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Following the formation of the German National Socialist Party in the 1920s, various forms of sound (popular music, voice, noise and silence) and media technology (radio and loudspeaker systems) were configured as useful to the party's political programme. Focusing on the urban "soundscape" of Düsseldorf, the author makes a persuasive case for investigating such sound events and technological devices in their specific contexts of production and reception. Nazi Soundscapes identifies strategies for controlling space and reworking identity patterns, but also the ongoing difficulties in manipulating mediated sounds and the spaces of listening reception, whether in the home, workplace, the cinema, public rituals or with wartime siren systems. The study revises visualist notions of social control, and reveals the disciplinary functions of listening (as eavesdropping) as well as the sonic dimensions to exclusion and violence during Nazism. An essential title for everyone interested in the links between German political culture, audiovisual media and urban history, Nazi Soundscapes provides a fascinating analysis of the cultural significance of sound between the 1920s and early 1940s. Click "http://soundclips.humanities.uva.nl/">here for the sound clips discussed in the book. - Na de formatie van de NSDAP in de jaren '20 werden verschillende vormen van geluid (stem, ruis, stilte, populaire muziek) en mediatechnologieën (radio- en luidsprekersystemen) ingezet voor hun politieke programma. Vanuit de historisch invalshoek van het stedelijke 'soundscape' van Düsseldorf, onderzoekt de auteur de productie en receptie van deze geluiden en technologieën. Nazi Soundscapes brengt in kaart hoe het politieke bestel de stedelijke ruimte en identiteitsformatie van burgers door middel van geluid beïnvloedt. Het geeft een kritisch perspectief op zowel visuele als auditieve manieren van controle en discipline, in het bijzonder bij uitsluiting en geweld tijdens het nationaal-socialisme (1933-1945). Nazi Soundscapes geeft een fascinerende kijk op de culturele betekenis van geluid tussen de jaren twintig en veertig. Een essentieel boek voor lezers met een interesse in de Duitse politieke cultuur, moderne media en stedelijke geschiedenis. Luister "http://soundclips.humanities.uva.nl/">hier naar de geluidsfragmenten die in het boek worden besproken.

Many images of Nazi propaganda are universally recognizable, and symbolize the ways that the National Socialist party manipulated German citizens. What might an examination of the party's various uses of sound reveal? In Nazi Soundscapes, Carolyn Birdsall offers an in-depth analysis of the cultural significance of sound and new technologies like radio and loudspeaker systems during the rise of the National Socialist party in the 1920s to the end of World War II. Focusing specifically on the urban soundscape of Düsseldorf, this study examines both the production and reception of sound-based propaganda in the public and private spheres. Birdsall provides a vivid account of sound as a key instrument of social control, exclusion, and violence during Nazi Germany, and she makes a persuasive case for the power of sound within modern urban history.

Following the formation of the German National Socialist Party in the 1920s, various forms of sound (popular music, voice, noise and silence) and media technology (radio and loudspeaker systems) were configured as useful to the party's political programme. Focusing on the urban "soundscape" of Düsseldorf, the author makes a persuasive case for investigating such sound events and technological devices in their specific contexts of production and reception. Nazi Soundscapes identifies strategies for controlling space and reworking identity patterns, but also the ongoing difficulties in manipulating mediated sounds and the spaces of listening reception, whether in the home, workplace, the cinema, public rituals or with wartime siren systems. The study revises visualist notions of social control, and reveals the disciplinary functions of listening (as eavesdropping) as well as the sonic dimensions to exclusion and violence during Nazism. An essential title for everyone interested in the links between German political culture, audiovisual media and urban history, Nazi Soundscapes provides a fascinating analysis of the cultural significance of sound between the 1920s and early 1940s. Click "http://soundclips.humanities.uva.nl/">here for the sound clips discussed in the book.

Abstract
In this editorial, we explore the relevance of the concepts of worlding and world-making within the context of urban cultural studies. We ask how cultural practices make worlds and how these practices are in turn worlded, with particular attention to the diverse forms that the urban (as a 'global' phenomenon) takes across the world and fact that academic research itself should be considered a form of worlding. In doing so, three focal points come to the fore. The first is the importance of so-called 'elite dreams' and their messy and contested relation with worlding practices from below. Second, we emphasize the need to examine the social, political and economic contexts in which cultural objects are created, distributed and received – which calls for an interdisciplinary approach. Third, we focus on historical differences and the need for longer-term perspectives within scholarly research, considering how particular cultural practices are preserved and remembered.

This paper details the contribution of mobile devices to capturing commemoration in action. It investigates the incorporation of audio and sound recording devices, observation, and note-taking into a mobile (auto)ethnographic research methodology, to research a large-scale commemorative event in Amsterdam, the Netherlands. On May 4, 2016, the sounds of a Silent March—through the streets of Amsterdam to Dam Square—were recorded and complemented by video grabs of the march's participants and onlookers. We discuss how the mixed method enabled a multilevel analysis across visual, textual, and aural layers of the commemorative atmosphere. Our visual data aided in our evaluation of the construction of collective spectacle, while the audio data necessitated that we venture into new analytic territory. Using Sonic Visualiser, we uncovered alternative methods of "reading" landscape by identifying different sound signatures in the acoustic environment. Together, this aural and visual representation of the May 4 events enabled the identification of spatial markers and the temporal unfolding of the Silent March and the national 2 minutes' silence in Amsterdam's Dam Square.

Introduction to Sensing Urban Values. This special issue assembles a set of papers that respond to a neglected, undertheorized yet crucial question relating to spatial politics and urban renewal: How do economic and non-economic values depend on and co-constitute each other in different urban contexts? In response, the contributors to this special issue build on recent critical reassessments of value; they explore how the spatial and cultural politics of value unfolds in contemporary urban environments globally. They examine cases that traverse Poland, South Africa, Malaysia, Germany, and The Netherlands. The papers demonstrate a theoretical and empirically engaged concern with themes such as the cultural dimensions of place-making processes in contemporary cities; how identity, memory, heritage, and value-making processes may matter for the production of urban spaces today through sensing; aesthetic reorganizations of places, movements, and interactions with urban matters; and through storytelling. Taking up the theme of urban valuation with a multisensory approach has prompted the contributors to explore the multiple and translocal ways through which urban valuations unfold, are performed, and are experienced. This approach reveals the multiple valuations of spaces—not only economic but also symbolic—that inform the struggles for social and spatial justice in cities across the world as well as their scholarly examinations.