Noise: The Political Economy of Music

Radano, Ronald; Attali, Jacques; Massumi, Brian

doi:10.2307/852181

Cited by 20 publications

(20 citation statements)

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“…Thinking more broadly about technology as a social apparatus, conceptions of noise have also disrupted relationships with these technological bodies as well. For Attali (1985), noise exists in antithesis to the institutional power behind recorded forms of popular music and reorients the relationships created with and through this apparatus: "any noise, when two people decide to invest their imaginary and their desire in it, becomes a potential relationship" (p. 159) outside of this technology. Under the stage name Emil Beaulieu, Ron Lessard engages this form of noise by releasing purposefully "unplayable" vinyl records.…”

Section: The Noise Of Posthumanismmentioning

confidence: 99%

“…Starting with free improvisation, or the co-creative and spontaneous act of making unrehearsed music, Fischlin et al (2013) argue that this performance practice creates space for new knowledges to form as musicians spontaneously develop new languages, to use Attali's (1985) term, in the performative act. Moreover, "the use of… unfamiliar performance techniques on familiar musical instruments to expand the sonic vocabularies conventionally associated with those instruments, may be indicative of [free] improvisation's insistence on finding new kinds of solutions to familiar problems and challenges" (Fischlin et al, 2013, p. 38-39).…”

Section: Performance As Classroommentioning

confidence: 99%

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Reimagining collaboration through the lens of the posthuman: Uncovering embodied learning in noise music

Woods

2020

Journal of Curriculum and Pedagogy

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While education research has largely avoided posthumanist scholarship, this analytic lens challenges the ways in which researchers have conceptualized educational technologies, i.e. collaboration and embodied learning, as primarily humanist endeavors that overtly center on human subjects within educational processes. By exploring sites of research that overtly enact posthumanist conceptions of learning, education researchers can address this oversight. In this article, I investigate posthumanist collaboration within the noise music genre, positioning noise music as a posthuman musical tradition and, in turn, a posthuman educational context. In doing so, I reframe noise (in the broad sense of the term) as a tool for engaging the posthuman through multiple educational praxes both in and outside of this specific genre. To construct this argument, I place extant literature on posthumanism and noise in conversation with descriptions of performances from the 2017 Experimental Education Series, a quarterly workshop and concert series that features a broad spectrum of noise musicians, and interviews with teaching artists from this series.Through this constellation of texts, I advocate for noise music to not only serve as a site for future research but as a potential model of posthuman education more broadly.

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Section: The Noise Of Posthumanismmentioning

confidence: 99%

Section: Performance As Classroommentioning

confidence: 99%

Reimagining collaboration through the lens of the posthuman: Uncovering embodied learning in noise music

Woods

2020

Journal of Curriculum and Pedagogy

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“…The corollary is that a rejection of such 'etiquette', or its replacement by different forms of ritualised behaviour, may mirror other, 'undisciplined', 'active' and 'uncontrolled' processes that, in turn, suggest alternative social orders. Attali proposes a related, but almost diametricallydialectically?opposed direction of causation in his foundational text, Noise, where he reads seismic shifts in the dominant forms of music as presaging equally disruptive shifts in the organisation of society (Attali, 1985). Susan McClary's afterword to Attali's book subtly relocates his theory, flawed not least by its reliance on the role of the charismatic (and almost always male) individual, in a collective basis for musical innovation, going as far as anticipating possible social and material dimensions of what is being prefigured; 'At the very least the new [musical] movements seem to herald a society in which individuals and small groups dare to reclaim the right to develop their own procedures, their own networks' (McClary, 1989: 158).…”

Section: Inventing New Sounds and Performancesmentioning

confidence: 99%

Methodological challenges of researching an emerging scene: Experimental electronic music in contemporary Manchester

Taylor

2023

DIY, Alternative Cultures & Society

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The process of researching a music scene retrospectively, even one which has recently formed, rests on a relatively simple ontological foundation; that the scene is broadly agreed – by both participants and observers – to already exist and to be available as an object for study, whether that proceeds on a musicological, sociological or geographical basis. But what if the scene is merely purported, suspected or intuited to be in the process of formation; to be, in some sense, imminent rather that existent? What methods are appropriate to investigating a music scene under such conditions? What constitutes, if not ‘evidence’, then sufficiently persuasive indications that a scene is emerging? These considerations are explored in this article, in the context of the author's early-stage fieldwork into a putative new underground electronic music scene in Manchester, UK, along with reflexive observations on the researcher's insertion into a potential process of scene-formation.

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“…Modern ocularcentric systems of validation structured public institutions, such as schools, hospitals, and prisons, into surveyable places where everything and everyone is in view and under super vision (Foucault 1975). Attali (1985) reminds us that it is impossible to separate the history of the senses, and particularly the suppression of sounds and noises, from the history of repression and surveillance.…”

Section: Conclusion or A Call For Provocationsmentioning

confidence: 99%

Sonic matters: Singing as method and the epistemology of singing across Bengali esoteric lineages

Lorea

2022

American Anthropologist

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Songs are knowledge" (g āne jñ ān) is a recurrent saying among Bauls, Fakirs, Sahajiyas, and other Bengali esoteric and heterodox communities. The sonic dimension of songs is related to cosmogonic vibration, seed, food, and feminine bodily fluids. Singing, requiring breath control and concentration, is associated with yoga. How is the performance of songs simultaneously an embodied way of knowing and an act of indigenous scholarship? Can the epistemology of singing coexist with hegemonic sensory epistemologies in a postcolonial South Asia? This article draws upon a ten-year ethnographic engagement with Bengali-speaking gurus and performers to discuss how singing provides a transformative and anthropopoietic knowledge, rooted in bodily experience and exchanged among performers-listeners to build togetherness in ways that subvert dominant ideologies of relatedness. This article also adopts Bengali understandings of ensounded knowledge to question the ocularcentric and scriptist epistemologies that underlie modern academia. Taking songs seriously as ways of knowing in their own right, I suggest singing as method and using the feelingful body as a research tool, not only for an ethnography that reflects the sensory epistemology of the communities I work with but also as a promising way to decolonize anthropology's epistemic ethnocentrism.

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Noise: The Political Economy of Music

Cited by 20 publications

References 0 publications

Reimagining collaboration through the lens of the posthuman: Uncovering embodied learning in noise music

Reimagining collaboration through the lens of the posthuman: Uncovering embodied learning in noise music

Methodological challenges of researching an emerging scene: Experimental electronic music in contemporary Manchester

Sonic matters: Singing as method and the epistemology of singing across Bengali esoteric lineages

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