Bull, M. (2004). Thinking about sound, proximity and distance in western experience: The case of Odysseus' walkman. In V. Erlmann (Ed), Hearing Cultures: Essays on Sound Listening and Modernity. (pp. 173–190). Oxford: Berg.
Added by: Mark Grimshaw-Aagaard 20/12/2007, 15:44
"For Adorno, the Western consumer desired "connection" in an increasingly privatized world. Sound provided this connection more readily than any other medium."
Carter, P. (2004). Ambiguous traces, mishearing, and auditory space. In V. Erlmann (Ed), Hearing Cultures: Essays on Sound Listening and Modernity. (pp. 43–63). Oxford: Berg.
Added by: Mark Grimshaw-Aagaard 20/12/2007, 16:14
"LISTENERS CONSTRUCT AUDITORY SPACE [...] To be communicative depends upon anticipating the other's moves."
"...making sound recordings involves a poetics of performance reflecting the character and limitations of the technology."
Listening to an acoustic ecology or a culture typically involves a hearing bias, a discrimination towards foreground sounds and against background noise. When listening to a culture, this reinforces "the proposition that culture is communication." This, for Carter, is a mistake.
"Auditory space is durational, but it lacks music's (and writing's) commitment to linear development. Without a sense of ending, it is not located between silences."
In many societies, "[m]eaning is derived not from the place of the sound sign in relation to other sound signs within the communicational system. It originates from outside the system, from the association of the sound with a sound in the environment that it mimics."
Connor, S. (2004). Edison's teeth: Touching hearing. In V. Erlmann (Ed), Hearing Cultures: Essays on Sound Listening and Modernity. (pp. 153–172). Oxford: Berg.
Added by: Mark Grimshaw-Aagaard 20/12/2007, 15:49
"...it is sound that seems to be immediate" even though it moves slower than light. "...hearing proposes: sight disposes." (e.g. sight confirms what has been heard.)
Gouk, P. (2004). Raising spirits and restoring souls: Early modern medical explanations for music's effect. In V. Erlmann (Ed), Hearing Cultures: Essays on Sound Listening and Modernity. (pp. 87–105). Oxford: Berg.
Added by: Mark Grimshaw-Aagaard Last edited by: Mark Grimshaw-Aagaard 15/05/2008, 10:18
"There are many reasons why sound has been left out of mainstream European cultural history -- not least the assumption that a shift to a predominantly visualist culture took place between the Renaissance and Enlightenment."
Nuckolls, J. B. (2004). Language and nature in sound alignment. In V. Erlmann (Ed), Hearing Cultures: Essays on Sound Listening and Modernity. (pp. 65–85). Oxford: Berg.
Added by: Mark Grimshaw-Aagaard 20/12/2007, 15:59
"Ideophones then, may function as sound images of sound or sound images of relatively soundless gestures, forces and visual phenomena."
Ideophones constitute an expressive and affective sound alignment with the natural world. Common to many cultures, onomatopoeia is one form of ideophone.
Smith, B. R. (2004). Listening to the wild blue yonder: The challenges of acoustic ecology. In V. Erlmann (Ed), Hearing Cultures: Essays on Sound Listening and Modernity. (pp. 21–41). Oxford: Berg.
Added by: Mark Grimshaw-Aagaard 20/09/2012, 12:10
"The written word in early modern England still carried the bodily force of the spoken word. For us, written words are symbols, arbitrary signs of the things signified. For Shakespeare's contemporaries, I would argue, written words functioned as indices, as signs carrying a bodily, metonymic connection with the things being signified."
Nonverbal sounds "marked the boundary between civility and barbarity."
Presents evidence that readers in the early modern age (c.1600) would have heard sounds in texts (handwriting, woodcuts and print). Levels and different types of literacy, contemporary witnesses (e.g. Erasmus), didactic books encouraging new writers to pronounce the phonemes as they are written. This is not the case for the modern reader.
Describes different syntaxes of sound in early modern England: country (more nonverbal sounds), court (highly logocentric) and city (inbetween).
Thompson, E. (2004). Wiring the world: Acoustical engineers and the empire of sound in the motion picture industry, 1927-1930. In V. Erlmann (Ed), Hearing Cultures: Essays on Sound Listening and Modernity. (pp. 191–209). Oxford: Berg.
