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"This open access book asks how have auditory environments in different contexts contributed to understanding imperial occupation, and how has it given rise to historical music cultures? How are sound and music implicated in the state control and discipline of people? Exploring case studies of foreign occupation from around the world, Visual Histories of Occupation seeks to answer these questions and more. Examining how an emphasis on auditory culture adds complexity and nuance to understanding the relationship between occupation and the bodily senses, this book is structured around three conceptual themes; voice and occupation, memory, sound and occupation, and auditory responses to occupation. Highlighting case studies in Asia, the Middle East, North America and Europe contributors employ a range of theoretical approaches to examine histories of imperialism and the auditory legacies they created, and contribute to a wider dialogue about the relationship between sound and imperial projects across political and temporal boundaries. The open access edition of this book is available under a CC-BY-NC-ND 4.0 license on www.bloomsburycollections.com. Open access was funded by the European Research Council"

Explores sonic events and auditory experiences in German-speaking contexts from the Middle Ages to the digital age, opening up new understandings. As a sub-discipline of cultural studies, sound studies is a firmly established field of inquiry, examining how sonic events and auditory experiences unfold in culturally and historically contingent life situations. Responding to new questions in sound studies in the context of German-speaking cultures, and incorporating up-to-date methodologies, this Companion explores the significance of sound from the Middle Ages and the classical-romantic period through high-capitalist industrial modernity, the Nazi period and the Holocaust, and postwar Germany to the present digital age. The volume examines how sonic events are represented in literary fiction, radio productions, cinema, newsreels, documentaries, sound art, museum exhibitions, and other media, drawing for this inquiry on philosophy, aesthetics, literary criticism, musicology, art theory, and cultural studies. Each essay is a case study - of persons, events, and sonic, visual, or textual artifacts - situating them in wider contexts of culture, history, and politics. The volume not only revisits well-known topics from new angles, but seeks especially to explore neglected issues on the cultural periphery. It assembles original essays by leaders in the field and emerging scholars from the United States and Europe. Offering an advanced introduction to the topic, the Companion is addressed to anyone interested in how the analysis of sound phenomena opens up new understandings of German-speaking cultures.

This open access book examines how auditory environments in different contexts have contributed to understanding foreign occupation and colonialism, and how they have given rise to historical music cultures. How are sound and music implicated in the control and discipline of people under occupation? Exploring case studies of foreign occupation and colonialism from around the world, Sonic Histories of Occupation seeks to answer these questions and more. Examining how an emphasis on auditory culture adds complexity and nuance to understanding the relationship between occupation and the bodily senses, this book is structured around three conceptual themes: voice and occupation; memory, sound and occupation; and auditory responses to occupation and colonialism. Highlighting case studies in Asia, North Africa, North America and Europe, contributors employ a range of theoretical approaches to examine histories of imperialism and foreign occupation, and the auditory legacies they created, and contribute to a wider dialogue about the relationship between sound and imperial projects across political and temporal boundaries. The open access edition of this book is available under a CC-BY-NC-ND 4.0 license on www.bloomsburycollections.com. Open access was funded by the European Research Council (Horizon 2020, Grant Number 682081).

This open access book examines how auditory environments in different contexts have contributed to understanding foreign occupation and colonialism, and how they have given rise to historical music cultures. How are sound and music implicated in the control and discipline of people under occupation? Exploring case studies of foreign occupation and colonialism from around the world, Sonic Histories of Occupation seeks to answer these questions and more.Examining how an emphasis on auditory culture adds complexity and nuance to understanding the relationship between occupation and the bodily senses, this book is structured around three conceptual themes: voice and occupation; memory, sound and occupation; and auditory responses to occupation and colonialism. Highlighting case studies in Asia, North Africa, North America and Europe, contributors employ a range of theoretical approaches to examine histories of imperialism and foreign occupation, and the auditory legacies they created, and contribute to a wider dialogue about the relationship between sound and imperial projects across political and temporal boundaries.The open access edition of this book is available under a CC-BY-NC-ND 4.0 license on www.bloomsburycollections.com. Open access was funded by the European Research Council (Horizon 2020, Grant Number 682081).

"The revised edition of Acoustic Territories: Sound Culture and Everyday Life offers an expansive reading of auditory life. It provides a careful consideration of the performative dynamics inherent to sounding and listening, and discusses how sound studies may illuminate understandings of contemporary society. Combining research on urbanism, popular culture, street life and sonic technologies, Acoustic Territories opens up a range of critical perspectives--it challenges debates surrounding noise pollution and charts an 'acoustic politics of space' by engaging auditory experience as found within particular cultural histories and related ideologies. Brandon LaBelle traces sound culture through a topographic structure: from underground territories to the home, and further, into the rhythms and vibrations of streets and neighborhoods, and finally to the sky itself as an arena of transmitted imaginaries. The new edition includes an additional 'global territory' of the relational, positioning acoustics as a range of everyday practices that rework dominant tonalities. Questions of orientation and emplacement are critically raised, reframing listening as multi-modal and intrinsic to resistant socialities and what the author terms 'acts of compositioning.' The book is fully updated to include new relevant research and references surfacing since 2010, as well as a new preface to the second edition. Acoustic Territories continues to uncover the embedded tensions and potentialities inherent to sound as it exists in the everyday spaces around us"--Bloomsbury Collections

