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This book presents the first book-length study of ambient sound as a key issue in sound studies and sonic philosophy. Taking a broad, media-philosophical approach, it explores ambient sound as a basic dimension of the sonic environment, sonic technologies, sonic arts and the material staging of listening. Through analyses of key concepts such as surroundability, mediatization, immanence, synthetization and continuous variation, the book elucidates how ambient aspects of sound influence our conceptions of what sound is and how it affects us by exposing sound’s relation to basic categories such as space, time, environment, medium and materiality. It also illuminates how the strategic production of ambient sound constitutes a leading aesthetic paradigm that has been a decisive factor in the shaping of the modern sonic environment – from key developments in experimental and popular music, sound art and cinematic sound design to the architectural-technological construction of listening spaces in concert halls and theaters and in current streaming infrastructures, digital surround sound and the everyday aesthetics of headphone listening.
A fresh, bold study of the emerging field of Sound Art, informed by the ideas of Adorno, Merleau-Ponty and others.
This is not a book about sound. It is a study of sounds that aims to write the resonance and response they call for. John Mowitt seeks to critique existing models in the expanding field of sound studies and draw attention to sound as an object of study that solicits a humanistic approach encompassing many types of sounds, not just readily classified examples such as speech, music, industrial sounds, or codified signals. Mowitt is particularly interested in the fact that beyond hearing and listening we ÒauditÓ sounds and do so by drawing on paradigms of thought not easily accommodated within the concept of "sound studies." To draw attention to the ways in which sounds often are not perceived for the social and political functions they serve, each chapter presents a culturally resonant soundÑincluding a whistle, an echo, a gasp, and silenceÑto show how sounds enable critical social and political concepts such as dialogue, privacy, memory, social order, and art-making. Sounds: The Ambient Humanities significantly engages, provokes, and contributes to the dynamic field and inquiry of sound studies.
This book explores the atmospheric dimensions of music and sound. With multidisciplinary insights from music studies, sound studies, philosophy and media studies, chapters investigate music and sound as shared environmental feelings. This book probes into cutting edge conceptual issues at the forefront of contemporary discussions on atmosphere, atmospherology and affect. It also extends the spatial and relational focus towards fundamentally temporal questions of performance, process, timbre, resonance and personhood. The capacity of atmospheric relations to imbue a situation with an ambient feeling and to modulate social collectives is highlighted, as well as auditory experience as a means of connecting with feelings. In addition to original research, the volume features a first translation of an important text by German phenomenologist Hermann Schmitz, and a debate on affect and atmosphere between the philosophers Jan Slaby and Brian Massumi. This novel contribution to the field of music research provides a strong theoretical framework, as well as vibrant case studies, which will be invaluable reading for scholars and students of music, sound, aesthetics, media, anthropology and contemporary philosophy.
This is not a book about sound. It is a study of sounds that aims to write the resonance and response they call for. John Mowitt seeks to critique existing models in the expanding field of sound studies and draw attention to sound as an object of study that solicits a humanistic approach encompassing many types of sounds, not just readily classified examples such as speech, music, industrial sounds, or codified signals. Mowitt is particularly interested in the fact that beyond hearing and listening we "audit" sounds and do so by drawing on paradigms of thought not easily accommodated within the concept of "sound studies." To draw attention to the ways in which sounds often are not perceived for the social and political functions they serve, each chapter presents a culturally resonant sound—including a whistle, an echo, a gasp, and silence—to show how sounds enable critical social and political concepts such as dialogue, privacy, memory, social order, and art-making. Sounds: The Ambient Humanities significantly engages, provokes, and contributes to the dynamic field and inquiry of sound studies.
This volume approaches the issue of ambient sound through the ethnographic exploration of different cultural contexts including Italy, India, Egypt, France, Ethiopia, Scotland, Spain, Portugal, and Japan. It examines social, religious, and aesthetic conceptions of sound environments, what types of action or agency are attributed to them, and what bodies of knowledge exist concerning them. Contributors shed new light on these sensory environments by focusing not only on their form and internal dynamics, but also on their wider social and cultural environment. The multimedia documents of this volume may be consulted at the address: milson.fr/routledge_media.
From the late 1990s until today, China's sound practice has been developing in an increasingly globalized socio-political-aesthetic milieu, receiving attentions and investments from the art world, music industry and cultural institutes, with nevertheless, its unique acoustic philosophy remaining silent. This book traces the history of sound practice from contemporary Chinese visual art back in the 1980s, to electronic music, which was introduced as a target of critique in the 1950s, to electronic instrument building fever in the late 1970s and early 1980s, and to the origins of both academic and nonacademic electronic and experimental music activities. This expansive tracing of sound in the arts resonates with another goal of this book, to understand sound and its artistic practice through notions informed by Chinese qi-cosmology and qi-philosophy, including notions of resonance, shanshui (mountains-waters), huanghu (elusiveness and evasiveness), and distributed monumentality and anti-monumentality. By turning back to deep history to learn about the meaning and function of sound and listening in ancient China, the book offers a refreshing understanding of the British sinologist Joseph Needham's statement that “Chinese acoustics is acoustics of qi.” and expands existing conceptualization of sound art and contemporary music at large.
This Element focuses on how music is experienced, articulated, and reclaimed in urban commercial environments. Special attention is paid to listeners, spaces, and music, co- and re-produced continuously in their triangular relationship affected by social, legal, economic, and technological factors. The study of the historical development of background music industries, construction of contemporary sonic environments, and individual meaning-making is based on extensive data gathered through interviews, surveys, and fieldwork, and supported by archival research. Due to the Finnish context and the ethnomusicological approach, this study is culture-sensitive, providing a fresh 'factory-to-consumer' perspective on a phenomenon generally understood as industry-lead, behavioral, and global. This title is also available as Open Access on Cambridge Core.
This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject.
From Edison’s invention of the phonograph through contemporary field recording and sound installation, artists have become attracted to those domains against which music has always defined itself: noise, silence, and environmental sound. Christoph Cox argues that these developments in the sonic arts are not only aesthetically but also philosophically significant, revealing sound to be a continuous material flow to which human expressions contribute but which precedes and exceeds those expressions. Cox shows how, over the course of the twentieth and twenty-first centuries, philosophers and sonic artists have explored this “sonic flux.” Through the philosophical analysis of works by John Cage, Maryanne Amacher, Max Neuhaus, Christian Marclay, and many others, Sonic Flux contributes to the development of a materialist metaphysics and poses a challenge to the prevailing positions in cultural theory, proposing a realist and materialist aesthetics able to account not only for sonic art but for artistic production in general.