Noise Matters: Towards an Ontology of Noise

Noise matters : towards an ontology of noise

Is noise in fact only an auditory phenomenon or does it extend far beyond this realm?

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Advanced search Search history. You must be logged in to Tag Records. Your request to send this item has been completed. The not so Noisy Elephants in the Room. Progressive Rock since the s Endorsement. A new episode about every days averaging 49 mins duration. What is the relationship between deejays and the manufacturers that produced the technology that made hip-hop possible?

If our common definitions of noise are necessarily subjective and noise is not just unpleasant sound, then it merits a closer look or listen. Greg Hainge sets out to define noise in this way, to find within it a series of operations common across its multiple manifestations that allow us to apprehend it as something other than a highly subjective term that tells us very little. Examining a wide range of texts, including Sartre's novel Nausea and David Lynch's iconic films Eraserhead and Inland Empire , Hainge investigates some of the Twentieth Century's most infamous noisemongers to suggest that they're not that noisy after all; and it finds true noise in some surprising places.

The result is a thrilling and illuminating study of sound and culture.

Noise Matters

The not so Noisy Elephants in the Room. On the Difficulties of Attending to Noise. On the Difficulties of Listening to Noise. On Noise and Film. On Noise and Photography.

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Can we in fact say that one man's noise is another teenager's music? Is noise in fact Towards an Ontology of Noise. By: Greg Hainge Media of Noise Matters. Noise Matters: Towards an Ontology of Noise [Greg Hainge] on www.farmersmarketmusic.com * FREE* shipping on qualifying offers. Everyone knows what noise is. Or do they?.

On Noise and Music. Concrete reprise , Woolly Mammoth.

Noise Matters: Towards an Ontology of Noise

Manage episode series By New Books Network. Discovered by Player FM and our community — copyright is owned by the publisher, not Player FM, and audio streamed directly from their servers. In his new book Noise Matters: The book is written within the tradition of critical theory and is at once playful and punning, as well as Learn more about your ad choices.

Q+A #26 - What is good music? Knower/John Coltrane

The chapters of General Intellects: Twenty-One Thinkers for the Twenty-First Century Verso, introduce readers to important work in Anglophone cultural studies, psychoanalysis, political theory, media theory, spec In her book Archiveology: In her book, she reviews specific film examples. She also discusses the related work of German philosoph Listening to Records, Radio and Films in New Zealand — Otago University Press, , Peter Hoar, a senior lecturer in radio and media history at Auckland University of Technology, explores how new technology shaped how New Zealanders experienced the very act of listening in the Learn more about you Can we have sound media that is ecologically sound?

About Noise Matters

Can we fine tune our media production and consumption habits to a greener key? How can an environmental perspective on sound media contribute to our understanding of how media culture is involved in the ecological crisis? These are just some of Philosophers have long tried to silence the physical musicality of voice in favor of the purity of ideas without matter, souls without bodies.

But voices resonate among bodies and texts; they are singular, as unique as fingerprints, but irreducibly collective too. They are material, somatic, and musical.

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As audio technology has advanced, so has our love-affair with deep bass. Bass, Bodies and the Materiality of Sonic Experience Bloomsbury, , probes the much-mythologized field of bass and low-frequency sound.

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Greg Hainge, Noise Matters: Towards an Ontology of Noise - PhilPapers

What is the role of the deejay in shaping hip-hop? Did deejays shape the technology that is used to create the music or were they simply consumers of mixers, faders, and microphones?

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What is the relationship between deejays and the manufacturers that produced the technology that made hip-hop possible? What did sound mean to French people as radio and other listening technologies began to proliferate in the early twentieth century? What was the nature and significance of French auditory culture in the years between the two world wars? These are two of the central questions that Rebecca Scales pursues