Search results

Long ignored by scholars in the humanities, sound has just begun to take its place as an important object of study in the last few years. Since the late 19th century, there has been a paradigmatic shift in auditory cultures and practices in European societies. This change was brought about by modern phenomena such as urbanization, industrialization and mechanization, the rise of modern sciences, and of course the emergence of new sound recording and transmission media. This book contributes to our understanding of modern European history through the lens of sound by examining diverse subjects such as performed and recorded music, auditory technologies like the telephone and stethoscope, and the ambient noise of the city.

This paper focuses on the radio's novelty years in 1920s Turkey to examine how the functions of wireless technology as a material artifact are negotiated in ways that fashion a national auditory. Most studies on radio's history prioritize sound, eliding people's tinkering with the wireless as a technical object. Based on archival research and oral history interviews, I suggest that early radio as a material object required as much of its listeners' attention as did the broadcast content. In young Turkey's war-torn economy, the only affordable way to listen to radio was learning how to assemble a receiver. Few owners of manufactured radios also learnt how to fix frequent problems. To form a passive national auditory, the state monitored the cultivation of these technical skills by banning transmitter-construction while encouraging assembling/fixing receivers. In addition to the body's visceral/affective capacities, then, nation-states also discipline technical skills while forming a national auditory.

Intro -- CONTENTS -- Part I AUDITORY-VERBAL PRACTICE -- Chapter One INTRODUCTION TOAUDITORY-VERBAL PRACTICE -- INTRODUCTION -- TERMINOLOGY -- MEDICAL INFLUENCE ON AUDITORY-BASED LEARNING -- PRACTITIONER PIONEERS OF AUDITORY-VERBAL PRACTICE -- CONTEMPORARY AUDITORY-VERBAL PRACTICE -- CONCLUSION -- REFERENCES -- Chapter Two AV PRACTICE: PRINCIPLES, MENTORING, AND CERTIFICATION PROCESS -- INTRODUCTION -- PRINCIPLES OF THE AV APPROACH -- LSLS CERT AVT & -- LSLS CERT AVED PRACTITIONER COMMONALITIES -- CERTIFICATION OVERVIEW -- CERTIFICATION PROCESS -- DIFFERENCES BETWEEN CERT AVT & -- CERT AVED -- CONCLUSION -- REFERENCES -- Chapter Three EVIDENTIARY PRACTICE -- INTRODUCTION -- IMPORTANCE OF EVIDENCE -- EVIDENCE-BASED PRACTICE -- CLARIFICATION OF CONSTRUCTS -- QUALITATIVE TYPES OF EVIDENCE -- REFERENCES -- Chapter Four RESEARCH FINDINGS FOR AV PRACTICE -- INTRODUCTION -- EVIDENCE FOR AV PRACTICE -- LOOKING TO THE FUTURE -- CONCLUSION -- REFERENCES -- Part II THROUGH THE WIDEST LENS POSSIBLE -- Chapter Five CIRCLES OF INFLUENCE -- INTRODUCTION -- BRONFENBRENNER'S BIOECOLOGICAL SYSTEMS THEORY -- CORE CONCEPTS -- AV PRACTITONER AND CIRCLES OF INFLUENCE -- CONCLUSION -- REFERENCES -- Chapter Six SERVING FAMILIES WITH DIVERSE CULTURES -- INTRODUCTION -- DIVERSITY: DIFFERENCES OR DEFICITS? -- CULTURAL PLURALISM -- AV PRACTICE -- CONCLUSION -- REFERENCES -- Chapter Seven FACTORS INFLUENCING CHILD DEVELOPMENTAL OUTCOMES -- INTRODUCTION -- FACTORS AFFECTING CHILD OUTCOMES -- EVIDENCE FROM THE LOCHI STUDY -- CONCLUSION -- REFERENCES -- Chapter Eight A POSITIVE FRAMEWORKFOR ENABLING THE FAMILY -- INTRODUCTION -- ESTABLISH A POSITIVE MINDSET -- BENEFITS FOR FAMILIES -- STRATEGIES FOR AV PRACTITIONERS -- FACILITATE SOLUTION-FOCUSED PROBLEM-SOLVING -- ENABLE TO PROMOTE SELF-DETERMINATION -- CONCLUSION -- REFERENCES.

Muuttuvat suomalaiset äänimaisemat (Transforming Finnish Soundscapes, eds Heikki Uimonen, Meri Kytö & Kaisa Ruohonen) is a collection of research essays and texts that study the sonic environment and how it is experienced. Soundscapes related to time, place and the everyday shape our perception of the present and the past. Sounds can be pleasant and beautiful, pacing the day or year, annoying, boring and everything in between. The theme of transforming soundscapes combines the research essays in the publication. The essays draw from various disciplines and methodologies: media studies, anthropological field work and sensory observation, textual analysis and close reading, folkloristics, archeoacoustics and music studies.

