是预先编程的:流行音乐和嘻哈音乐轨道通常分为人声,样本和贝斯,鼓,和剩余的乐器。四部分分割效果最好的音轨在官方网站上,但设备将尝试分割任何音频文件上传到它(尽管有不同的结果)。位于设备中心的一个按钮将滑动控制的功能从干隔离切换到混音。通过向左、向右、向上或向下滑动,用户-听者可以通过循环两小节和四小节片段、加速或减慢音轨以及反转音轨来重新混音歌曲。自称“新媒体”(STEM n.d)的STEM Player旨在使混音成为聆听体验的核心部分。声音再现技术的使用者在使用其设备时,在一定程度上总是在操纵声音;例如,通过停止和重新启动记录或调整其音量。用户也有SOUND STUDIES 2023, VOL. 9, NO. 5。2,302 - 306 https://doi.org/10.1080/20551940.2023.2235852
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引用次数: 0
Titles available for review 可供阅览的书目
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-07-03 DOI: 10.1080/20551940.2023.2232608
V. Erlmann
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.
《环境声音的哲学:物质性、技术、艺术和声音环境》,作者:Ulrik Schmidt。新加坡:Palgrave Macmillan出版社,2023年。《回音室:声学空间的建筑与理念》,作者:约瑟夫·克拉克。宾夕法尼亚州匹兹堡:匹兹堡大学出版社,2021年。基特·多布森(Kit Dobson)著。加拿大安大略省汉密尔顿:Wolsak & Wynn, 2022。Theo Van Leeuwen的《多模态与身份》。伦敦:劳特利奇出版社,2021。《发声的身体:音乐与生物医学科学的形成》,彼得·佩西克著。剑桥,马萨诸塞州:麻省理工学院出版社,2022。《结构与综合:实践的剖析》,马克·费尔著。法尔茅斯,英国:Urbanomic, 2021。《生命之声:数字技术如何让我们更接近动植物世界》,作者:凯伦·j·巴克。普林斯顿,新泽西州:普林斯顿大学出版社,2022。非策展的声音:声音和手的知识,作者:salom Voegelin。纽约:布鲁姆斯伯里学术出版社,2023。《鲸鱼音乐:声海中的千里歌》,大卫·罗森伯格著。纽瓦克,新泽西州:泰拉诺瓦出版社,2023。
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引用次数: 0
Forensic voices: cultures of sonic detection and identification in the West 法医声音:西方的声音探测和识别文化
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-07-03 DOI: 10.1080/20551940.2023.2232211
K. Bijsterveld, Anna Kvíčalová
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.
本特刊《法医声音:西方声音检测和识别的文化》的引言解释了“法医声音”的概念,将其置于法医实践中声音的学术文献中,并介绍了个人的贡献。
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引用次数: 0
Forensic listening in the artwork of Lawrence Abu Hamdan 劳伦斯·阿布·哈姆丹作品中的法医监听
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-07-02 DOI: 10.1080/20551940.2023.2232139
C. Kelly
Lawrence Abu Hamdan’s first major monograph. The book,
劳伦斯·阿布·哈姆丹的第一部主要专著。这本书,
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引用次数: 0
Rhythms of Asia: assembling voices, noises, sounds, and technologies 亚洲的节奏:声音、噪音、声音和技术的集合
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2023-06-27 DOI: 10.1080/20551940.2023.2229194
Renee Congdon
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.
布鲁诺,朱利安娜。2014。表面:美学、物质性和媒介的问题。芝加哥:芝加哥大学出版社。雷切尔·卡森1962年寂静的春天。波士顿:霍顿米夫林。迈克·戴维斯,1990。石英之城:挖掘洛杉矶的未来。英国伦敦;纽约:反之亦然。安娜·戈蒂埃María奥乔亚,2014。听觉:19世纪哥伦比亚的倾听与知识。英国杜伦大学;英国伦敦:杜克大学出版社。https://doi.org/10.2307/j.ctv11smfj3。勒普顿,艾伦和安德里亚·利普斯编。2018. 感官:超越视觉的设计。纽约:库珀休伊特,史密森设计博物馆和普林斯顿建筑出版社。琳达·纳什2007。《不可逃避的生态学:环境、疾病和知识的历史》伯克利,加州:加州大学出版社。https://doi.org/10.1525/9780520939998。帕拉斯马可能,Juhani。[1996] 2012。皮肤的眼睛:建筑与感官。英国奇切斯特:威利。谢弗,R.默里。1970。噪音之书。惠灵顿,新西兰:Price Milburn。谢弗,R.默里。1994。音景:我们的声音环境和世界的调谐。罗切斯特,纽约州:命运出版社。Solà-Morales Rubió,伊格纳西,1995。“地形模糊。”《在任何地方》,辛西娅·戴维森编辑,118-123页。马萨诸塞州剑桥:麻省理工学院出版社。
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引用次数: 1
期刊
Sound Studies
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