From Technology Studies to Sound Studies

2019 ◽  
Vol 56 (3) ◽  
pp. 123-137
Author(s):  
Trevor Pinch ◽  
Keyword(s):  
Social Construction ◽  
Performance Practice ◽  
Electronic Music ◽  
Sound Studies ◽  
Social Construction Of Technology ◽  
Commercial Music ◽  
Technology Studies ◽  
History Of ◽  
Over Time

In this paper I put in dialogue two areas of scholarship: Technology Studies and Sound Studies. Within Technology Studies I discuss the influential social construction of technology approach and illustrate it with the history of the moog electronic music synthesizer, the first commercial music synthesizer. I stress the role of standardization of keyboards and the key role played by users in the development of this technology. I examine certain iconic sounds that the moog synthesizer produces and discuss the stabilization of sound. It is argued that just as technologies can be traced as stabilizing over time, sounds also can be traced with certain sounds stabilizing and being taken up by users whilst other sounds fail to stabilize. The technology required to produce a sound, performance practice, and wider cultural concerns such as the naming of sounds are crucial ingredients in the stabilization of sound.

scholarly journals Rethinking the Social Construction of Technology through ‘Following the Actors’: A Reappraisal of Technological Frames

2009 ◽  
Vol 14 (2) ◽  
pp. 36-47 ◽  
Author(s):  
Christina Prell
Keyword(s):  
Social Construction ◽  
Case Study Research ◽  
Technology Design ◽  
Social Construction Of Technology ◽  
Technology Studies ◽  
Technological Frames ◽  
General Terms ◽  
The Social

In this paper, I summarize case study research on an information system called Connected Kids. This case study was guided by an approach to technology studies called the ‘Social construction of technology’ or SCOT Pinch and Bijker (1984). In discussing Connected Kids, I illustrate many of SCOT's main tenents, e.g. the various social interactions that surround and influence technology design. As the paper progresses, however, I focus on one concept in particular, that being SCOT's notion of a ‘technological frame,’ which is used as a catch-all concept for handling the structural influences in technology design. My discussion and illustration of this concept shows that – whilst technological frames help an analyst understand, in general terms, the role structure(s) play in shaping technology – the ‘heterogeneity’ of technological frames can cloak the more obvious, and potentially most influential, forces at work in technology design. In the case of Connected kids, the role of resources, and which actors had access to these resources, was critical in pointing Connected Kids down a particular trajectory. Further, this discovery emerged from listening carefully to respondents’ comments on the role of resources in their community. These comments, and my own observations on how resource-access propelled certain actors into a leadership position, led to my developing an alternative method for analyzing technological frames. The implications of this analysis are then discussed within the context of SCOT and technology studies more generally.

Hearing the Crimean War

2019 ◽  
Keyword(s):  
Nineteenth Century ◽  
Sound Studies ◽  
The Black Sea ◽  
Crimean War ◽  
National Unity ◽  
Black Sea Region ◽  
Academic Fields ◽  
History Of ◽  
The Many

This book addresses the sounds of the Crimean War, along with the many ways nineteenth-century wartime is aurally constructed. It examines wide-ranging experiences of listeners in Britain, France, Turkey, Russia, Italy, Poland, Latvia, Daghestan, Chechnya, and Crimea, illustrating the close interplay between nineteenth-century geographies of empire and the modes by which wartime sound was archived and heard. This book covers topics including music in and around war zones, the mediation of wartime sound, the relationship between sound and violence, and the historiography of listening. Individual chapters concern sound in Leo Tolstoy’s wartime writings, and his place within cosmopolitan sensibilities; the role of the telegraph in constructing sonic imaginations in London and the Black Sea region; the absence of archives for the sounds of particular ethnic groups, and how songs preserve memories for both Crimean Tatars and Polish nationalists; the ways in which perceptions of voice rearranged the mental geographies of Baltic Russia, and undermined aspirations to national unity in Italy; Italian opera as a means of conditioning elite perceptions of Crimean battlefields; and historical frames through which to understand the diffusion of violent sounds amid everyday life. The volume engages the academic fields of musicology, ethnomusicology, history, literary studies, sound studies, and the history of the senses.

Return to the ancestral land: The semiotic map of the Mapuche people

2021 ◽  
Vol 27 (2) ◽  
pp. 258-269
Author(s):  
Camila Pérez ◽  
Giuseppina Marsico
Keyword(s):  
Meaning Making ◽  
The Other ◽  
Indigenous Group ◽  
History Of ◽  
Territorial Claim ◽  
Mapuche People ◽  
Territorial Claims ◽  
Von Uexküll ◽  
Over Time

Indigenous territorial claims are a long-standing concern in the history of Latin America. Land and nature have profound meaning in indigenous thinking, which is neither totally understood nor legitimized by the rest of society. This article is aimed at shedding light on this matter by examining the meanings at stake in the territorial claims of the Mapuche people. The Mapuche are an indigenous group in Chile, who are striving to recover their ancestral land. This analysis will be based on the concept of Umwelt, coined by von Uexküll to refer to the way in which species interpret their world in connection with the meaning-making process. Considering the applications of Umwelt to the human being, the significance assigned to land and nature by the Mapuche people emerges as a system of meaning that persists over time and promotes interdependence between people and the environment. On the other hand, the territorial claim of the Mapuche movement challenges the fragmentation between individuals and their space, echoing proposals from human geography that emphasize the role of people in the constitution of places.