In turn, the texts gathered via a writing competition show how sounds can be listened to both analytically and aesthetically, connecting them to local, national and transnational cultures and histories pondering what sounds mean to the listeners and how they influence the soundscape they live in. The study is a revisit to the One Hundred Finnish Soundscapes project (2006). - Muuttuvat suomalaiset äänimaisemat (toim. Heikki Uimonen, Meri Kytö & Kaisa Ruohonen) kokoaa yhteen ympäristön ääniä ja äänimaisemia tarkastelevia tieteellisiä artikkeleita sekä äänen kokemisesta kertovia tekstejä. Aikaan, paikkaan, arkeen ja juhlaan liittyvä äänimaisema muovaa nykypäiväämme ja rakentaa menneisyyttämme. Äänet ovat miellyttäviä ja kauniita, vuorokautta ja vuodenkiertoa rytmittäviä, häiritseviä, tylsiä ja sekä kaikkea näiden väliltä. Muuttuvien äänimaisemien tematiikka yhdistää myös kirjan tutkimusartikkeleita. Tutkimuksellisesti ne nojaavat eri tieteentraditioihin ja menetelmiin: mediatutkimukseen ja -analyysiin, antropologiseen kenttätallennukseen ja aistinvaraiseen havainnointiin, tekstianalyysiin ja lähilukuun, folkloristiikkaan, arkeoakustiikkaan ja musiikintutkimukseen.

Kirjoituskilpailussa kerätyt tekstit puolestaan osoittavat, kuinka ääniä on mahdollista kuunnella analyyttisesti ja esteettisesti, asettaa ne osaksi alueellista, paikallista, valtakunnallista tai ylirajaista kulttuurihistoriallista tarkastelua ja pohtia, mitä ääni kuuntelijalleen merkitsee ja miten hän äänimaisemaansa vaikuttaa. Tutkimus on jatkoa Sata suomalaista äänimaisemaa -hankkeelle (2006).

Background. The successful introduction of community interventions is partly dependent on public beliefs about the aetiology and treatment of psychiatric difficulties and tolerance of community integration. Method. This study examined community attitudes towards auditory hallucinations in Saudi Arabia (SA) and the United Kingdom (UK) concerning (a) causes of auditory hallucinations, (b) the efficacy of interventions and (c) levels of social rejection. Results. Responses from 281 patients attending their general practitioners indicated that those living in Saudi Arabia were most likely to believe that hallucinations are caused by Satan or due to magic, while the UK sample were more likely to cite schizophrenia or brain damage. While the Saudi sample believed that religious assistance would be most effective, the UK sample supported medication and psychological therapies. Beliefs about aetiology and treatment were unrelated to educational attainment. There was a greater degree of social rejection of patients in Saudi Arabia, but here educational attainment was of significance. Conclusions. These results suggest that beliefs about aetiology are related to treatment recommendations and social distancing, and thus have implications for the care of Arabic patients living in Western countries as well as for the use of Western interventions in non- Western cultures.

The usefulness of psychological interventions for auditory hallucinations is becoming increasingly accepted in Western cultures, but there are few data concerning the views of professionals working in non-Western societies. In this study, 195 psychologists and psychiatrists working in Saudi Arabia (SA) and Britain (UK) responded to a questionnaire regarding their (a) attitudes towards various clinical aspects of auditory hallucinations, (b) perceptions of the clinical value of psychological and pharmacological treatments and of the inputs of the two professions and (c) levels of social distance from people who experience auditory hallucinations. UK staff believed that there is a greater range of possible causes and diagnoses for auditory hallucinations than SA staff, who in turn had more confidence in the efficacy of psychological and pharmacological treat ments. UK staff reported significantly less social distance from this group of patients. The results suggest that the use of psychological approaches to helping people with auditory hallucinations could be affected by cultural views of the causes and treatment.