"This collection investigates how our online identities and cultures are embedded within the digital practices of our lives, exploring how we form community, how we play, and how we re-imagine traditional media in a digital world. The collection explores a wide range of digital topics - from dating apps, microcelebrity, and hackers to auditory experiences, Netflix algorithms, and live theatre online - and builds on existing work in digital culture and identity by bringing new voices, contemporary examples, and highlighting platforms that are emerging in the field. The book speaks to the modern reality of how our digital lives have been forever altered by our transnational experiences - one of those key experiences is the pandemic, but so too is systemic inequality, questions of digital privacy, and the role of joy in our online lives. A vital contribution at a time of significant social and cultural flux, this book will be highly relevant to those studying digital culture within media, communication, cultural studies, digital humanities, and sociology departments"--

By Nazan Maksudyan. This article aims to contribute to Ottoman auditory history through focusing on the cultural history of deafness, also engaging with the history of medicine, history of education, science and technology studies, and disability studies.

What are algorithmic cultures? / Jonathan Roberge / Robert Seyfert -- The algorithmic choreography of the impressionable subject / Lucas D. Introna -- #trendingistrending : when algorithms become culture / Tarleton Gillespie -- Shaping consumers' online voices : algorithmic apparatus or evaluation culture? / Jean-Samuel Beuscart / Kevin Mellet -- Deconstructing the algorithm : four types of digital information calculations / Dominique Cardon -- Baffled by an algorithm : mediation and the auditory relations of "immersive audio" / Joe Klett -- Algorhythmic ecosystems : neoliberal couplings and their pathogenesis 1960 present / Shinataro Miyazaki -- Drones : the mobilization of algorithms / Valentin Rauer -- Social bots as algorithmic pirates and messengers of techno-environmental agency / Oliver Leistert

This book charts the unsettled media cultures and deep time of shellac, retracing its journey from the visual to the sonic, and back again. Each chapter unveils a situated moment in the long history of shellac - travelling from its early visual culture to Emile Berliner's discovery of its auditory properties through to its recycling in contemporary art and design practices. Unforeseen correspondences between artefacts as diverse as mirrors, seals, gramophone discs and bombs are revealed. With its combinatory approach and commitment to material thinking, Shellac in Visual and Sonic Culture insists on moments of contact, encounter, and transformation. The book notably addresses the colonial unconscious underpinning the early transnational recording industry, highlighting the multiple gestures and forms of labour entombed within the production of the 78rpm disc. Roy explores shellac as a concrete substance, as well as the malleable stuff of which stories, histories and modern imaginings were made - and unmade.

Cover -- Half Title -- Series Page -- Title Page -- Copyright Page -- Contents -- Acknowledgments -- Participants in the 2002 Wenner-Gren Symposium -- 1 But What of the Ethnographic Ear? Anthropology, Sound, and the Senses -- 2 Listening to the Wild Blue Yonder: The Challenges of Acoustic Ecology -- 3 Ambiguous Traces, Mishearing, and Auditory Space -- 4 Language and Nature in Sound Alignment -- 5 Raising Spirits and Restoring Souls: Early Modern Medical Explanations for Music's Effects -- 6 Ether Ore: Mining Vibrations in American Modernist Music -- 7 Hearing Modernity: Egypt, Islam, and the Pious Ear -- 8 Edison's Teeth: Touching Hearing -- 9 Thinking about Sound, Proximity, and Distance in Western Experience: The Case of Odysseus's Walkman -- 10 Wiring the World: Acoustical Engineers and the Empire of Sound in the Motion Picture Industry, 1927-1930 -- References -- Contributors -- Index.

This dissertation uses the concept of auditory cultures to trace how Mexican and U.S. Latina/o subjects use sound and music to articulate political dissent. "Sonic Negations: Sound, Affect, and Unbelonging Between Mexico and the United States" brings together the fields of performance and sound studies to show how the sonic presents a contested political arena through which transnational Latina/o artists, musicians and listening publics construct alternative sensory realms detached from national forms of belonging. I contend that non-culturally dependent forms of sound—noise, metal, punk, and 80s British music—allow individuals to approach negative affects, such as melancholia, despair, and idleness. Drawing from recent work in performance studies and queer theory on the political potentialities of negative affects, the study argues for the importance of attending to the political critiques inherent in auditory cultures and practices within both Latina/o and Latin American contexts. The first chapter analyzes Mexico City-based artist Iván Abreu's series M(R.P.M), in which he creates playable ice-records of nationalist Mexican songs. I investigate how the pieces invite listeners into the complex history of ice in the Latin American imaginary to question contemporary calls for Mexican nationalism. The second chapter contemplates the early performances of Mexican artist collective SEMEFO and the work of underground Tijuana-based musician María y José. I argue for the ways these artists use aggressive sound to confront the unending violence that has plagued Mexico over the last few decades. My third section concentrates on performance artist Nao Bustamante and her "mariachi-punk" band Las Cucas to consider the lesbian punk scream as an ethical rejection of normative Latina and queer identity. The final chapter contemplates the phenomenon of the Latina/o fan culture around British rock star Morrissey. I show how Latina/o listening publics turn to melancholia and depression as affects that force us to reconsider relationality by questioning the nation as the site of inclusion.

