Jeg har tidligere skrevet om at jeg skal holde et innlegg om “Politics of Frequencies” ved årets konferanse knyttet til Nordic Society of Aesthetics. Jeg skal også holde et annet innlegg i neste måned med samme tittel (men annen undertittel). Jeg deltar i et nordisk forskningsnettverk kalt “Researching Music Censorship,” og den 5. og 6. mai har nettverket en workshop med tittelen “Contested Spaces: War, Torture, Violence, Suppression and Power.” Programmet for workshoppen kan ses her. Jeg skal selv holde et paper med tittelen “Politics of Frequencies: Sound, Technology, Vibration,” og, som forrige gang, her er mitt abstract (manus er enda ikke ferdig):
Politics of Frequencies: Sound, Technology, Vibration
In his book Gramophone, Film, Typewriter(1986; English translation, 1999), Friedrich Kittler claims that “the entertainment industry is, in any conceivable sense of the word, an abuse of army equipment.” Mentioning different technologies, including microphones and stereo equipment, Kittler points to similarities between developments in compositional music, popular music, and war, where effects of sound are at stake. These technologies, and others, often originated in the military, but have, along the way, been inserted into what is nowadays some times referred to as the “military-entertainment complex.” Steve Goodman’s recent book Sonic Warfare: Sound, Affect, and the Ecology of Fear(2010) relates to this discussion, but takes it further by exploring an even wider range of acoustic phenomena. Coining the term “politics of frequency,” Goodman argues for differences within sound, noise, and vibration, where sound’s different effects on the body is crucial. The wide understanding of war in Kittler might be somewhat ambiguous (as Geoffrey Winthrop-Young argues in “Drill and Distraction in the Yellow Submarine: On the Dominance of War in Friedrich Kittler’s Media Theory,” 2002), but Goodman makes a good case for still new intersections between productions of sound within the musical field in relation to war as well as police work (with sonic bombs and high-frequency sounds breaking up demonstrations as only two examples).
This paper attempts an exploration based in Goodman’s book about the relation between musical sounds and military sounds. The politics of frequency relates to different sonic dimensions – Goodman focusing on bass as well as subsonic dimensions – and the physical effects of vibrations arguably also leads to a contested sonic space.
Og mon ikke jeg skal få spilt noe musikk fra kode9 også.