Acoustic Territories: Sound Culture and Everyday Life by Brandon LaBelle

By Brandon LaBelle

Acoustic Territories: Sound tradition and daily Life deals an expansive analyzing of auditory existence. It offers a cautious attention of the performative dynamics inherent to sound tradition and acts of listening, and discusses how auditory experiences may well remove darkness from understandings of latest society. Combining examine on urbanism, pop culture and auditory matters, Acoustic Territories opens up a number of views - it demanding situations debates surrounding noise pollutants and charts an "acoustic politics of space" by way of unfolding auditory adventure as positioned inside better cultural histories and similar ideologies.

Brandon LaBelle strains auditory existence via a topographic constitution: starting with underground territories, via to the house as a website, after which additional, to streets and neighborhoods, and eventually to the sky itself. This constitution follows sound because it seems to be in particular auditory designs, because it is mobilized inside a number of cultural initiatives, and queries the way it involves flow via way of life as a medium for social transformation. Acoustic Territories uncovers the embedded tensions and potentiality inherent to sound because it exists within the daily areas round us.

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The acoustical life of the Underground in such instances shifts from the haunted imagination to that of the possibility of safety. From Underground z 27 the nefarious movements of uncertain creatures and acousmatic shadows to the surprising laughter and music resounding against the looming threat of bombers, the geography of the subterranean oscillates. William Strange’s journalistic text, “The Brave and Happy Shelterers,” reveals the conditions of the Underground, highlighting the site as an acoustical dynamic.

Com is a database housing recordings made of street musicians in subways and other locations from around the world, though most of the recordings seem to come from Seattle, Boston, and New York. Using dial-up, the Underground z 19 recordings are sent in by anyone picking up a public telephone, dialing in, and using the phone as a recording device. The database automatically posts the recording, to provide a free archive of street music. Though having little sonic quality, the project nonetheless captures the pedestrian movements of sound, music, and people as they intersect in the subway, on the street corner, and elsewhere.

This animating dimensional object of the echo also suggests a voice: the dynamic of the echo, in becoming a space-time object, seems to return as if speaking back. To recall the original myth, the mountain nymph Echo was punished by Hera the wife of Zeus by having her voice taken away. Echo was left solely with the ability to repeat what others say, that is, to echo back only what she hears. The echo is an auditory mirror returning to the original sound event its own sounding image; the echo speaks back and in doing so seems to replace the original with a doubling whose animating presence takes on a life of its own.

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