Filed under journal | Tags: · acoustics, infrastructure, sound, sound art
“The street-level sonic cultures, acoustic ecologies and personal interventions available to us have, during this long 20th Century, become proliferated by speakers, microphones, synthesised and recorded playbacks, beeps, buzzes and alarms. Roving gangs of indignant mobile-phone music-listeners disrupt the public transit experience. iPhones chirp out the sound of something called ‘crickets’, creatures many a listener may very well never encounter. Airlines pass on the extravagant levy of ‘noise charges’ to their customers, a kind of psychic and acoustic bandwidth fee. Microwave ovens, automobiles and authoritative ahuman voices chime out an acoustic ecology that is neither ‘natural’ nor ‘cultural’, neither ‘societal’ nor ‘technological’, but something that is a heterogeneous mixture of all of these sources, causes and categories. These are ‘acoustic infrastructures’, and although human-made, they are naturalised by their ubiquity and always-on-ness, along with our allover, everyday, experience of them.” (from the Introduction)
With contributions by Richard Chartier, Adam Basanta, Jacob Gaboury, Brian House, Yujin Jung, Jan Phillip Müller, Shannon Mattern and Jamie Allen, Julie Beth Napolin and Marina Rosenfeld, Byron Peters, dave phillips, Gail Priest, Morten Søndergaard, Mark Peter Wright, Sean Smith, and Meira Asher.
Edited by Jamie Allen, Lital Khaikin, and Isaac Linder
Publisher continent., 31 August 2016
Creative Commons Attribution 3.0 License