The purpose of learning the Sigeh Pengunten Dance with the VAK (Visual) learning method is to determine the extent to which students are able to demonstrate the Sigeh Penguten Dance according to what is taught by the teacher. The research method used is descriptive qualitative with a population of UPTD SMPN 3 Metro students and a sample size of 5 students.
The results of this study are the learning process using the visual method, auditory kinesthetic in practice has increased in the first meeting to the eighth meeting. This can be seen from 3 aspects of VAK, namely visual and auditory in the form of students listening to teacher instructions and paying attention and seeing the teacher demonstrating the Sigeh penguten dance, namely the Lapah tebeng movement, Seluang going home, jong simpuh, sitting down, jong silo Ratu and Sembah, flashback, biting. , samber floated. Guuh gakhang, ngiyau bias, makuraccang, kenui floating and tipping at high levels, Sabung Hovering, reject slashing and splitting hui, able to bias, end to moderate level and end to low level, Lipetto and Jong Simpuh Sembah. Regarding the kinesthetic aspect of students dancing the Sigeh Penguten dance With the various movements mentioned above, starting from the first meeting to the seventh meeting, the eight students took practical tests to take scores and evaluations. The value obtained from the practical test carried out was an increase in understanding which could be seen in the increase in the value obtained, although it decreased slightly at the third meeting. The results of the VAk learning test (Visual, auditory., Kinesthetic) as a whole show the data that students have been able to demonstrate the Sigeh Penguten dance with an average score of Good.

Das Dissertationsprojekt untersucht das Zusammenspiel von Klängen, materieller Kultur, Rassismus und Polizeigewalt in Brasilien aus dekolonialer Perspektive. Dazu nutzt diese Arbeit Theorien aus den Kulturwissenschaften beziehungsweise den Sound Studies, um kontingente Auseinandersetzungen zu analysieren, bei denen Designobjekte und -verfahren als materiell-diskursive Knotenpunkte für die Normalisierung und Fortschreibung rassifizierter Gewalt dienen. Um sich mit den Bedingungen dafür zu befassen, wird Design – sowohl als wissenschaftliches Feld als auch Praxis – in dieser Arbeit als ein materiell-diskursiver Apparat betrachtet, der nicht nur die Ergebnisse eines Forschungsprojektes, sondern auch seine Voraussetzungen einbezieht. Der Schwerpunkt dieser Dissertation ist die Auseinandersetzung mit "listening anxieties" (Hörängsten). Ein solcher Begriff taucht mit den Aspekten von politischem Konsens, Überwachung und Regelverhalten auf. Die Zusammenfügung dieser drei Begriffe in institutionellen, designerisch gestalteten wie auch alltäglichen Verfahren wird hier mit "Apparatus of Auditory Governance" (Apparat der akustischen Machtführung) bezeichnet. Im engeren Sinne werden akustische Machtführungen an drei Beispielen aus dem 21. Jahrhundert Brasiliens in den Blick genommen: als Erstes wird die von der staatlichen Parallelmacht der Militärpolizei geführte Kriminalisierung von Jukeboxes in einer der sogenannten pazifizierten Favelas in Rio de Janeiro untersucht; anschließend, wie der Aufbau einer sieben Kilometer langen akustischen Mauer in Rio als ein Stadt- und Rassentrennungsmittel betrachtet werden muss. In der letzten Fallstudie wird analysiert, wie der polizeiliche Einsatz von Knallgranaten zur Erzeugung von Nachtruhe in den benachteiligten Nachbarschaften in São Paulo Rassengewalt erzeugt. Dabei leistet diese Arbeit auch einen Beitrag zum designhistorischen Diskurs,,indem die kolonialen Grundvoraussetzungen des Designfeldes untersucht werden, wobei gleichzeitig eine dekolonisierende und klangorientierte Methodik für Designforschung und Sound Studies genutzt/entwickelt wird. So kann nachgewiesen, wie materielle Bedingungen der Klanggewalt, beispielsweise durch Architekturgestaltung, temporäre Klangobjekte bis hin zur Entwicklung von speziellen Soundwaffen, einer Art von ontologischem Design (Anne-Marie Willis) zuarbeiten, auch wenn das koloniale und rassifizierte Ethos der designten Klanggewalt sowohl diskursiv als auch materiell weitgehend unsichtbar gemacht wird. Um eine solche ontologische Verfasstheit letztlich überhaupt zu erkennen, wird gefordert, dass sich Designer_innen als Produzent_innen rassifizierter, kolonialer Phänomene in ihrer Praxis betrachten. ; This dissertation attends to the intersection of sound, material culture, racism, and police violence in Brazil from a decolonizing perspective. With a focus on theories informed by cultural and sound studies, it unravels the contingent arrangements through which certain designed objects and practices function as material-discursive nodes for the normalization and perpetuation of racialized violences. To explore these ideas, it reads design—a field of knowledge and a set of practices—as a material-discursive apparatus, accountable for not only the results but also the conditions of possibility for any research endeavor. The main driving force of this work is the identification and evincing of 'listening anxieties.' These emerge through enactments of political consensus, policing, and compliance; the articulation of these three in institutional, designerly, as well as everyday practices is what this research identifies as the Apparatus of Auditory Governance (or AAG). More specifically, I look at three manifestations of these auditory governances in contemporary Brazil—from the early 2000s to the judiciary Coup d'Etat of late 2016. These range from the criminalization of jukeboxes by a Military Police acting outside the scope of written law in so-called 'pacified' neighborhoods in Rio de Janeiro, to the construction of a seven kilometer-long acoustic barrier in the city as a device for urban segregation, to the deployment of sound bombs as devices for the enforcement of silence by the same police force in São Paulo. The articulation of auditory governances, however, is not fixed; rather, it shifts and mutates to account for distinct and diverse experiences of listening. These shifts are what this work calls earviews: a conceptual orientation which determines the "listening point" where narratives and perceptions of auditory reality unfold from. The AAG, articulated and deconstructed at the intersection of distinct and conflicting earviews, forms the main method of this dissertation, and is of particular interest for sound and design studies. By understanding the earview as an asset of and for designing, it is possible to interrogate the role of design in the enforcement, reproduction, and normalization of sonic violences, and the erasure of other(ed) narratives of listening. Rather than simply evincing the hegemony of normative—qua racialized—earviews, I intervene by reading them through first-person accounts and storytelling stemming from fieldwork with artists and activists in Brazil, as well as from two movies by Brazilian directors—O Som ao Redor (2012) and Branco Sai, Preto Fica (2014). These intersections are further complemented by a semi-fictional narrative created throughout five collective pedagogical sessions fusing designing and fabulation. This format, named "Yarn Sessions," is my methodological proposition for design research in this work. This research started out by posing three broad questions relating to the connection between auditory practices—i.e. sounds and their social, cultural, and political engagements—and the design of listening devices. It asked: what is the contribution of design to the politics of mediated listening and its devices? What might be the possible, probable and/or preferable enactments of the political agency of designed listening devices? These initial questions are all addressed by this work, and have shifted from their initial form as a general investigation on the entanglement of design and listening, to offer an inquiry and an intervention on violences enacted with and through sound. This work thus participates in a re-historicization of the colonial underpinnings of design, while at the same time offering a decolonizing methodological proposition for design research and design studies with a sound and listening-oriented locus. It demonstrates that the material conditions of sonic violence—from architectural planning to transitional/illegalized sound objects to the development of weaponry—are a form of ontological design (cf. Anne-Marie Willis) which succeeds by making its own colonial and racialized ethos discursively and materially invisible. This ontological enunciation demands the accountability of the designer as both producer and reproducer of racialized/colonial phenomena in the making of their own practices. Yet this research does not align itself completely with discourses from the "ontological turn" or "new materialisms" in philosophy (cf. Karen Barad), insofar as these often undermine and erase the role played by coloniality and "racialized assemblages" (cf. Alexander Weheliye) to the constitution of its own ontologies and epistemologies. My proposition for design understands the field to constitute in itself an ontoepistemology (cf. Willis, Gloria Anzaldúa), albeit reading such ontological alignments through decolonial and critical race studies. In so doing, it opens up a new field of inquiry in which sound studies and decolonial thought inform designerly inquiries into material culture not only for the evincing of specific material-discursive phenomena (e.g. sonic violences), but also for intervening on them with intersectional and decolonizing frameworks.

