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Sonic Warfare: Sound, Affect, and the Ecology of Fear (Technologies of Lived Abstraction) (English Edition)

Sonic Warfare: Sound, Affect, and the Ecology of Fear (Technologies of Lived Abstraction) (English Edition) [Kindle Edition]

Steve Goodman

Kindle-Preis: EUR 11,12 Inkl. MwSt. und kostenloser drahtloser Lieferung über Amazon Whispernet

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"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


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


  • Format: Kindle Edition
  • Dateigröße: 1940 KB
  • Seitenzahl der Print-Ausgabe: 296 Seiten
  • Verlag: The MIT Press; Auflage: 1 (31. Dezember 2009)
  • Verkauf durch: Amazon Media EU S.à r.l.
  • Sprache: Englisch
  • ASIN: B004NSULU4
  • Text-to-Speech (Vorlesemodus): Aktiviert
  • X-Ray:
  • Amazon Bestseller-Rang: #242.319 Bezahlt in Kindle-Shop (Siehe Top 100 Bezahlt in Kindle-Shop)

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Die hilfreichsten Kundenrezensionen auf (beta) 3.0 von 5 Sternen  5 Rezensionen
2 von 3 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Fascinating concepts 10. August 2013
Von chawmpee - Veröffentlicht auf
Format:Taschenbuch|Verifizierter Kauf
Despite the heavily academic language (lots of multi-syllable words that are often unnecessary), this book explores a range of fascinating concepts with rigorous detail. The author also makes music as Kode9 & runs the Hyperdub record label, so check this book out if you're a fan of electronic music, the science of acoustics or dystopian visions of the future.
8 von 16 Kunden fanden die folgende Rezension hilfreich
1.0 von 5 Sternen Unbearable 15. Mai 2013
Von Douglas Groothuis - Veröffentlicht auf
Format:Taschenbuch|Verifizierter Kauf
This is the worst written book I have read in 40 years of serious reading in cultural criticism. How any editor let his by is a dark mystery I do not want to explore.

Cultural criticism can be written clear. Consider Neil Postman. This, however, is replete with:

1. Convoluted sentences, some of which approach comedy in their pretentiousness.
2. Adjectival overload
3. Adjectival meaninglessness
4. Over use of adjectives such as "deployed," which is also misused.
5. Compound words without hyphens, mot of which are unintelligible.
6. Over use of other sources. The author seems to have no original ideas. Or, if he does, I have no idea what they are, given the maddening opacity of the writing.

One could go on, but why bother with this execrable exercise in ugliness?
24 von 44 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Fantastic book 6. Februar 2011
Von Art Council - Veröffentlicht auf
Format:Gebundene Ausgabe|Verifizierter Kauf
This book was published under the name of Steve Goodman (a lecturer in Music Culture at the School of Sciences, Media, and Cultural Studies at the University of East London), not of Kode9. So it is not a tutorial on how to make wobbly bass in Massive. True, because of its subject matter it can be at times heavy on the SAT phraseology, but I seriously doubt the usefulness of writing a vibrational ontology for kindergarteners, especially if that ontology is explicitly developed in the context of Leibniz, Deleuze and Guattari.

If you are looking for a fresh perspective on sonic weaponry, piracy, pop music as torture, sound systems, earworms, crowd control, and the Big Bang then this is the book for you.

If you are looking for "a pretty interesting philosophical read", try Wittgenstein's Philosophical Investigations. Wait, maybe that too is "over-written", "quickly filling and hard to digest", so better try Martha Stewart's Encyclopedia of Crafts: An A-to-Z Guide with Detailed Instructions and Endless Inspiration.

And if you are looking to practice your reviewing skills without having to read anything, go to Youtube and join the pissing contest coming up with the next lackluster metaphor for face-metling griminess when commenting on the latest Datsik track.

PS. Read the editorial reviews. If you feel like you don't understand them, save your money and buy instead Kode9's Memories of the Future.
27 von 64 Kunden fanden die folgende Rezension hilfreich
2.0 von 5 Sternen Postmodern rambling 22. März 2010
Von MJM - Veröffentlicht auf
Format:Gebundene Ausgabe|Verifizierter Kauf
I'm gonna start off by saying I freaking love Kode9 and HyperDub. The guy just beams out incredible well designed sound. So when I heard he was coming out with a book regarding affecting with sound, I bought it expecting to have a pretty interesting philosophical read and perhaps come away with some fresh perspective. But Sonic Warfare as a meal is quickly filling and hard to digest. The whole thing is over-written like someone who was trying to make even the simplest statement horribly difficult to grasp. I can easily read several pages and still only have a whisper of an idea of wtf he's talking about. So unfortunately I can't recommend it.
2 von 14 Kunden fanden die folgende Rezension hilfreich
3.0 von 5 Sternen Listening to kode9 is better than reading it? ... 7. Oktober 2011
Von Evens SALIES - Veröffentlicht auf
Format:Gebundene Ausgabe|Verifizierter Kauf
... yes, unless you are doing researches in the interplay between sound/modern music and social behaviour. As not a researcher in that field, I found hard to follow the book. To bo honnest to myself, kode9's book writting style is not as effective as his music writting's. The former is too rich, whereas the latter is fluid with "breaks" that allow one's to breathe.
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Noise, from Russolo to Attali, is therefore understood as intrinsically radical, as that which lies outside music, that which threatens music from without, rejuvenating it, giving it the energy to do anything &quote;
Markiert von 3 Kindle-Nutzern
The main argument of the book is found in the tension between two critical tendencies tagged the politics of noise and the politics of silence insofar as they constitute the typical limits to a politicized discussion of the sonic. &quote;
Markiert von 3 Kindle-Nutzern
To hear this noise as we do, we must hear the parts which make up this whole, that is the noise of each wave, although each of these little noises makes itself known only when combined confusedly &quote;
Markiert von 3 Kindle-Nutzern

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