Mapping street sounds in the nineteenth-century city: a listener’s guide to social engineering

Llano, Samuel

doi:10.1080/20551940.2018.1476305

Cited by 9 publications

(3 citation statements)

References 24 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…Political assemblies of the Reform League were thus monologically framed as not only trespassing Hyde Park, but also trespassing through the noise of potentially “excited” voices. It is not of course unusual for governments to weaponise types of noise to further their socio‐political agendas (see Llano 2018; Radovac 2015; Thompson 2017; Voloshinov 1973). But in this particular case, Walpole was drawing on a historical discursive theme of equating large groups of demonstrators with being mob‐like.…”

Section: –1872: the Trespassing “Excitable” Noise Of Free Speech In H...mentioning

confidence: 99%

Assemblies, Coalitions, and Conflicts Over Free Speech: From “Trespass” to “Encroachment” in Urban Space at Hyde Park, London, 1861–1962

Roberts

2022

Antipode

View full text Add to dashboard Cite

By drawing, among others, on the ideas of the Bakhtin Circle and Judith Butler, this paper explores spatial struggles over the right to free speech at Hyde Park, London, 1861-1962 From the 1860s to the early 20 th century, the state gradually constructed a "monologic" discourse about an ideal-typical "indecent" speaker who would "trespass" on Hyde Park through their "excitable speech" against a legally sanctioned right to give a "public address" in the park. This discourse gave the state some room to evict those it claimed to be transgressing "public address". However, different "heteroglossic coalitions" of regulars ensured that Hyde Park remained not only a "political assembly" to discuss political issues, but also a "social assembly" to exercise free speech on a range of social topics. Indeed, by the 1950s, these coalitions used a nearby road scheme to successfully argue it was the state that was potentially trespassing, or "encroaching", on free speech at Hyde Park.

show abstract

Section: –1872: the Trespassing “Excitable” Noise Of Free Speech In H...mentioning

confidence: 99%

Assemblies, Coalitions, and Conflicts Over Free Speech: From “Trespass” to “Encroachment” in Urban Space at Hyde Park, London, 1861–1962

Roberts

2022

Antipode

View full text Add to dashboard Cite

show abstract

“…The latter strand, while also analyzing reactions to the effects of noise on the nervous system, places less emphasis on the production of medical discourse and focuses particularly on the social processes that take part in the construction of "noise" as a cultural category. This strand attends to urban sound ecologies in all their complexity (Atkinson 2007) and often focuses on those aspects of auditory cultures that lead to processes of social segregation (Bailey 1996;Llano 2018b). This strand, which is addressed in this volume by Haidt, Biddle, Llano and Whittaker, understands "noise" as a contingent category that is applied to certain musical practices in order to provoke animosity against them, because they are deemed to challenge the socioeconomic order, on the one hand, or to pose a risk to health and wellbeing, on the other.…”