This article is interested in how a tuning of the ear toward the auditory qualities of urban life presents new encounters with the historical geographies of the city and its spaces of technological modernity. It identifies the way a heightened appreciation of the auditory domain has helped disclose different ways of conceptually approaching the experience of urbanization and technological modernity during the 20th century. The article then moves on to address contemporary practice-based responses to the auditory historical terrain, particularly where they experiment with contemporary mobile technology. It considers the way these mobile practices help to open up fruitful new methods of geographical enquiry, while at the same time calls into question why existing analyses of mobile culture necessarily denigrating the urban public realm.

The article discusses modern poetic practices that actualize the surrealistic code through a sound medium. Vadim Bannikov with the help of spontaneous sampling of material (figurative and verbal) brings sound and auditory constants to surrealistic
editing and metamorphosis. His "asemantic poetry" reveals the collaged polyphony of the Sprechgesang, forcing to reconsider the non-musicality of classical surrealism. Vasiliy Borodin's auditory asemic letter becomes a solution to the poetry task of
"moving away from words" formulated by the poet himself, but in a surrealist context; this turns out to be a new stage in objectification of the code. If Vadim Bannikov's automatism frees the subject, the surrealisation of Vasiliy Borodin frees the very musicality and audial culture (possibly "to the detriment" of poetry). The third alternative way to work with sound is offered by Nikita Safonov's poetic practice. A general deterritorialisation of sound takes place in it, the sounding is freed through the objectification of sound, freed from the human as well. The sound landscape on equal terms includes silence (zero state of sound), the sounds themselves in their materiality and noise. The noise, understood as an empty sign, actualises the mathematical in sound. In the surrealist code, therefore, mathematics and abstraction become an important condition for further private implementations of surrealistic thought and aesthetics.

The myths, suppressions, denials, and defaults of Italian colonialism / Angelo Del Boca -- Studies and research on Fascist colonialism, 1922-1935 : reflections on the state of the art / Nicola Labanca -- Italian anthropology and the Africans : the early colonial period / Barbara Sòrgoni -- The construction of racial hierarchies in colonial Eritrea : the liberal and early Fascist period (1897-1934) / Giulia Barrera -- Gifts, sex, and guns : nineteenth-century Italian explorers in Africa / Cristina Lombardi-Diop -- Incorporating the exotic : from futurist excess to postmodern impasse / Cinzia Sartini-Blum -- Alexandria revisited : colonialism and the Egyptian works of Enrico Pea and Giuseppe Ungaretti -- Mass-mediated fantasies of feminine conquest, 1930-1940 / Robin Pickering-Iazzi -- Orphans for the empire : colonial propaganda and children's literature during the Imperial era / Patrizia Palumbo -- Colonial autism : whitened heroes, auditory rhetoric, and national identity in interwar Italian cinema / Giorgio Bertellini -- Black shirts/Black skins : Fascist Italy's colonial anxieties and Lo squadrone bianco / Cecilia Boggio -- Empty spaces : decolonization in Italy / Karen Pinkus

In this paper, we will report on the results of the European project TST-ID – "Speech technology integrated learning modules for Intercultural Dialogue". The European Union promotes language and culture learning and stresses the importance of linguistic diversity. However, the range of attractive e-learning materials is limited mainly to English, French, German and Spanish. The objective of this project was to increase the availability and quality of learning opportunities for less widely-used and less taught European languages using a barrier-free and highly accessible e-learning environment. Today, a very wide spectrum of tools for CALL exist, a lot of them web-based. The internet offers a lot of possibilities for communicative culture-embedded language learning. We will discuss the tutorial software for multimedia CALL used in the TST-ID project, based on Otto & Pusack's model of six characteristics of good foreign language courseware authoring tools. Specific functionalities such as the electronic dictionary and the intelligent correction for writing exercises are described. Special attention will be given to the Text-to-Speech technologies, which enable the conversion of (fragments of) texts into natural sounding speech. These were integrated with a double goal: on the one hand increase the accessibility of e-learning packages for visually-impaired learners, learners having difficulty reading (e.g. dyslexic learners) or having a preference for auditory learning; on the other hand exploiting some new didactic possibilities of this technology, in particular for communicative second-language learning. We will then describe the didactic methodology and contrastive approach used in the e-learning modules developed by the TST-ID project giving some concrete examples. Finally, we will highlight some interesting future developments for tutorial software and in particular the exploitation of speech technologies, that, although not much didactic use has been made of them so far, have reached a level of readiness for CALL applications.