• Cloth: $99.95 - Not In Stock
    978-1-4780-0109-6
  • Paperback: $26.95 - Not In Stock
    978-1-4780-0145-4
  • Acknowledgments  vii
    Sound Objects: An Introduction / James A. Steintrager, with Rey Chow  1
    I. Genealogies
    1. Reflections on the Sound Object and Reduced Listening / Michel Chion  23
    2. Pierre Schaeffer and the (Recorded) Sound Source / John Dack  33
    3. The Fluctuating Sound Object / Brian Kane  53
    II. Aural Reification, Sonic Commodification
    4. Listening with Adorno, Again: Nonobjective Objectivity and the Possibility of Critique / James A. Steintrager  73
    5. Spectral Objects: On the Fetish Character of Music Technologies / Jonathan Sterne  94
    III. Acousmatic Complications
    6. Listening after "Acousmaticity": Notes on a Transdisciplinary Problematic / Rey Chow  113
    7. The Skin of the Voice: Acousmatic Illusions, Ventriloquial Listening / Pooja Rangan  130
    IV. Sound Abjects and Nonhuman Relations
    8. The Acoustic Abject: Sound and the Legal Imagination / Veit Erlmann  151
    9. The Alluring Objecthood of the Heartbeat / Jairo Moreno and Gavin Steingo  167
    10. On Nonhuman Sound—Sound as Relation / Georgina Born  185
    V. Memory Traces
    11. The Sound of Arche-Cinema / John Mowitt  211
    12. Listening to the Sirens / Michael Bull  228
    13. Entities Inertias Faint Beings: Drawing as Sounding / David Toop  246
    Bibliography  265
    Contributors  281
    Index

     
  • Jairo Moreno

    Georgina Born

    Michael Bull

    Michel Chion

    John Dack

    Veit Erlmann

    Brian Kane

    John Mowitt

    Pooja Rangan

    Gavin Steingo

    Jonathan Sterne

    David Toop

  • “What are sound objects? This carefully assembled collection—featuring voices both pioneering and new—offers an exhilarating array of answers to this question. Taken as a whole, this volume invites us to consider listening as a form of theory, and theory itself as a form of listening. As James A. Steintrager and Rey Chow insist, sonic entities—in contrast to the visual—need to be ‘apprehended otherwise’; and these essays prompt us to do precisely that, offering provocative new tools, refrains, and sensibilities for a more nuanced attunement to the world’s infinite soundscapes. As such, Sound Objects represents a new milestone in the rapidly evolving world of sound studies.” — Dominic Pettman, author of, Sonic Intimacy: Voice, Species, Technics (or, How to Listen to the World)

    “This groundbreaking book provides a welcome interdisciplinary treatment of concepts central to sound studies, film studies, musicology, music theory, and literature. Bringing together leading scholars in sound studies, this volume contributes critical historical and contemporary contexts—as well as new understandings, critiques, and expansions—to the concept of the sound object. The editors have masterfully choreographed conversations across the chapters, resulting in a tightly-focused work that will be an important contribution to the development of sound studies.” — Nina Sun Eidsheim, author of, Sensing Sound: Singing and Listening as Vibrational Practice

  • Permission to Photocopy (coursepacks)

    If you are requesting permission to photocopy material for classroom use, please contact the Copyright Clearance Center at copyright.com;

    If the Copyright Clearance Center cannot grant permission, you may request permission from our Copyrights & Permissions Manager (use Contact Information listed below).

    Permission to Reprint

    If you are requesting permission to reprint DUP material (journal or book selection) in another book or in any other format, contact our Copyrights & Permissions Manager (use Contact Information listed below).

    Images/Art

    Many images/art used in material copyrighted by Duke University Press are controlled, not by the Press, but by the owner of the image. Please check the credit line adjacent to the illustration, as well as the front and back matter of the book for a list of credits. You must obtain permission directly from the owner of the image. Occasionally, Duke University Press controls the rights to maps or other drawings. Please direct permission requests for these images to permissions@dukeupress.edu.
    For book covers to accompany reviews, please contact the publicity department.

    Subsidiary Rights/Foreign Translations

    If you're interested in a Duke University Press book for subsidiary rights/translations, please contact permissions@dukeupress.edu. Include the book title/author, rights sought, and estimated print run.

    Disability Requests

    Instructions for requesting an electronic text on behalf of a student with disabilities are available here.

    Rights & Permissions Contact Information

    Email: permissions@dukeupress.edu
    Email contact for coursepacks: asstpermissions@dukeupress.edu
    Fax: 919-688-4574
    Mail:
    Duke University Press
    Rights and Permissions
    905 W. Main Street
    Suite 18B
    Durham, NC 27701

    For all requests please include:
    1. Author's name. If book has an editor that is different from the article author, include editor's name also.
    2. Title of the journal article or book chapter and title of journal or title of book
    3. Page numbers (if excerpting, provide specifics)
    For coursepacks, please also note: The number of copies requested, the school and professor requesting
    For reprints and subsidiary rights, please also note: Your volume title, publication date, publisher, print run, page count, rights sought
  • Description

    Is a sound an object, an experience, an event, or a relation? What exactly does the emerging discipline of sound studies study? Sound Objects pursues these questions while exploring how history, culture, and mediation entwine with sound’s elusive objectivity. Examining the genealogy and evolution of the concept of the sound object, the commodification of sound, acousmatic listening, nonhuman sounds, and sound and memory, the contributors not only probe conceptual issues that lie in the forefront of contemporary sonic discussions but also underscore auditory experience as fundamental to sound as a critical enterprise. In so doing, they offer exciting considerations of sound within and beyond its role in meaning, communication, and information and an illuminatingly original theoretical overview of the field of sound studies itself.

    Contributors. Georgina Born, Michael Bull, Michel Chion, Rey Chow, John Dack, Veit Erlmann, Brian Kane, Jairo Moreno, John Mowitt, Pooja Rangan, Gavin Steingo, James A. Steintrager, Jonathan Sterne, David Toop
     

    About The Author(s)

    James A. Steintrager is Professor of English, Comparative Literature, and European Languages and Studies at the University of California, Irvine.

    Rey Chow is Anne Firor Scott Professor of Literature at Duke University.
Explore More
Share

Create a reading list or add to an existing list. Sign-in or register now to continue.


Contact Us

  • Duke University Press
  • 905 W. Main St. Ste 18-B
  • Durham, NC 27701
  • U.S. phone (toll-free): 888-651-0122
  • International: 1-919-688-5134
  • orders@dukeupress.edu