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  • Preface  vii
    Acknowledgements  xi
    Introduction / Mary Caton Lingold, Darren Mueller, and Whitney Trettien  1
    I. Theories and Genealogies
    1. Ethnodigital Sonics and the Historical Imagination / Richard Cullen Rath  29
    2. Performing Zora: Critical Ethnography, Digital Sound, and Not Forgetting / Myron M. Beasley  47
    3. Rhetorical Folkness: Reanimating Walter J. Ong in the Pursuit of Digital Humanity / Jonathan W. Stone  64
    II. Digital Communities
    4. The Pleasure (Is) Principle: Sounding Out! and the Digitizing of Community / Aaron Trammell, Jennifer Lynn Stover, and Liana Silva  83
    5. Becoming OutKasted: Archiving Contemporary Black Southernness in a Digtal Age / Regina N. Bradley  120
    6. Reprogramming Sounds of Learning: Pedagogical Experiments with Critical Making and Community-Based Ethnography / W. F. Umi Hsu  130
    III. Disciplinary Translations
    7. Word. Spoken. Articulating the Voice for High-Performance Sound Technologies for Access and Scholarship (HiPSTAS) / Tanya E. Clement  155
    8. "A Foreign Sound to Your Ear": Digital Image Sonification for Historical Interpretation / Michael J. Kramer  178
    9. Augmenting Musical Arguments: Interdisciplinary Publishing Platforms and Augmented Notes / Joanna Swafford  215
    IV. Points Forward
    10. Digital Approaches to Historical Acoustemologies: Replication and Reenactment / Rebecca Dowd Geoffroy-Schwinden  231
    11. Sound Practices for Digital Humanities / Steph Ceraso  250
    Afterword. Demands of Duration: The Futures of Digital Sound Scholarship / Jonathan Sterne, with Mary Caton Lingold, Darren Mueller, and Whitney Trettien  267
    Contributors  285
    Index  291
  • Myron Beasley

    Steph Ceraso

    Tanya Clement

    Rebecca Geoffroy-Schwinden

    Matthew K Gold

    W. F. Umi Hsu

    Michael J Kramer

    Darren Mueller

    Cullen Rath Richard

    Liana M Silva

    Jonathan Sterne

    Jennifer Stoever

    Jonathan Stone

    Joanna Swafford

    Aaron Trammell

  • “Listen up. Be provoked. This adventurous book offers experiments, meditations, analyses, and ideas for a noisier digital humanities, for creative play with the intersection of print and sound recording, and for humanistic approaches to sound that could be rendered in the digital realm. Teachers, theorists, and scholar-artists who want to take new risks will find it timely and refreshing.” — Louise Meintjes, author of, Dust of the Zulu: Ngoma Aesthetics after Apartheid

    “This much-needed book inaugurates a new and interdisciplinary field—digital sound studies—at the intersection of sound studies and digital humanities. Its contributors rigorously explore a wide array of methodologies and practices—pedagogy, archival work, computational analysis, deformation, and platform building—to mark out the possibilities and risks of working in an emerging discipline through experimental modes.” — Tara McPherson, author of, Feminist in a Software Lab: Difference + Design

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  • Description

    The digital turn has created new opportunities for scholars across disciplines to use sound in their scholarship. This volume’s contributors provide a blueprint for making sound central to research, teaching, and dissemination. They show how digital sound studies has the potential to transform silent, text-centric cultures of communication in the humanities into rich, multisensory experiences that are more inclusive of diverse knowledges and abilities. Drawing on multiple disciplines—including rhetoric and composition, performance studies, anthropology, history, and information science—the contributors to Digital Sound Studies bring digital humanities and sound studies into productive conversation while probing the assumptions behind the use of digital tools and technologies in academic life. In so doing, they explore how sonic experience might transform our scholarly networks, writing processes, research methodologies, pedagogies, and knowledges of the archive. As they demonstrate, incorporating sound into scholarship is thus not only feasible but urgently necessary.

    Contributors. Myron M. Beasley, Regina N. Bradley, Steph Ceraso, Tanya Clement, Rebecca Dowd Geoffroy-Schwinden, W. F. Umi Hsu, Michael J. Kramer, Mary Caton Lingold, Darren Mueller, Richard Cullen Rath, Liana M. Silva, Jonathan Sterne, Jennifer Stoever, Jonathan W. Stone, Joanna Swafford, Aaron Trammell, Whitney Trettien

    About The Author(s)

    Mary Caton Lingold is Assistant Professor of English at Virginia Commonwealth University.

    Darren Mueller is Assistant Professor of Musicology at the Eastman School of Music, University of Rochester.

    Whitney Trettien is Assistant Professor of English at the University of Pennsylvania.
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