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Sonic Warfare: Sound, Affect, and the Ecology of Fear by Steve Goodman: New

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eBay item number:402900783463
Last updated on May 14, 2025 19:19:23 PDTView all revisionsView all revisions

Item specifics

Condition
Brand New: A new, unread, unused book in perfect condition with no missing or damaged pages. See the ...
Publication Date
2012-08-17
Pages
296
ISBN
0262517957
Book Title
Sonic Warfare : Sound, Affect, and the Ecology of Fear
Book Series
Technologies of Lived Abstraction Ser.
Publisher
MIT Press
Item Length
8.9 in
Publication Year
2012
Format
Trade Paperback
Language
English
Illustrator
Yes
Item Height
0.6 in
Author
Steve Goodman
Genre
Music, Science, Education
Topic
History & Criticism, Philosophy & Social Aspects, Computers & Technology, Acoustics & Sound
Item Weight
16.2 Oz
Item Width
7 in
Number of Pages
296 Pages

About this product

Product Identifiers

Publisher
MIT Press
ISBN-10
0262517957
ISBN-13
9780262517959
eBay Product ID (ePID)
117221288

Product Key Features

Book Title
Sonic Warfare : Sound, Affect, and the Ecology of Fear
Number of Pages
296 Pages
Language
English
Publication Year
2012
Topic
History & Criticism, Philosophy & Social Aspects, Computers & Technology, Acoustics & Sound
Illustrator
Yes
Genre
Music, Science, Education
Author
Steve Goodman
Book Series
Technologies of Lived Abstraction Ser.
Format
Trade Paperback

Dimensions

Item Height
0.6 in
Item Weight
16.2 Oz
Item Length
8.9 in
Item Width
7 in

Additional Product Features

Intended Audience
Trade
Dewey Edition
22
Grade From
College Graduate Student
Dewey Decimal
781/.1
Synopsis
An exploration of the production, transmission, and mutation of affective tonality--when sound helps produce a bad vibe., 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.
LC Classification Number
ML3805.G66 2012

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