Section: Sound History Modernitymentioning

confidence: 99%

Spanish sound studies

Llano

Whittaker

2019

Journal of Spanish Cultural Studies

Self Cite

View full text Add to dashboard Cite

Recent decades have seen a growing interest in "sound studies", a field of study that addresses the role of the auditory in culture and society. Sound studies is best understood as encompassing a broad range of critical approaches to the study of sound, a category that is considered here in both its physical and cultural dimensions. The philosophical writing of R. Murray Schafer (1994) and Walter Ong (1967), as well as the theories of musicologist Jacques Attali (1985) on the political potential of noise, provided some of the most influential early work on sound studies. Since the 1990s, scholars such as Emily Thompson (2002), Douglas Kahn (1999), Brandon LaBelle (2010) and Michael Bull and Les Back (2003) have explored the relationship between sound, architecture and modernization as means of historicizing cultural moments and crises. Researchers on sound technologies and media, such as Jonathan Sterne (2003), Rick Altman (2004) and Jacob Smith (2008), have made similarly significant contributions to the field, exploring the cultural origins and development of sound technologies. Their influence has been felt in the form of the appearance of academic journals dedicated to this field, including Sound Studies, The Journal of Sonic Studies and Sound Effects. Despite the sheer variety of disciplines and scholars that loosely belong to sound studies, they are generally unified by their shared aim to disrupt the epistemological dominance of the visual in Western culture. Bull and Back, for instance, have recently called for a "democracy of the senses" in which "no sense is privileged in relation to its counterparts" (2003, 2). As scholars make this shift, sound should not so much be studied in isolation or to the exclusion of other senses, but as a means of reinvigorating our understanding of the ways in which all the senseshearing, but also touching and feelingoperate together as a whole. Contributions to sound studies come from fields as varied as sociology, anthropology, history, visual studies, musicology, architecture, literary studies and, perhaps most significantly, geography, often simultaneously bringing together elements from more than one of these fields in surprising and productive ways. If the material properties of sound are elusive and ambiguous, as it is able to pass through borders and walls, so too are the boundaries of sound studies, making the field diverse and interdisciplinary in scope. This spatial metaphor finds its richest expression in the dialogue between sound studies and geography, an area of research has been pioneered by Susan Smith (1997), Ben Highmore (2002) and John Connell and Chris Gibson (2003). This work considers the ways that sound contributes to the production of space, thereby drawing attention to how, for instance, the sonic marks out and transforms the boundaries between public and private space.

show abstract

“…De tal modo, los juicios estéticos que ejercemos sobre lo que escuchamos están condicionados tanto por las ideologías dominantes como por las relaciones de poder epistémico a nivel global, determinadas a su vez por la impronta colonial en la geopolítica del conocimiento. Estos juicios, a su vez, sirven para marcar grupos sociales (Llano, 2016(Llano, , 2018a(Llano, y 2018bBieletto, 2018). A propósito, y luego de una reflexión sobre sus propios conflictos aurales ante la música pilagá del norte de Argentina, el etnomusicólogo Miguel Ángel García ahondó sobre las bases culturales e ideológicas que marcan los juicios estéticos en torno a la música (2012):…”

Section: [El éNfasis Es Mío]unclassified

Construcción de la marginalidad de los músicos callejeros. El caso de Rey Oh Beyve

Bieletto

2019

Culturayrs

View full text Add to dashboard Cite

Este estudio, de carácter documental, aborda el caso del cantautor oaxaqueño e indígena Rey Oh Beyve y plantea el problema de la representación del subalterno en sus dimensiones aural e historiográfica. Vinculo mi propia experiencia de escucha de sus canciones con el naciente campo de los estudios de auralidad a fin de discutir la construcción de la marginalidad estética de su obra. Conceptos como estéticas de la purificación (Ochoa 2006, 2014), escucha del encuentro (García, 2012) y abyección aural (Alegre y Hernández, 2018) permiten poner bajo escrutinio el papel que juega el sentido del oído en mecanismos intersubjetivos de desidentificación cultural. Recurro a la crítica postcolonial para cuestionar las formas de representación usadas en fuentes más tradicionales como notas de prensa y registros audiovisuales y fotográficos, con el fin de debatir sus usos como material de archivo seleccionado. Concluyo que la actividad musical en la vía pública de este personaje tensionó los marcos de reconocimiento de la cultura dominante y que la falta de inteligibilidad de su performance puede también ser interpretada como un caso de agencia política

show abstract

Mapping street sounds in the nineteenth-century city: a listener’s guide to social engineering

Cited by 9 publications

References 24 publications

Assemblies, Coalitions, and Conflicts Over Free Speech: From “Trespass” to “Encroachment” in Urban Space at Hyde Park, London, 1861–1962

Assemblies, Coalitions, and Conflicts Over Free Speech: From “Trespass” to “Encroachment” in Urban Space at Hyde Park, London, 1861–1962

Spanish sound studies

Construcción de la marginalidad de los músicos callejeros. El caso de Rey Oh Beyve

Contact Info

Product

Resources

About