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If the study of sound in modernity has tended to focus on technological changes and bracket aesthetic questions, it is perhaps because the relationships among the science, technology and aesthetics of sound have not yet been adequately parsed.The entire quotation from the influential media theorist is ‘the phonograph does not hear as do ears that have been trained immediately to filter voices, words, and sounds out of noise; it registers acoustic events as such’.Hearing Cultures is a timely examination of the elusive, often evocative, and sometimes cacophonous auditory sense.
This book shows how sound offers a refreshing new lens through which to examine culture and complex social issues.
Hearing Cultures is a timely examination of the elusive, often evocative, and sometimes cacophonous auditory sense - from the intersection of sound and modernity, through to the relationship between audio-technological advances and issues of personal and urban space.
As cultures and communities grapple with the massive changes wrought by modernization and globalization, Hearing Cultures presents an important new approach to understanding our world.
The ear, as much as the eye, nose, mouth andhand, defines experience.
This book shows how sound offers a refreshing new lens through which to examine culture and complex social issues. The impact of critiques of “visualism” advanced by Walter Ong and other scholars of orality on the then emergent interpretive anthropology, he suggests, has made us aware of the need for a “cultural poetics that is an interplay of voices, of positioned utterances” (1986: 12).
The rapid industrialisation and electrification that characterises the late nineteenth and early twentieth centuries involved the revolutionary and irreversible technologisation of sound.
The ability to send sound great distances, through time and space, amplified the instability of sonic presence both inside and outside the body.
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