Digital Sound Studies

The digital turn has created new opportunities for scholars across disciplines to use sound in their scholarship. This volume’s contributors provide a blueprint for making sound central to research, teaching, and dissemination. They show how digital sound studies has the potential to transform silent, text-centric cultures of communication in the humanities into rich, multisensory experiences that are more inclusive of diverse knowledges and abilities. Drawing on multiple disciplines—including rhetoric and composition, performance studies, anthropology, history, and information science—the contributors to Digital Sound Studies bring digital humanities and sound studies into productive conversation while probing the assumptions behind the use of digital tools and technologies in academic life. In so doing, they explore how sonic experience might transform our scholarly networks, writing processes, research methodologies, pedagogies, and knowledges of the archive

Emerging Bodies: The Performance of Worldmaking in Dance and Choreography

The concept of "worldmaking" is based on the idea that 'the world' is not given, but rather produced through language, actions, ideas and perception. This collection of essays takes a closer look at various hybrid and disparate worlds related to dance and choreography. Coming from a broad range of different backgrounds and disciplines, the authors inquire into the ways of producing 'dance worlds': through artistic practice, discourse and media, choreographic form and dance material. The essays in this volume critically reflect the predominant topos of dance as something fleeting and ephemeral - an embodiment of the Other in modernity. Moreover, they demonstrate that there is more than just one universal "world of dance", but rather a multitude of interrelated dance worlds with more emerging every day

Emerging Bodies

The concept of 'worldmaking' is based on the idea that 'the world' is not given, but rather produced through language, actions, ideas and perception. This collection of essays takes a closer look at various hybrid and disparate worlds related to dance and choreography. Coming from a broad range of different backgrounds and disciplines, the authors inquire into the ways of producing 'dance worlds': through artistic practice, discourse and media, choreographic form and dance material. The essays in this volume critically reflect the predominant topos of dance as something fleeting and ephemeral – an embodiment of the Other in modernity. Moreover, they demonstrate that there is more than just one universal 'world of dance', but rather a multitude of interrelated dance worlds with more emerging every day

Follow for Now, Volume 2

"Follow for Now, Vol. 2 picks up and pushes beyond the first volume with a more diverse set of interviewees and interviews. The intent of the first collection was to bring together voices from across disciplines, to cross-pollinate ideas. At the time, social media wasn’t crisscrossing all of the lines and categories held a bit more sway. Volume 2 aims not only to pick up where Follow for Now left off but also to tighten its approach with deeper subjects and more timely interviews. Featuring conversations with thinkers like Carla Nappi, Rita Raley, Dominic Pettman, Ian Bogost, Mark Dery, Douglas Rushkoff, and Dave Allen, and musicians like Tyler, The Creator, Matthew Shipp, Sean Price, Rammellzee, and Sadat X, as well as writers like Ytasha L. Womack, Chris Kraus, Pat Cadigan, Bob Stephenson, Simon Critchley, Simon Reynolds, Malcolm Gladwell, and William Gibson, Follow for Now, Vol. 2 is another critical cross-section of the now.

Approaching algorithmic power

Contemporary power manifests in the algorithmic. Emerging quite recently as an object of study within media and communications, cultural research, gender and race studies, and urban geography, the algorithm often seems ungraspable. Framed as code, it becomes proprietary property, black-boxed and inaccessible. Framed as a totality, its becomes overwhelmingly complex, incomprehensible in its operations. Framed as a procedure, it becomes a technique to be optimised, bracketing out the political. In struggling to adequately grasp the algorithmic as an object of study, to unravel its mechanisms and materialities, these framings offer limited insight into how algorithmic power is initiated and maintained. This thesis instead argues for an alternative approach: firstly, that the algorithmic is coordinated by a coherent internal logic, a knowledge-structure that understands the world in particular ways; second, that the algorithmic is enacted through control, a material and therefore observable performance which purposively influences people and things towards a predetermined outcome; and third, that this complex totality of architectures and operations can be productively analysed as strategic sociotechnical clusters of machines. This method of inquiry is developed with and tested against four contemporary examples: Uber, Airbnb, Amazon Alexa, and Palantir Gotham. Highly profitable, widely adopted and globally operational, they exemplify the algorithmic shift from whiteboard to world. But if the world is productive, it is also precarious, consisting of frictional spaces and antagonistic subjects. Force cannot be assumed as unilinear, but is incessantly negotiated—operations of parsing data and processing tasks forming broader operations that strive to establish subjectivities and shape relations. These negotiations can fail, destabilised by inadequate logics and weak control. A more generic understanding of logic and control enables a historiography of the algorithmic. The ability to index information, to structure the flow of labor, to exert force over subjects and spaces— these did not emerge with the microchip and the mainframe, but are part of a longer lineage of calculation. Two moments from this lineage are examined: house-numbering in the Habsburg Empire and punch-card machines in the Third Reich. Rather than revolutionary, this genealogy suggests an evolutionary process, albeit uneven, linking the computation of past and present. The thesis makes a methodological contribution to the nascent field of algorithmic studies. But more importantly, it renders algorithmic power more intelligible as a material force. Structured and implemented in particular ways, the design of logic and control construct different versions, or modalities, of algorithmic power. This power is political, it calibrates subjectivities towards certain ends, it prioritises space in specific ways, and it privileges particular practices whilst suppressing others. In apprehending operational logics, the practice of method thus foregrounds the sociopolitical dimensions of algorithmic power. As the algorithmic increasingly infiltrates into and governs the everyday, the ability to understand, critique, and intervene in this new field of power becomes more urgent

