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Sonic Warfare : Sound, Affect, and the Ecology of Fear par Steve Goodman : Neuf
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Numéro de l'objet eBay :402900783463
Dernière mise à jour le 24 juil. 2025 04:49:35 CEST. Afficher toutes les modificationsAfficher toutes les modifications
Caractéristiques de l'objet
- État
- Publication Date
- 2012-08-17
- Pages
- 296
- ISBN
- 0262517957
À propos de ce produit
Product Identifiers
Publisher
MIT Press
ISBN-10
0262517957
ISBN-13
9780262517959
eBay Product ID (ePID)
117221288
Product Key Features
Book Title
Sonic Warfare : Sound, Affect, and the Ecology of Fear
Number of Pages
296 Pages
Language
English
Topic
History & Criticism, Philosophy & Social Aspects, Computers & Technology, Acoustics & Sound
Publication Year
2012
Illustrator
Yes
Genre
Music, Science, Education
Book Series
Technologies of Lived Abstraction Ser.
Format
Trade Paperback
Dimensions
Item Height
0.6 in
Item Weight
16.2 Oz
Item Length
8.9 in
Item Width
7 in
Additional Product Features
Intended Audience
Trade
Dewey Edition
22
Grade From
College Graduate Student
Dewey Decimal
781/.1
Synopsis
An exploration of the production, transmission, and mutation of affective tonality--when sound helps produce a bad vibe., An exploration of the production, transmission, and mutation of affective tonality-when sound helps produce a bad vibe. Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread-to produce a bad vibe. Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or "sound bombs") over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare , Steve Goodman explores these uses of acoustic force and how they affect populations. Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture. Goodman concludes with speculations on the not yet heard-the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths., An exploration of the production, transmission, and mutation of affective tonality--when sound helps produce a bad vibe. Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread--to produce a bad vibe. Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or "sound bombs") over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare , Steve Goodman explores these uses of acoustic force and how they affect populations. Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture. Goodman concludes with speculations on the not yet heard--the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths.
LC Classification Number
ML3805.G66 2012
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