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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