Sound moves, iPod culture and urban experience : an introduction -- Sound epistemologies : strategies and technologies -- Sounding out cosmopolitanism : iPod culture and recognition -- The audio-visual iPod : aesthetics and the city -- Interpersonal sound strategies and iPod culture -- Mobilization of the social : mobile phones and iPods -- Contextualizing the senses : the auditory world of automobility -- The auditory privatisation of the workplace -- Bergson's iPod? : the cognitive managagement of everyday life -- The nostalgia of iPod culture -- Sound timings and iPod culture -- Endnote : sound mediations

"This open access book asks how have auditory environments in different contexts contributed to understanding imperial occupation, and how has it given rise to historical music cultures? How are sound and music implicated in the state control and discipline of people? Exploring case studies of foreign occupation from around the world, Visual Histories of Occupation seeks to answer these questions and more. Examining how an emphasis on auditory culture adds complexity and nuance to understanding the relationship between occupation and the bodily senses, this book is structured around three conceptual themes; voice and occupation, memory, sound and occupation, and auditory responses to occupation. Highlighting case studies in Asia, the Middle East, North America and Europe contributors employ a range of theoretical approaches to examine histories of imperialism and the auditory legacies they created, and contribute to a wider dialogue about the relationship between sound and imperial projects across political and temporal boundaries. The open access edition of this book is available under a CC-BY-NC-ND 4.0 license on www.bloomsburycollections.com. Open access was funded by the European Research Council"