Noise and ethics: On Evan Parker and Alain Badiou

Cobussen, Marcel

doi:10.1080/14735780500102397

Cited by 6 publications

(4 citation statements)

References 2 publications

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“…However conscious the organization and manipulation of sound and auditory space can be, the sensational impact of noise upon bodies is always inflected by shock and disruption (Cobussen, 2005). Sound can pitch us outside of ourselves and outside of existing ontopolitical and socio-historical imaginaries -into the unknown and unthought: we can be orientated and disorientated, extended by sound, while all the time such sensory evictions can anchor us, temporarily at least, in this context or that.…”

Section: Discussionmentioning

confidence: 99%

Auditory Space, Ethics and Hospitality: ‘Noise’, Alterity and Care at the End of Life

Gunaratnam¹

2009

Body & Society

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This article examines the limits and potential of hospitality through struggles over auditory space in care at the end of life. Drawing upon empirical research and a nurse's account of noisy mourning in a multicultural hospice ward, I argue that the insurgent force of noise as corporeal generosity can produce impossible dilemmas for care, while also provoking surprising ethical relations and potentialities. Derrida's ideas about the aporias of the gift and absolute responsibility are used to make sense of the pushy generosity of alterity as it is made to matter through sound.

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Section: Discussionmentioning

confidence: 99%

Auditory Space, Ethics and Hospitality: ‘Noise’, Alterity and Care at the End of Life

Gunaratnam¹

2009

Body & Society

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“…With respect to questions about infectious disease, contagion and pollution, there is something poignant in the way that sound constitutes a form of ‘touch’, direct contact, or physical interaction at a distance. Cobussen writes of the way noise has the capacity to “contaminate” such that it “affects and infects any system, any order” ( 2005 , p. 30). As Gunaratnam ( 2009 ) puts it in the context of the palliative care soundscape, “… to hear is to be literally touched and to take impressions of others into our bodies whether we like it or not” (5).…”

Section: Sonographies Of the Coughing Bodymentioning

confidence: 99%

The coughing body: etiquettes, techniques, sonographies and spaces

et al. 2020

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With newfound relevance in the context of Covid-19, we focus on the coughing body, building on an in-depth qualitative study of three UK lung infection clinics treating people with cystic fibrosis. Conceptually we take our cue from Norbert Elias and the way something as physiologically fundamental as coughing becomes the focus of etiquette and technique, touching also on themes central to Mary Douglas’ anthropology of pollution. This is explored through four themes. First, we show how coughing becomes a matter of biopolitical citizenship expressed through etiquettes that also displace pollution anxieties to surroundings. Second, coughing is a question of being assisted to cough through the mediation of professional skills, interventions and devices. Third, coughing is seen to be central to the sonographic soundscape of the healthcare environment whereby people learn to recognise (and sometimes misrecognise) each other through the ‘sound’ of the cough. Finally, coughing properly can be seen to have both a ‘time and a place’ including the retreat of the cough from public space into risky confined spaces. Our conclusion speculates on the way these insights shed light on aspects of life that, until the Covid-19 pandemic, lay largely hidden.

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“…Implicit in such music‐making is the problem for listeners of making sense of musical texts. Noise music becomes a break, a void within familiar musical structures that upsets the Jaussian notion of a horizon of expectation and forces listeners to reconceptualize existing codes or at least to challenge them (Cobussen). For some fans, what they are hearing is something entirely new and beyond comparison:…”

Section: Fan Writing About Noise Music: Beyond the Limits Of Expression?mentioning

confidence: 99%

Fan Discourse and the Construction of Noise Music as a Genre

Atton

2011

Journal of Popular Music Studies

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Writing about Japanese noise music, Paul Hegarty claims that it is not a genre, but it is also a genre that is multiple, and characterized by this very multiplicity. . . . Japanese noise music can come in all styles, referring to all other genres. . . but crucially asks the question of genre-what does it mean to be categorized, categorizable, definable? (133, original emphasis)The question that Hegarty asks here is, of course, central to an understanding of how popular music genres are constructed. We are familiar enough with the origins of genre that lie in industrial classification (Negus 1999), where genre labels are produced to aid the production and distribution of cultural artifacts. Both marketeers and critics codify and classify as a post hoc rationalization of a limited and graspable set of characteristics of a cultural practice; such efforts enable coherence, identification, and identity within musical experiences. These practices have been acknowledged as a limiting way of thinking about genres in popular music (Frith Performing Rites; Toynbee), to the extent that they have little to say about the active constitution of a genre by musicians and fans. This has less to do with a search for the origins of a genre, which arguably would most likely lead to little more than a foundation myth, than with the extreme difficulty of identifying the origins of a genre label. The cultural origins of a genre will often lie in unrecorded and informal processes that occur across multiple sites of origin, both geographically and aesthetically. Moreover, any genre will inevitably be formed from other generic practices: "[d]ifferent fractions of a genreculture have different histories, and historical discourses surrounding the music continue to have great power in the present" (Holt 77).A search for origins, therefore, becomes less culturally useful than an exploration of how a genre comes to be constituted and practiced discursively. Hegarty's argument about genre goes further still-he seems C 2011 Wiley Periodicals, Inc.

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Noise and ethics: On Evan Parker and Alain Badiou

Cited by 6 publications

References 2 publications

Auditory Space, Ethics and Hospitality: ‘Noise’, Alterity and Care at the End of Life

Auditory Space, Ethics and Hospitality: ‘Noise’, Alterity and Care at the End of Life

The coughing body: etiquettes, techniques, sonographies and spaces

Fan Discourse and the Construction of Noise Music as a Genre

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