The Audible Past: Cultural Origins of Sound Reproduction
The Audible Past: Cultural Origins of Sound Reproduction
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听觉的过去：声音再现的文化起源
DOI：
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发表时间：
2003
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影响因子：
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通讯作者：
J. Sterne
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文献类型：
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作者：
J. Sterne
《可听的过去》探索了声音复制的文化渊源。它描述了一种独特的声音文化，正是这种文化催生了录音和传输设备，这些设备在现代生活中无处不在。学者兼音乐家乔纳森·斯特恩善于倾听意想不到的事物，他利用电话、留声术和无线电等技术和文化的先驱，以此作为进入声音历史的切入点。斯特恩研究了组织为“声音”和“非声音”的现象之间不断变化的边界。在可听得见的过去，这段历史交错在身体与机器、原件与复制品、自然与文化、生与死之间的界限区域。
融合了文化研究和通信技术的历史，斯特恩跟随现代声音技术穿越了一个历史迷宫。一路上，他遇到了资本家和发明家，音乐家和哲学家，防腐师和盗墓者，医生和病人，聋儿和他们的老师，专业人士和业余爱好者，民俗学家和部落歌手。从医学、物理学和哲学的发展，到工业资本主义、殖民主义、城市化、现代技术的动荡转变，以及新中产阶级的崛起，声音的历史记录了声音的历史和现代性的定义特征之间的联系。
作为一部挑衅性的声音历史，可听的过去挑战了理论上的平凡，例如说话主体的哲学特权，现代性理论中的视觉偏见，以及对自然的静态描述。它将使那些对文化研究、媒体和传播学、新音乐学和技术史感兴趣的人。
The Audible Past explores the cultural origins of sound reproduction. It describes a distinctive sound culture that gave birth to the sound recording and the transmission devices so ubiquitous in modern life. With an ear for the unexpected, scholar and musician Jonathan Sterne uses the technological and cultural precursors of telephony, phonography, and radio as an entry point into a history of sound in its own right. Sterne studies the constantly shifting boundary between phenomena organized as "sound" and "not sound." In The Audible Past, this history crisscrosses the liminal regions between bodies and machines, originals and copies, nature and culture, and life and death.
Blending cultural studies and the history of communication technology, Sterne follows modern sound technologies back through a historical labyrinth. Along the way, he encounters capitalists and inventors, musicians and philosophers, embalmers and grave robbers, doctors and patients, deaf children and their teachers, professionals and hobbyists, folklorists and tribal singers. The Audible Past tracks the connections between the history of sound and the defining features of modernity: from developments in medicine, physics, and philosophy to the tumultuous shifts of industrial capitalism, colonialism, urbanization, modern technology, and the rise of a new middle class.
A provocative history of sound, The Audible Past challenges theoretical commonplaces such as the philosophical privilege of the speaking subject, the visual bias in theories of modernity, and static descriptions of nature. It will interest those in cultural studies, media and communication studies, the new musicology, and the history of technology.