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sounds of lockdown 封锁的声音
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2021-01-15 DOI: 10.7146/se.v10i1.124195
M. Ward
Modes of listening tell us a great deal about how Americans are coping with the feelings of the COVID-19 pandemic. Taking online listening culture in which amateur music remixers repurpose known pop songs to produce an effect of loneliness in virtual public spaces, this essay traces the movement of online sound subcultures from late 2010s YouTube into the modes of listening, employed by a much larger viewership on lockdown during the COVID-19 outbreak of 2020. Analyzing the act of listening to empty public spaces online since the inception of a particular family of memes that ran from 2017-2018, the essay showcases how that music subculture prefi gured a wider response to the COVID-19 pandemic lockdowns. Covering the psychological response to pandemic, its manifestations in phenomena, such as grief over the loss of public space as mediated by EarthCam, #StayHomeSounds, and the quieting of neighborhoods and cities, this essay shows how the range of modes in our listening network is evolving at this time. It also responds to how the social and emotional needs that arise during lockdown are met in forms of virtuality we have crafted to connect us to the wider world. Moreover, it emphasizes that virtuality crept into our connection with public space earlier than the pandemic – and that playing with the notion of nostalgia recreationally through online media before the pandemic made us better equipped to handle the pandemic’s isolation, when it came. Showcasing how alienation is at the root of both experiences, it also hypothesizes that mediated communion permits us both to engage with the inevitable loneliness and an ability to deal with it as time goes on.
倾听的方式告诉我们很多关于美国人如何应对COVID-19大流行的感受。本文以在线收听文化为例,在这种文化中,业余音乐混音者将已知的流行歌曲重新改编,以在虚拟公共空间中产生孤独的效果。本文追踪了从2010年代末YouTube到收听模式的在线声音亚文化的运动,这些文化在2020年COVID-19爆发期间被大量观众所采用。这篇文章分析了自2017-2018年一个特定的表情包家族出现以来,人们在网上听空的公共空间的行为,展示了这种音乐亚文化如何预示着对COVID-19大流行封锁的更广泛反应。这篇文章涵盖了对大流行的心理反应,它在现象中的表现,比如由EarthCam介导的对失去公共空间的悲痛,#StayHomeSounds,以及社区和城市的平静,展示了我们的倾听网络的模式范围在这个时候是如何演变的。它还回应了在封锁期间出现的社交和情感需求是如何以我们精心设计的虚拟形式得到满足的,这些虚拟形式将我们与更广阔的世界联系起来。此外,它还强调,虚拟技术在大流行之前就已经进入了我们与公共空间的联系——在大流行之前,通过在线媒体娱乐地玩怀旧的概念,使我们在大流行到来时能够更好地应对孤立。它展示了异化是如何成为这两种经历的根源,它还假设,调解的交流使我们都能接触到不可避免的孤独,并有能力随着时间的推移处理它。
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引用次数: 1
The sound of the future: listening as data and the politics of soundscape assessment 未来之声:作为数据的聆听与声景评估的政治
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2021-01-03 DOI: 10.1080/20551940.2020.1863121
Milena Droumeva
ABSTRACT This sonic ecology of cities has been highlighted recently by the effects of the global pandemic: fewer cars and people on the road are letting quieter layers of the soundscape to come forward, signalling unequivocally that the urban soundscape is a direct result of anthropocenic activity. This is a time, then, to listen and reflect, and perhaps heed new models for thinking of urban sound. One barrier to such a process is the persistent and entrenched disconnect between soundscape literature, public engagement with sound, and urban planning. By critically surveying literature on soundscape assessment as it intersects with cultural sound studies and acoustic ecology, this paper traces a number of important disciplinary ontologies of everyday listening in cities, ranging from attempts to standardise evaluation metrics and classification of soundscapes, to the emergence of subjective listening studies. More recently a ‘digital commons’ approach to civic engagement has led to crowdsourcing sonic experiences, soundmapping, and, at the infrastructural level – networked monitoring of noise levels. These rhetorical and practical developments fit within important contemporary conversations in critical data and algorithm studies and as such require a critical excavation of underlying values and conceptions of listening.
