goodman_sonicwarfare

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1998: A Conceptual Event 3 dystopic megalopolis through sonic affect “in all its dread and tension.” These musics, he adds, “act as mirrors to late capitalist reality, stripping away the façade of free enterprise to reveal the war of all against all: a neo- Medieval paranoiascape of robber barons, pirate corporations, covert operations and conspiratorial cabals. In the terrordome of capitalist anarchy, the underclass can only survive by taking on the mobilisation techniques and the psychology of warfareforming blood- brotherhoods and warrior- clans, and individually, by transforming the self into a fortress, a one- man army on perpetual alert.” 8 The city becomes a war zone, “a treacherous terrain of snipers, man- traps and ambushes.” This present tense of urban dystopias, and their corollary ecologies of dread are central to Sonic Warfare. World systems theory, as developed by the likes of Immanuel Wallerstein, divides the world into two sectors, core and periphery, the developed and the developing world. 9 However, the pressure of reality scrambles this simplistic model into a topology of uneven development, in which the periphery is enfolded into the core, with urban ghettos constituting a kind of internal south of the global system, underdeveloped enclaves soldered into the new architectures of security and formats of megalopian sprawl so vividly depicted in Mike Davis’s City of Quartz, The Ecology of Fear and, more recently, The Planet of Slums. This intersection of underdevelopment and hightech control, amplified by racialized oppression, is the backdrop to Afrofuturism and an inspiration to its musical innovations, tangents, and lines of flight. 10 In the same way that cyberpunk fiction and cinema were foundational to discussions of the image wars of digital culture, the fictions and musical processes of black electronic musics resonate in revealing ways with the technopolitics of affective mobilization that are core to Sonic Warfare. Reynolds seemed torn on the imagery of sonic warfare in ghetto musics, seduced on the one hand between the powerful affect of dread in their sonics, their antiauthoritarian stance, and their depiction of the predatory spaces of latetwentieth- century capital via their then unorthodox hallucinatory realist methodology. Yet he also seemed rightly skeptical of the paranoid, armored model of masculinity that seemed to him lay at their libidinal core. In a number of his texts, from Blissed Out, to The Sex Revolts to Energy Flash, Reynolds draws from Klaus Theweleit’s exploration of the libidinal economy of fascist masculinity to challenge a certain legacy of “metal machine music” whose theorization he traces to a futurist lineage reaching back to Italian poet and speed- freak Filippo Tommaso Marinetti. As will be discussed later, Reynolds is also suspicious of
4 Chapter 1 MIT Press netlibrary edition Afrofuturism, despite its significant divergences from both European modernism’s white noise and the macho posturing of the “street.” However, notwithstanding his semiotic, ideological, and psychoanalytic deconstructions of the pop manifestations of musical militarism, the concept of sonic warfare seems to compel an investigation of the material processes that accompany these sonic fictions and the seduction / compulsion and attraction / repulsion of bodies.
Page 2 and 3: SONIC WARFARE
Page 4 and 5: SONIC WARFARE Sound, Affect, and th
Page 6 and 7: Contents Series Foreword vii Acknow
Page 8 and 9: Series Foreword “What moves as a
Page 10 and 11: Acknowledgments A special thanks to
Page 12: We’ll come in low out of the risi
Page 15 and 16: xiv Introduction to real ones.” 1
Page 17 and 18: xvi Introduction sonic booms over t
Page 19 and 20: xviii Introduction of media technol
Page 21 and 22: xx Introduction the spread of the v
Page 23: 2 Chapter 1 MIT Press netlibrary ed
Page 27 and 28: 6 Chapter 2 affect engineering and
Page 29 and 30: 8 Chapter 2 and Felix Guattari poin
Page 31 and 32: 10 Chapter 2 and cultural meaning.
Page 33 and 34: 12 Chapter 2 carefully. Not only mu
Page 36 and 37: 2400-1400 B.C.: Project Jericho 3 I
Page 38 and 39: 2400-1400 B.C.: Project Jericho 17
Page 46: 2400-1400 B.C.: Project Jericho 25
Page 49 and 50: 28 Chapter 4 processing of vibratio
Page 52 and 53: 1933: Abusing the Military- Enterta
Page 54 and 55: 1933: Abusing the Military- Enterta
Page 56 and 57: 403-221 B.C.: The Logistics of Dece
Page 58 and 59: 403-221 B.C.: The Logistics of Dece
Page 60: 403-221 B.C.: The Logistics of Dece
Page 63 and 64: 42 Chapter 7 enemy’s visual capab
Page 66 and 67: 1842: Sonic Effects 8 In their urba
Page 68 and 69: 1842: Sonic Effects 47 resonation i
Page 70 and 71: 1977: A Sense of the Future 9 Our m
Page 72 and 73: 1977: A Sense of the Future 51 tion
Page 74:
1977: A Sense of the Future 53 of n
Page 77 and 78:
56 Chapter 10 pleasure of the sense
Page 80 and 81:
1989: Apocalypse Then 11 The future
Page 82 and 83:
1989: Apocalypse Then 61 futures in
Page 84 and 85:
1738: Bad Vibrations 12 Ring me ala
Page 86 and 87:
1738: Bad Vibrations 65 it is worth
Page 88:
1738: Bad Vibrations 67 of a state
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70 Chapter 13 distinctions that the
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72 Chapter 13 It signals, he contin
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1999: Vibrational Anarchitecture 14
Page 98 and 99:
Page 100:
Page 103 and 104:
82 Chapter 15 The theoretical objec
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84 Chapter 15 them. In physics, the
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86 Chapter 16 to factor in time to
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88 Chapter 16 while Lefebvre did mu
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1900: The Vibrational Nexus 17 Whil
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1900: The Vibrational Nexus 93 said
Page 117 and 118:
96 Chapter 18 even in the void. Whi
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98 Chapter 18 order—that is, of r
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100 Chapter 19 This divergence has
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102 Chapter 19 speed; a speed may b
Page 126 and 127:
99-50 B.C.: Rhythm out of Noise 20
Page 128:
99-50 B.C.: Rhythm out of Noise 107
Page 131 and 132:
110 Chapter 21 rhythmicity of urban
Page 133 and 134:
112 Chapter 21 beyond. Rhythm in fa
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114 Chapter 22 physics, vortex soun
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116 Chapter 22 Such an approach, Ch
Page 139 and 140:
118 Chapter 23 duration, he argues
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120 Chapter 23 not be decided in ad
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122 Chapter 23 discreet sampled sou
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124 Chapter 24 As well as new textu
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126 Chapter 24 to composers keen to
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128 Chapter 24 But what happens whe
Page 151 and 152:
130 Chapter 25 the new flesh soft m
Page 153 and 154:
132 Chapter 25 pragmatism, the viro
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134 Chapter 26 the project that sti
Page 157 and 158:
136 Chapter 26 Dawkins acknowledges
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138 Chapter 26 monism in favor of m
Page 162 and 163:
1971: The Earworm 27 It’s 3.09 a.
