Is a sound an object, an experience, an event, or a relation? What exactly does the emerging discipline of sound studies study? Sound Objects pursues these questions while exploring how history, culture, and mediation entwine with sound’s elusive objectivity. Examining the genealogy and evolution of the concept of the sound object, the commodification of sound, acousmatic listening, nonhuman sounds, and sound and memory, the contributors not only probe conceptual issues that lie in the forefront of contemporary sonic discussions but also underscore auditory experience as fundamental to sound as a critical enterprise. In so doing, they offer exciting considerations of sound within and beyond its role in meaning, communication, and information and an illuminatingly original theoretical overview of the field of sound studies itself.
Contributors. Georgina Born, Michael Bull, Michel Chion, Rey Chow, John Dack, Veit Erlmann, Brian Kane, Jairo Moreno, John Mowitt, Pooja Rangan, Gavin Steingo, James A. Steintrager, Jonathan Sterne, David Toop
- Cover
- Contents
- Acknowledgments
- Sound Objects: An Introduction
- I. Genealogies
- 1. Reflections on the Sound Object and Reduced Listening
- 2. Pierre Schaeffer and the (Recorded) Sound Source
- 3. The Fluctuating Sound Object
- II. Aural Reification, Sonic Commodification
- 4. Listening with Adorno, Again: Nonobjective Objectivity and the Possibility of Critique
- 5. Spectral Objects: On the Fetish Character of Music Technologies
- III. Acousmatic Complications
- 6. Listening after“ Acousmaticity”: Notes on a Transdisciplinary Problematic
- 7. The Skin of the Voice: Acousmatic Illusions, Ventriloquial Listening
- IV. Sound Abjects and Nonhuman Relations
- 8. The Acoustic Abject: Sound and the Legal Imagination
- 9. The Alluring Objecthood of the Heartbeat
- 10. On Nonhuman Sound—Sound as Relation
- V. Memory Traces
- 11. The Sound of Arche-Cinema
- 12. Listening to the Sirens
- 13. Entities Inertias Faint Beings: Drawing as Sounding
- Bibliography
- Contributors
- Index
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