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Thresholds of Listening : Sound, Technics, Space / ed. by Sander van Maas.

Contributor(s): Material type: TextTextPublisher: New York, NY : Fordham University Press, [2015]Copyright date: ©2015Description: 1 online resource (324 p.)Content type:
Media type:
Carrier type:
ISBN:
  • 9780823264384
  • 9780823264407
Subject(s): DDC classification:
  • 128/.4 23
LOC classification:
  • B105.L54 .T47 2015eb
Other classification:
  • online - DeGruyter
Online resources: Available additional physical forms:
  • Issued also in print.
Contents:
Frontmatter -- CONTENTS -- ACKNOWLEDGMENTS -- Introduction -- 1. The Auditory Re-Turn (The Point of Listening) -- 2. "Dear Listener . . .": Music and the Invention of Subjectivity -- 3. Scenes of Devastation: Interpellation, Finite and Infi nite -- 4. Positive Feedback: Listening behind Hearing -- 5. "Antennas Have Long Since Invaded Our Brains" -- 6. Movement at the Boundaries of Listening, Composition, and Performance -- 7. The Biopolitics of Noise: Kafka's "Der Bau" -- 8. Torture as an Instrument of Music -- 9. Stop It, I Like It! -- 10. Sounds of Belonging -- 11. Back to the Beat -- 12. The Discovery of Slowness in Music -- 13. Negotiating Ecstasy -- NOTES -- CONTRIBUTORS -- INDEX
Summary: Thresholds of Listening addresses recent and historical changes in the ways listening has been conceived. Listening, having been emancipated from the passive, subjected position of reception, has come to be asserted as an active force in culture and in collective and individual politics.The contributors to this volume show that the exteriorization of listening- brought into relief by recent historical studies of technologies of listening-involves a re-negotiation of the theoretical and pragmatic distinctions that underpin the notion of listening. Focusing on the manifold borderlines between listening and its erstwhile others, such as speaking, reading, touching, seeing, or hearing, the book maps new frontiers in the history of aurality. They suggest that listening's finitude- defined in some of the essays as its death or deadliness-should be considered as a heuristic instrument rather than as a mere descriptor.Listening emerges where it appears to end or to run up against thresholds and limits-or when it takes unexpected turns. Listening's recent emergence on the cultural and theoretical scene may therefore be productively read against contemporary recurrences of the motifs of elusiveness, finitude, and resistance to open up new politics, discourses, and technologies of aurality.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780823264407

Frontmatter -- CONTENTS -- ACKNOWLEDGMENTS -- Introduction -- 1. The Auditory Re-Turn (The Point of Listening) -- 2. "Dear Listener . . .": Music and the Invention of Subjectivity -- 3. Scenes of Devastation: Interpellation, Finite and Infi nite -- 4. Positive Feedback: Listening behind Hearing -- 5. "Antennas Have Long Since Invaded Our Brains" -- 6. Movement at the Boundaries of Listening, Composition, and Performance -- 7. The Biopolitics of Noise: Kafka's "Der Bau" -- 8. Torture as an Instrument of Music -- 9. Stop It, I Like It! -- 10. Sounds of Belonging -- 11. Back to the Beat -- 12. The Discovery of Slowness in Music -- 13. Negotiating Ecstasy -- NOTES -- CONTRIBUTORS -- INDEX

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

Thresholds of Listening addresses recent and historical changes in the ways listening has been conceived. Listening, having been emancipated from the passive, subjected position of reception, has come to be asserted as an active force in culture and in collective and individual politics.The contributors to this volume show that the exteriorization of listening- brought into relief by recent historical studies of technologies of listening-involves a re-negotiation of the theoretical and pragmatic distinctions that underpin the notion of listening. Focusing on the manifold borderlines between listening and its erstwhile others, such as speaking, reading, touching, seeing, or hearing, the book maps new frontiers in the history of aurality. They suggest that listening's finitude- defined in some of the essays as its death or deadliness-should be considered as a heuristic instrument rather than as a mere descriptor.Listening emerges where it appears to end or to run up against thresholds and limits-or when it takes unexpected turns. Listening's recent emergence on the cultural and theoretical scene may therefore be productively read against contemporary recurrences of the motifs of elusiveness, finitude, and resistance to open up new politics, discourses, and technologies of aurality.

Issued also in print.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022)

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