Real-Time Electroencephalogram Sonification for Neurofeedback

Electroencephalography (EEG) is the measurement via the scalp of the electrical activity of the brain. The established therapeutic intervention of neurofeedback involves presenting people with their own EEG in real-time to enable them to modify their EEG for purposes of improving performance or health. The aim of this research is to develop and validate real-time sonifications of EEG for use in neurofeedback and methods for assessing such sonifications. Neurofeedback generally uses a visual display. Where auditory feedback is used, it is mostly limited to pre-recorded sounds triggered by the EEG activity crossing a threshold. However, EEG generates time-series data with meaningful detail at fine temporal resolution and with complex temporal dynamics. Human hearing has a much higher temporal resolution than human vision, and auditory displays do not require people to focus on a screen with their eyes open for extended periods of time – e.g. if they are engaged in some other task. Sonification of EEG could allow more rapid, contingent, salient and temporally detailed feedback. This could improve the efficiency of neurofeedback training and reduce the number and duration of sessions for successful neurofeedback. The same two deliberately simple sonification techniques were used in all three experiments of this research: Amplitude Modulation (AM) sonification, which maps the fluctuations in the power of the EEG to the volume of a pure tone; and Frequency Modulation (FM) sonification, which uses the changes in the EEG power to modify the frequency. Measures included, a listening task, NASA task load index; a measure of how much work it was to do the task, Pre & post measures of mood, and EEG. The first experiment used pre-recorded single channel EEG and participants were asked to listen to the sound of the sonified EEG and try and track the activity that they could hear by moving a slider on a computer screen using a computer mouse. This provided a quantitative assessment of how well people could perceive the sonified fluctuations in EEG level. The tracking accuracy scores were higher for the FM sonification but self-assessments of task load rated the AM sonification as easier to track. The second experiment used the same two sonifications, in a real neurofeedback task using participants own live EEG. Unbeknownst to the participants the neurofeedback task was designed to improve mood. A Pre-Post questionnaire showed that participants changed their self-rated mood in the intended direction with the EEG training, but there was no statistically significant change in EEG. Again the FM sonification showed a better performance but AM was rated as less effortful. The performance of sonifications in the tracking task in experiment 1 was found to predict their relative efficacy at blind self-rated mood modification in experiment 2. The third experiment used both the tracking as in experiment 1 and neurofeedback tasks as in experiment 2, but with modified versions of the AM and FM sonifications to allow two-channel EEG sonifications. This experiment introduced a physical slider as opposed to a mouse for the tracking task. Tracking accuracy increased, but this time no significant difference was found between the two sonification techniques on the tracking task. In the training task, once more the blind self-rated mood did improve in the intended direction with the EEG training, but as again there was no significant change in EEG, this cannot necessarily be attributed to the neurofeedback. There was only a slight difference between the two sonification techniques in the effort measure. In this way, a prototype method has been devised and validated for the quantitative assessment of real-time EEG sonifications. Conventional evaluations of neurofeedback techniques are expensive and time consuming. By contrast, this method potentially provides a rapid, objective and efficient method for evaluating the suitability of candidate sonifications for EEG neurofeedback

Kukama Radio: the Politics and Aesthetics of Indigenous Media in Peruvian Amazonia