Remembrance of Things Past: Marxism and the Study of Popular Music

2019 ◽  
Vol 16 (1) ◽  
pp. 141-155
Author(s):  
SIMON FRITH
Keyword(s):  
Popular Music ◽  
Sociology Of Knowledge ◽  
Subsequent Development ◽  
Commercial Music ◽  
Popular Music Studies ◽  
History Of ◽  
Cultural Ideology ◽  
1960S And 1970S ◽  
The 1960S

AbstractThis article considers the role of Marxism in the history of popular music studies. Its approach combines the sociology of knowledge with a personal memoir and its argument is that in becoming a field of scholarly interest popular music studies drew from both Marxist theoretical arguments about cultural ideology in the 1950s and 1960s and from rock writers’ arguments about the role of music in shaping socialist bohemianism in the 1960s and 1970s. To take popular music seriously academically meant taking it seriously politically. Once established as an academic subject, however, popular music studies were absorbed into both established music departments and vocational, commercial music courses. Marxist ideas and ideologues were largely irrelevant to the subsequent development of popular music studies as a scholarly field.

scholarly journals The Social Construction of Historical Traumas: The Polish Experience of the Uses of History in an Intelligentsia-dominated Polity

2020 ◽  
Vol 28 (6) ◽  
pp. 911-931
Author(s):  
Tomasz Zarycki ◽  
Tomasz Warczok
Keyword(s):  
Social Construction ◽  
Historical Narrative ◽  
The West ◽  
Specific Nature ◽  
Polish Experience ◽  
The Social ◽  
History Of ◽  
Historical Identity ◽  
And Control

The article argues that Poland’s mainstream national historical narrative, at least as far as the last two centuries of history of the country is concerned, is full of ‘traumatic’ motives which are regularly used and developed in diverse current political and intellectual contexts. Polish history is imagined to a large extent as an endless chain of 200 years of suffering, caused, among other things, by occupations, wars and exploitation, which are usually seen as not fully recognized in other countries, in particular in the West. The article attempts first of all to explain this specific nature of Poland’s historical identity by the privileged role of the intelligentsia, understood as a specific type of elite based on possession and control of cultural capital. It reconstructs the historical rise of the intelligentsia and its impact on the mainstream narrative in question, pointing to a selective choice of potential ‘traumas’ which are assigned a national status. They may be seen as tools to build positions in what can be called the Polish ‘field of power’, to use the notion coined by Pierre Bourdieu. The particular configuration and recent history of the field of power in Poland is reconstructed in order to explain different strategies of what can be called the social and political construction of historical traumas in Poland.

Is It a Masterpiece? Social Construction and Objective Constraint in the Evaluation of Excellence

2017 ◽  
Vol 80 (4) ◽  
pp. 289-309 ◽  
Author(s):  
Stoyan V. Sgourev ◽  
Niek Althuizen
Keyword(s):  
Social Construction ◽  
Social Status ◽  
Subjective Social Status ◽  
Visual Exploration ◽  
Online Experiment ◽  
Objective Reality ◽  
The Status ◽  
Over Time ◽  
Art Evaluation

A key question in scholarship on evaluation is the extent to which the role of social construction is constrained by objective reality. This question is addressed in an analysis of the evaluation of artistic excellence. In an online experiment, we manipulate the subjective social status (both artwork and artist) and the degree of aesthetic complexity of the artwork. The results confirm the independent role of the objective aesthetic factor in art evaluation. Most importantly, we document an interaction between subjective and objective factors whereby aesthetic complexity serves as a credibility lever, amplifying or attenuating the credibility of the status labels. Excessive praise (i.e., a masterpiece by a world-famous artist) tends to reduce the appreciation of aesthetically simple artworks when status labels are questioned. However, the association of aesthetic complexity with the capacity to provoke thought may encourage respondents to take the paintings more seriously. Complexity is typically discouraged for standard products, but it can be instrumental in the process of singularization by stimulating visual exploration and sustaining interest over time.

scholarly journals Translating “natural selection” in Japanese: from “shizen tōta” to “shizen sentaku”, and back?

Bionomina ◽  
2013 ◽  
Vol 6 (1) ◽  
pp. 26-48 ◽  
Author(s):  
Taizo KIJIMA ◽  
Thierry HOQUET
Keyword(s):  
Sexual Selection ◽  
Natural Selection ◽  
Point Of View ◽  
The Other ◽  
First Finding ◽  
Restriction Policy ◽  
History Of ◽  
Japanese Translation ◽  
Over Time

