By Brandon LaBelle
Acoustic Territories: Sound tradition and daily Life bargains an expansive interpreting of auditory lifestyles. It offers a cautious attention of the performative dynamics inherent to sound tradition and acts of listening, and discusses how auditory experiences may well remove darkness from understandings of latest society. Combining study on urbanism, pop culture and auditory concerns, Acoustic Territories opens up a number of views - it demanding situations debates surrounding noise pollutants and charts an "acoustic politics of space" by way of unfolding auditory adventure as positioned inside higher cultural histories and similar ideologies.
Brandon LaBelle strains auditory lifestyles via a topographic constitution: starting with underground territories, via to the house as a website, after which extra, to streets and neighborhoods, and eventually to the sky itself. This constitution follows sound because it seems in particular auditory designs, because it is mobilized inside of a variety of cultural tasks, and queries the way it involves movement via daily life as a medium for social transformation. Acoustic Territories uncovers the embedded tensions and potentiality inherent to sound because it exists within the daily areas round us.
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Extra resources for Acoustic Territories: Sound Culture and Everyday Life
Occupying these marginal spaces of the NY subway, homeless individuals come to appropriate underused or derelict tunnels for living quarters. The Mole People, as they’ve come to be known, form an underground community that turns the subway system into a space of homelessness, insanity, and death. “The train tunnels under Grand Central Station contain perhaps the largest collection of squatters. There, in a mere three-quarters of a square mile, thirty-four miles of track stretch out along seven distinct levels before funnelling into twentysix main rail arteries going north, east, and west.
It’s here, in the underground that all references seem to dissipate, where earthly nature is suspended and time fragments into an altogether diffuse presence. The cistern becomes an enlarged instrumental envelope, giving the players its deep resonating chamber for the production of this other world, a pure sonorous energy 14 z Acoustic Territories to which each contributes and through which each communes with the other. What Dempster, and by extension Mulvey and Cagle, captures is the reverberant dynamic of the underground.
It brings together by enabling separate journeys; it structures individual desire and yet in doing so it remains strangely impersonal, resistant to intervention. ) Yet performances do take place that might harness or generate subjective tracings, sudden interactions, making more concrete the minimum of qualities Augé notes as defining community. These performative instances come to supplement the rather isolated movements of the journey, suddenly crossing the lines separating bodies, bringing smiles or grimaces to the faces of passengers, or requiring more outspoken responses in the form of yelling or scolding.
Acoustic Territories: Sound Culture and Everyday Life by Brandon LaBelle