This dissertation is about the political and aesthetic dimensions of Indigenous media in Peruvian Amazonia. It explores how Kukama media-makers use aesthetic mastery to engage in three key political fields in Amazonia: indigeneity, historicity, and environmentalism. I specifically examine the audiovisual discourses and media-making practices coming from an Indigenous radio station called Radio Ucamara, located in the town of Nauta in Northeastern Peru (Loreto region). Drawing on place-based ethnography and digital research methods, I analyze the way this radio station instrumentalizes multiple digital and non-digital media forms to make visible (and also audible) their identities, violent histories, and cosmological worlds amidst their confrontation with the Peruvian neoliberal state and oil companies. The dissertation also contemplates how through these processes of mediatization, Amazonian ontologies, mytho-histories, and identities are being reimagined. For this purpose, I focus both on the analysis of media products (e.g., music videos, documentaries, journalistic reportage, murals, books) and the social dynamics surrounding those creations, to understand the way Kukama media producers take part in ongoing struggles for the revitalization of the Kukama language, seeking justice for the rubber times violence, and stopping the pollution of Amazonian rivers. Following theoretical frameworks derived from the anthropology of media and the anthropology of music and verbal art in Lowland South America, I argue that media aesthetics is becoming a major instrument in building political power in the region

Music and Digital Media

Anthropology has neglected the study of music. Music and Digital Media shows how and why this should be redressed. It does so by enabling music to expand the horizons of digital anthropology, demonstrating how the field can build interdisciplinary links to music and sound studies, digital/media studies, and science and technology studies. Music and Digital Media is the first comparative ethnographic study of the impact of digital media on music worldwide. It offers a radical and lucid new theoretical framework for understanding digital media through music, showing that music is today where the promises and problems of the digital assume clamouring audibility. The book contains ten chapters, eight of which present comprehensive original ethnographies; they are bookended by an authoritative introduction and a comparative postlude. Five chapters address popular, folk, art and crossover musics in the global South and North, including Kenya, Argentina, India, Canada and the UK. Three chapters bring the digital experimentally to the fore, presenting pioneering ethnographies of anextra-legal peer-to-peer site and the streaming platform Spotify, a series of prominent internet-mediated music genres, and the first ethnography of a global software package, the interactive music platform Max. The book is unique in bringing ethnographic research on popular, folk, art and crossover musics from the global North and South into a comparative framework on a large scale, and creates an innovative new paradigm for comparative anthropology. It shows how music enlarges anthropology while demanding to be understood with reference to classic themes of anthropological theory. Praise for Music and Digital Media ‘Music and Digital Media is a groundbreaking update to our understandings of sound, media, digitization, and music. Truly transdisciplinary and transnational in scope, it innovates methodologically through new models for collaboration, multi-sited ethnography, and comparative work. It also offers an important defense of—and advancement of—theories of mediation.’ Jonathan Sterne, Communication Studies and Art History, McGill University 'Music and Digital Media is a nuanced exploration of the burgeoning digital music scene across both the global North and the global South. Ethnographically rich and theoretically sophisticated, this collection will become the new standard for this field.' Anna Tsing, Anthropology, University of California at Santa Cruz 'The global drama of music's digitisation elicits extreme responses – from catastrophe to piratical opportunism – but between them lie more nuanced perspectives. This timely, absolutely necessary collection applies anthropological understanding to a deliriously immersive field, bringing welcome clarity to complex processes whose impact is felt far beyond what we call music.' David Toop, London College of Communication, musician and writer ‘Spanning continents and academic disciplines, the rich ethnographies contained in Music and Digital Media makes it obligatory reading for anyone wishing to understand the complex, contradictory, and momentous effects that digitization is having on musical cultures.’ Eric Drott, Music, University of Texas, Austin ‘This superb collection, with an authoritative overview as its introduction, represents the state of the art in studies of the digitalisation of music. It is also a testament to what anthropology at its reflexive best can offer the rest of the social sciences and humanities.’ David Hesmondhalgh, Media and Communication, University of Leeds ‘This exciting volume forges new ground in the study of local conditions, institutions, and sounds of digital music in the Global South and North. The book’s planetary scope and its commitment to the “messiness” of ethnographic sites and concepts amplifies emergent configurations and meanings of music, the digital, and the aesthetic.’ Marina Peterson, Anthropology, University of Texas, Austi