最近,全球大流行的影响突显了城市的声音生态:道路上车辆和人的减少让更安静的声景层脱颖而出,明确表明城市声景是人类活动的直接结果。因此,这是一个倾听和反思的时刻,也许需要新的城市声音思考模式。这一过程的一个障碍是音景文学、公众对声音的参与和城市规划之间持续而根深蒂固的脱节。通过批判性地调查声景评估的文献,因为它与文化声音研究和声学生态学相交叉,本文追溯了城市日常听力的一些重要学科本体论,从标准化评估指标和声景分类的尝试,到主观听力研究的出现。最近,公民参与的“数字公地”方法导致了声音体验的众包、声音测绘,以及在基础设施层面上的噪音水平网络监测。这些修辞和实践的发展适合于关键数据和算法研究中的重要当代对话,因此需要对潜在价值和倾听概念进行批判性挖掘。
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引用次数: 5
Remixing the pandemic, one sound at a time Cities and Memory, #StayHomeSounds 重新混合大流行,一次一个声音,城市和记忆,#留在家乡
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2021-01-02 DOI: 10.1080/20551940.2021.1875291
Milena Droumeva
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引用次数: 2
A history of sound, music, and performance in the Great War 第一次世界大战中声音、音乐和表演的历史
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2021-01-02 DOI: 10.1080/20551940.2020.1867395
H. Johnson
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引用次数: 0
The sonic turn in music 音乐中的声音转折
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2021-01-02 DOI: 10.1080/20551940.2020.1867394
Kevin John Bozelka
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引用次数: 0
Archival resonances: embodied libraries and the corporeal lives of sonic effects 档案共鸣:体现图书馆和声音效果的物质生活
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-12-21 DOI: 10.1080/20551940.2020.1859815
A. Walker
ABSTRACT This article examines the relationship between the postproduction sound practitioner and their library of sound files. The paucity of phenomenological accounts of digital library use means there is opportunity to use theories of embodiment as well as existing understandings of archives in order to reframe understandings of the digital library, particularly in a film sound production context. To abstract the sound library from embodiment is to miss the opportunity to further deconstruct the notion of technicity and data as divorced from the bodies of users. Film sound postproduction provides a rich canvas with which to pursue a discussion of embodied libraries. This article first examines the recording and building of a library as a creative resource; it then examines how sound files as units of a larger library archive, live multiple sonic lives across many projects. Further, the role of location, practices of library engagement, including auditioning and selection of sound, as well as metadata management are examined. In this way, the sound library becomes reconfigured as a sensory archive, and the sound file becomes the sensory kindling rich with personal meanings. These meanings are lived and re-lived, exchanged and reinvented with each new incarnation of a sound work.
本文探讨了后期声音从业者和他们的声音文件库之间的关系。数字图书馆使用的现象学描述的缺乏意味着有机会使用化身理论以及对档案的现有理解来重新构建对数字图书馆的理解,特别是在电影声音制作的背景下。将声音库从具体化中抽象出来,就失去了进一步解构技术和数据与用户身体分离的概念的机会。电影声音后期制作提供了一个丰富的画布,以追求具体化库的讨论。本文首先探讨了图书馆作为一种创造性资源的记录与建设;然后,它检查声音文件作为一个更大的图书馆档案的单位,如何在许多项目中生活多个声音生活。此外,地点的作用,图书馆参与的实践,包括试镜和选择声音,以及元数据管理进行了检查。这样,声音库被重新配置为一个感官档案,声音文件成为富有个人意义的感官火种。这些意义随着每一个声音作品的新化身而被活了又活了,交换了又重新发明了。
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引用次数: 1
Sound acts: towards a sonic pragmatism 声音行动:走向声音实用主义
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-12-15 DOI: 10.1080/20551940.2020.1857622
Vadim Keylin
ABSTRACT The article makes a case for a pragmatist approach to sound studies. My starting point is the ostensible lack of language for analysing the agentic, creative and expressive aspects of sound outside of domains of speech and music. At the same time, recent aesthetic and technological developments have brought about a plethora of sound practices that defy the apparatuses of musicology and linguistic as much as they do the listening-centred perspectives of sound studies. Discussing six examples of such practices taken from interactive sound art and participatory online cultures, I sketch out possible directions for a sonic pragmatism. In the first part, I put forward three possible premises for such a theory: John Dewey’s aesthetics, G.H. Mead’s ontology of acts, and actor-network theory. In the second part, I discuss three potential categories for the analysis of sound acts – affordance, perspective, and gesture – emphasising, respectively, their material, social, and pragmatic aspects. I argue that a pragmatist epistemology can offer substantial insights into both philosophical and cultural aspects of contemporary soundmaking, suspending the familiar dichotomies of perception and production, subject and object, human and nonhuman.
