LEADER 03840oam 2200685Ia 450 001 9910780991003321 005 20190503073351.0 010 $a0-262-26633-4 010 $a1-282-54179-X 010 $a9786612541797 010 $a0-262-25883-8 035 $a(CKB)2520000000006499 035 $a(SSID)ssj0000343086 035 $a(PQKBManifestationID)11286405 035 $a(PQKBTitleCode)TC0000343086 035 $a(PQKBWorkID)10290252 035 $a(PQKB)10179494 035 $a(MiAaPQ)EBC3339100 035 $a(OCoLC)558732720 035 $a(MdBmJHUP)muse24540 035 $a(OCoLC)558732720$z(OCoLC)527355375$z(OCoLC)613310459$z(OCoLC)613709650$z(OCoLC)647835868$z(OCoLC)714458969$z(OCoLC)744553549$z(OCoLC)764530335$z(OCoLC)860599062$z(OCoLC)920467196$z(OCoLC)961504569$z(OCoLC)962582300$z(OCoLC)1058049855$z(OCoLC)1058087436 035 $a(OCoLC-P)558732720 035 $a(MaCbMITP)7999 035 $a(Au-PeEL)EBL3339100 035 $a(CaPaEBR)ebr10356696 035 $a(CaONFJC)MIL254179 035 $a(EXLCZ)992520000000006499 100 $a20100318d2010 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aSonic warfare $esound, affect, and the ecology of fear /$fSteve Goodman 210 $aCambridge, Mass. $cMIT Press$dİ2010 215 $axx, 270 p 225 1 $aTechnologies of lived abstraction 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-262-51795-7 311 $a0-262-01347-9 320 $aIncludes bibliographical references and index. 330 1 $a"Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread - to produce a bad vibe. Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or "sound bombs") over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations." "Most theoretical discussions of sound and music cultures in relationship to power, Goodman argues, have a missing dimension: the politics of frequency. Goodman supplies this by drawing a speculative diagram of sonic forces, investigating the deployment of sound systems in the modulation of affect. Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture." "Goodman concludes with speculations on the not yet heard - the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths."--Jacket. 410 0$aTechnologies of lived abstraction. 606 $aMusic$xAcoustics and physics 606 $aMusic$xSocial aspects 606 $aMusic$xPhilosophy and aesthetics 610 $aDIGITAL HUMANITIES & NEW MEDIA/General 610 $aCOMPUTER SCIENCE/Computer Music 610 $aSOCIAL SCIENCES/Political Science/General 615 0$aMusic$xAcoustics and physics. 615 0$aMusic$xSocial aspects. 615 0$aMusic$xPhilosophy and aesthetics. 676 $a781/.1 700 $aGoodman$b Steve$0704061 801 0$bOCoLC-P 801 1$bOCoLC-P 906 $aBOOK 912 $a9910780991003321 996 $aSonic warfare$91356873 997 $aUNINA