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.
{"title":"sounds of lockdown","authors":"M. Ward","doi":"10.7146/se.v10i1.124195","DOIUrl":"https://doi.org/10.7146/se.v10i1.124195","url":null,"abstract":"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.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"3 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2021-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88548082","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}
Pub Date : 2021-01-03DOI: 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.
{"title":"The sound of the future: listening as data and the politics of soundscape assessment","authors":"Milena Droumeva","doi":"10.1080/20551940.2020.1863121","DOIUrl":"https://doi.org/10.1080/20551940.2020.1863121","url":null,"abstract":"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.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"50 1","pages":"225 - 241"},"PeriodicalIF":0.5,"publicationDate":"2021-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88925746","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}
Pub Date : 2021-01-02DOI: 10.1080/20551940.2021.1875291
Milena Droumeva
{"title":"Remixing the pandemic, one sound at a time Cities and Memory, #StayHomeSounds","authors":"Milena Droumeva","doi":"10.1080/20551940.2021.1875291","DOIUrl":"https://doi.org/10.1080/20551940.2021.1875291","url":null,"abstract":"","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"165 3","pages":"147 - 150"},"PeriodicalIF":0.5,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/20551940.2021.1875291","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72392258","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}
Pub Date : 2021-01-02DOI: 10.1080/20551940.2020.1867395
H. Johnson
{"title":"A history of sound, music, and performance in the Great War","authors":"H. Johnson","doi":"10.1080/20551940.2020.1867395","DOIUrl":"https://doi.org/10.1080/20551940.2020.1867395","url":null,"abstract":"","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"47 1","pages":"135 - 137"},"PeriodicalIF":0.5,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91350095","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}
Pub Date : 2021-01-02DOI: 10.1080/20551940.2020.1867394
Kevin John Bozelka
{"title":"The sonic turn in music","authors":"Kevin John Bozelka","doi":"10.1080/20551940.2020.1867394","DOIUrl":"https://doi.org/10.1080/20551940.2020.1867394","url":null,"abstract":"","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"30 1","pages":"137 - 140"},"PeriodicalIF":0.5,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87944185","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}
Pub Date : 2020-12-21DOI: 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.
{"title":"Archival resonances: embodied libraries and the corporeal lives of sonic effects","authors":"A. Walker","doi":"10.1080/20551940.2020.1859815","DOIUrl":"https://doi.org/10.1080/20551940.2020.1859815","url":null,"abstract":"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.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"1 1","pages":"206 - 224"},"PeriodicalIF":0.5,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73974072","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}
Pub Date : 2020-12-15DOI: 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.
{"title":"Sound acts: towards a sonic pragmatism","authors":"Vadim Keylin","doi":"10.1080/20551940.2020.1857622","DOIUrl":"https://doi.org/10.1080/20551940.2020.1857622","url":null,"abstract":"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.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"29 2 1","pages":"83 - 99"},"PeriodicalIF":0.5,"publicationDate":"2020-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80491106","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}
Pub Date : 2020-12-10DOI: 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.
{"title":"Sound hunting in postwar Japan: recording technology, aurality, mobility, and consumerism","authors":"M. Smith","doi":"10.1080/20551940.2020.1857620","DOIUrl":"https://doi.org/10.1080/20551940.2020.1857620","url":null,"abstract":"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.","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"105 1","pages":"64 - 82"},"PeriodicalIF":0.5,"publicationDate":"2020-12-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80680350","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}
Pub Date : 2020-11-03DOI: 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...
{"title":"Sound-politics in São Paulo: noise, actors, networks, and governance","authors":"J. Velasquez","doi":"10.1080/20551940.2020.1843111","DOIUrl":"https://doi.org/10.1080/20551940.2020.1843111","url":null,"abstract":"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...","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"98 1","pages":"140 - 143"},"PeriodicalIF":0.5,"publicationDate":"2020-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76162495","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}
Pub Date : 2020-10-19DOI: 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...
{"title":"Understanding global cultures through sound","authors":"I. Medić","doi":"10.1080/20551940.2020.1835268","DOIUrl":"https://doi.org/10.1080/20551940.2020.1835268","url":null,"abstract":"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...","PeriodicalId":53207,"journal":{"name":"Sound Studies","volume":"22 1","pages":"261 - 265"},"PeriodicalIF":0.5,"publicationDate":"2020-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76473006","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}
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