Sonic Warfare

Sound, Affect, and the Ecology of Fear

Steve Goodman, Brian Massumi, Erin Manning (University Research Chair in the Faculty of Fine Arts; director of the Sense Lab, Concordia University)

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English

MIT Press
17 August 2012

Theory of music & musicology

Series: Technologies of Lived Abstraction

An exploration of the production, transmission, and mutation of affective tonality-when sound helps produce a bad vibe.

Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread-to produce a bad vibe. Sonic weapons of this sort include the ""psychoacoustic correction"" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or ""sound bombs"") over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations.

Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture.

Goodman concludes with speculations on the not yet heard-the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths.

An exploration of the production, transmission, and mutation of affective tonality-when sound helps produce a bad vibe.

Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread-to produce a bad vibe. Sonic weapons of this sort include the ""psychoacoustic correction"" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or ""sound bombs"") over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations.

Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture.

Goodman concludes with speculations on the not yet heard-the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths.

By: Steve Goodman
Series edited by: Brian Massumi, Erin Manning (University Research Chair in the Faculty of Fine Arts; director of the Sense Lab, Concordia University)
Imprint: MIT Press
Country of Publication: United States
Dimensions: Height: 229mm, Width: 178mm, Spine: 13mm
Weight: 476g
ISBN: 9780262517959
ISBN 10: 0262517957
Series: Technologies of Lived Abstraction
Pages: 296
Publication Date: 17 August 2012
Recommended Age: From 18 years
Audience: Professional and scholarly , Professional and scholarly , Undergraduate , Undergraduate
Format: Paperback
Publisher's Status: Active

Steve Goodman is a Lecturer in Music Culture at the School of Sciences, Media, and Cultural Studies at the University of East London, a member of the CCRU (Cybernetic Culture Research Unit), and the founder of the record label Hyperdub.

Reviews for Sonic Warfare: Sound, Affect, and the Ecology of Fear

By insisting on the primacy of vibration in the nexus of sound, affect, and power, Sonic Warfare charts a transdisciplinary micropolitics of frequency that breaks with the orthodoxies of phenomenology and cultural studies and triumphantly succeeds in immersing us in the present of viral capitalism, pirate media, and asymmetric warfare. This book is rigorous, affirmative, sober, and pitiless: in its ambition, its purpose and its passion, it is nothing short of a breakthrough for contemporary sonic thought. --Kodwo Eshun, Course Director of MA Aural and Visual Cultures, Goldsmiths, University of London, and author of More Brilliant than the Sun: Adventures in Sonic Fiction