摘要本文提出了一种实用主义的声音研究方法。我的出发点是表面上缺乏语言来分析语音和音乐领域之外声音的能动性、创造性和表达性方面。与此同时,最近的美学和技术发展带来了大量的声音实践,这些实践既违背了音乐学和语言学的仪器,也违背了声音研究中以听力为中心的观点。通过讨论互动声音艺术和参与式网络文化中的六个例子,我勾勒出了声音实用主义的可能方向。在第一部分中,我提出了这一理论的三个可能前提:杜威的美学、G.H.米德的行为本体论和行动者网络理论。在第二部分中,我讨论了声音行为分析的三个潜在类别——提供性、视角和姿态——分别强调它们的物质、社会和实用方面。我认为,实用主义认识论可以为当代声音制作的哲学和文化方面提供实质性的见解,暂停熟悉的感知和生产,主体和客体,人类和非人类的二分法。
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引用次数: 0
Sound hunting in postwar Japan: recording technology, aurality, mobility, and consumerism 战后日本的声音狩猎:录音技术、音质、流动性和消费主义
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-12-10 DOI: 10.1080/20551940.2020.1857620
M. Smith
ABSTRACT Throughout the 1970s, the hobby of sound hunting boomed in Japan. A magazine and numerous guidebooks urged young people to get out and about recording the soundscape and hunting for “real sound”. The mobility inherent in the technological transformations of the previous decades fed into a media discourse which drew together theories and practices taken from the protests and sub-cultures of the 1960s that celebrated creativity, openness, and individuated lifestyles, whilst challenging notions of authority and expertise. Sound hunting and amateur recording was a mediatised pastime that sought new ways of incorporating technological change, as well as professional experimentation in music and sound recording, into everyday life. Sound as an object – to be understood, controlled, and manipulated – was incorporated into consumer society through a media discourse that emphasised the individualism, mobility, experimentation, and spending at the heart of youth lifestyles in the 1970s. Capturing sound required detailed research, an individual, creative approach and an amateur spirit. The sound hunting boom in Japan highlights the importance of technology, consumerism and the media to sound studies by shedding light on the wider social, cultural and media contexts within which portable sound-recording technology and new practices of listening became increasingly commodified.
在整个20世纪70年代,声音狩猎的爱好在日本蓬勃发展。一本杂志和大量的旅游指南敦促年轻人走出去,记录声景,寻找“真正的声音”。前几十年技术变革所固有的移动性为媒体话语提供了素材,这些话语汇集了来自20世纪60年代抗议活动和亚文化的理论和实践,这些理论和实践颂扬了创造力、开放性和个性化的生活方式,同时挑战了权威和专业知识的概念。声音狩猎和业余录音是一种媒介消遣,寻求将技术变革的新方法,以及音乐和录音的专业实验融入日常生活。声音作为一种对象——被理解、控制和操纵——通过强调个人主义、流动性、实验和消费的媒体话语被纳入消费社会,这是20世纪70年代年轻人生活方式的核心。捕捉声音需要详细的研究,个人的,创造性的方法和业余精神。日本的声音搜寻热潮凸显了技术、消费主义和媒体对声音研究的重要性,揭示了更广泛的社会、文化和媒体背景,在这种背景下,便携式录音技术和新的聆听方式日益商品化。
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引用次数: 4
Sound-politics in São Paulo: noise, actors, networks, and governance 圣保罗的健全政治:噪音、演员、网络和治理
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-11-03 DOI: 10.1080/20551940.2020.1843111
J. Velasquez
Noise is a topic that has introduced diverse perspectives ranging from Marxist structuralism (Attali [1977] 2011) to the history of sciences (Thompson 2002; Bijsterveld 2008). Recent studies have a...
噪音是一个引入了从马克思主义结构主义(Attali[1977] 2011)到科学史(Thompson 2002;Bijsterveld 2008)。最近的研究表明……
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引用次数: 0
Understanding global cultures through sound 通过声音了解全球文化
IF 0.5 0 HUMANITIES, MULTIDISCIPLINARY Pub Date : 2020-10-19 DOI: 10.1080/20551940.2020.1835268
I. Medić
One of the latest additions to the ever-growing literature on everyday sounds and human responses to them is Towards an Anthropology of Ambient Sound. The edition is part of the series Routledge St...
关于日常声音和人类对它们的反应的不断增长的文献的最新补充之一是朝向环境声音的人类学。该版本是劳特利奇街系列的一部分。
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引用次数: 1
期刊
Sound Studies
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