Page 164 and 165:
1971: The Earworm 143 in spare elec
Page 166 and 167:
1971: The Earworm 145 therefore, si
Page 168 and 169:
1971: The Earworm 147 traction of v
Page 170 and 171:
2025: Déjà Entendu 28 Whoever exp
Page 172 and 173:
2025: Déjà Entendu 151 implied as
Page 174:
2025: Déjà Entendu 153 the probab
Page 177 and 178:
156 Chapter 29 incubator population
Page 179 and 180:
158 Chapter 29 In the propaganda of
Page 181 and 182:
160 Chapter 29 Moreover, they hack
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162 Chapter 29 song into a series o
Page 185 and 186:
164 Chapter 30 Afro- futurist disco
Page 187 and 188:
166 Chapter 30 upside to the milita
Page 189 and 190:
168 Chapter 30 “humanist R&B” a
Page 192 and 193:
2020: Planet of Drums 31 The person
Page 194 and 195:
2020: Planet of Drums 173 So it is
Page 196:
2020: Planet of Drums 175 the organ
Page 199 and 200:
178 Chapter 32 For a moment, the sc
Page 201 and 202:
180 Chapter 32 A second, and relate
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182 Chapter 32 ideas are broadcast,
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184 Chapter 33 Unsound refers to th
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186 Chapter 33 control marks a qual
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188 Chapter 33 hand in hand with br
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190 Chapter 34 in advance for produ
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192 Chapter 34 thought with distrac
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194 Chapter 34 and economic hacking
Page 217 and 218:
196 Glossary Perry in reggae. Chron
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198 Glossary reverse- engineer what
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200 Notes sonic affects. This proce
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202 Notes 9. Immanuel Wallerstein,
Page 225 and 226:
204 Notes randomness within specifi
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206 Notes 4. M. Cloonan and B. John
Page 229 and 230:
208 Notes “You Hurt Me (and I Hat
Page 231 and 232:
210 Notes indicating amplifier, ban
Page 233 and 234:
212 Notes 3. See R. N. Scarth, Mirr
Page 235 and 236:
214 Notes engineers, bulldozers gra
Page 237 and 238:
216 Notes that power), nor to physi
Page 239 and 240:
218 Notes film exposure is capable
Page 241 and 242:
220 Notes 4. Eshun, More Brilliant
Page 243 and 244:
222 Notes 3. See Erin Manning, “P
Page 245 and 246:
224 Notes Chapter 16 1. Gaston Bach
Page 247 and 248:
226 Notes 5. Alfred North Whitehead
Page 249 and 250:
228 Notes simulation of turbulence
Page 251 and 252:
230 Notes microscopic scale. The mu
Page 253 and 254:
232 Notes 6. Ibid., p. 66. 7. Ibid.
Page 255 and 256:
234 Notes Semiosis by Means of Cell
Page 257 and 258:
236 Notes Chapter 26 1. According t
Page 259 and 260:
238 Notes scrutinize scientific ide
Page 261 and 262:
240 Notes of war. William James, Th
Page 263 and 264:
242 Notes 13. Gunderson, “Applyin
Page 265 and 266:
244 Notes reception of the musical
Page 267 and 268:
246 Notes open. And why not: it was
Page 269 and 270:
248 Notes in it and begin transmitt
Page 271 and 272:
250 Notes Chapter 34 1. We can find
Page 273 and 274:
252 References Bain, M. “Intervie
Page 275 and 276:
254 References Davis, M. Planet of
Page 277 and 278:
256 References Gavreau, V. (1968).
Page 279 and 280:
258 References Lewin, O. Rock It Co
Page 281 and 282:
260 References Reynolds, S. “2 St
Page 283 and 284:
262 References Todd, P. “Simulati
Page 286 and 287:
Index Abstract vorticism, 83, 195,
Page 288 and 289:
Index 267 noise and, 7 rhythm and,
Page 290 and 291:
Index 269 Serres and, 105, 226 sile
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