This paper focuses on terminological issues related to the translation of Darwin’s concept of “natural selection” in Japanese. We analyze the historical fate of the different phrases used as translations, from the first attempts in the late 1870s until recent times. Our first finding is that the first part of the Japanese translations never changed during the period considered: “natural” was constantly rendered by “shizen”. By contrast, the Japanese terms for “selection” have dramatically changed over time. We identify some major breaks in the history of Japanese translations for “natural selection”. From the end of the 1870s to the early 1880s, several translations were suggested in books and periodicals: “shizen kanbatsu”, “shizen tōta”, “tensen”. Katō Hiroyuki adopted “shizen tōta” in 1882 and he undeniably played an important role in spreading this phrase as the standard translation for “natural selection”. The most common Japanese translation of the Origin during the first half of the 20th century (by Oka Asajirō in 1905) also used “shizen tōta”. Adramatic shift occurred after WWII, from “tōta” to “sentaku”. While a linear interpretation could suggest a move from a “bad” translation to a better one, a closer analysis leads to more challenging insights. Especially we stress the role of the kanji restriction policy, which specified which kanji should be taught in schools and thus should be used in textbooks: “tōta” was not included in the list, which may have led to the good fortune of “sentaku” in the 1950–1960s. We think the hypothesis of the influence of Chinese translations is not a plausible one. As to conceptual differences between “shizen tōta” and “sentaku”, they remain unconvincing as both terms could be interpreted as a positive or negative process: there is no clear reason to prefer one term over the other from the strict point of view of their meanings or etymology. Then, turning to the way terms are used, we compare translations of natural selection with translations of artificial or sexual selection. First we turn to the field of thremmatology (breeders): there, “tōta” (sometimes spelled in hiragana instead of kanji) often bore the meaning of culling; since 1917, breeders often used “sentaku” as a translation for “selection”. However, quite surprisingly, breeders used two different terms for selection as a practice (“senbatsu”), and “selection” as in “natural selection” (“shizen sentaku”). Finally, we compare possible translations for “sexual selection” and “matechoice”: here again, there are some good reasons to favour “tōta” over “sentaku” to avoid lexical confusion.

scholarly journals Photographic representations of 'truth': the history and contemporary practice of photographic narrative tableaux

2021 ◽  
Author(s):  
D'Arcy L. l. White
Keyword(s):  
Cultural Influences ◽  
Victorian Era ◽  
The Uncanny ◽  
Theory And Criticism ◽  
History Of ◽  
Contemporary Work ◽  
Concept Of Truth ◽  
Contemporary Practice ◽  
Over Time

This thesis explores the history of photographic narrative tableau from the Victorian era, through modernism, postmodernism, and postmodernism examining, as case studies, the contemporary work of Patrick Nagatani and Gregory Crewdson. It illustrates how this genre evolved over time, noting technological, social and cultural influences affecting artists and their work. It includes a discussion of contemporaneous photographic theory and criticism, and illustrates how staged narrative tableau photographs have a paradoxical relationship to the problematic concept of truth. Topics discussed include artifce, the uncanny, paradox, the contemporary sublime, and the aesthetics of seduction; the complicit gaze, anti narrative, and the role of the viewer; the use of language, words, and signs; fact, myth, truth, and the (re)creation of history; theatricality, melodrama, and metaphor; allegory, Simulation, simulacra, reality, and the real.

scholarly journals Dove va la storia economica? Metodi e prospettive. Secc. XIII-XVIII – Where is Economic History Going? Methods and Prospects from the 13th to the 18th Centuries

2011 ◽  
Keyword(s):  
Social Sciences ◽  
Economic History ◽  
General Context ◽  
Economic Science ◽  
Current State ◽  
Industrial Age ◽  
History Of ◽  
The Many ◽  
Over Time

The book proposes to take stock of the situation of the studies of economic history of the pre-industrial age, in an attempt to grasp what – in the current state of European research – is the cultural scope and role of the discipline among the many specialisations of history and economic science. It analyses the different approaches that have characterised the various European historiography schools over time, as well as the evolution and prospects of directions of research; it reflects on the analysis of the sources, the methods that are at the basis of their use, and the interpretative questions that they pose for the academic. Finally it proposes the inclusion of economic history within the more general context of research, through an interdisciplinary comparison between the method proper to this discipline and that of other economic and social sciences.

Muck, Mummies and Medicine: Disgust in Early Modern Science

2020 ◽  
Vol 4 (1) ◽  
pp. 43-65
Author(s):  
Sarah-Maria Schober
Keyword(s):  
Material Culture ◽  
Early Modern ◽  
Modern Science ◽  
Culture Studies ◽  
Early Modern Science ◽  
History Of Emotions ◽  
History Of ◽  
Changing Role ◽  
Over Time

Abstract This essay shows that early modern practices that used human bodily matter cannot be – as hitherto – explained by the absence of the emotion of disgust nor as being conducted in spite of disgust. Instead, it proposes to read those practices’ changing history as part of the history of the ‘paradox of disgust’. Four case studies (on anatomy, excrement, mummies and skulls) demonstrate that disgust was highly productive: it attracted fascination, allowed physicians to fashion themselves, and was even believed capable of healing. Over time and for complex reasons, however, the productive side of disgust declined. Combining current approaches in the history of emotions and material culture studies, this essay sets out not only to propose a new narrative for the changing role of disgust in early modern science and societies, but also to explore how variations in settings and human intervention changed the way emotions were used and perceived.

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