... of affordance and argue that the MP3 facilitates a new era of participatory media. © 2017 by Duke University Press 2017 music perception psychoacoustics digital audio References Anderson Jay . 2011 . “Stream Capture: Returning Control of Digital Music to the Users.” Harvard Journal...

... York: Penguin, 1976), 90 (translation modified). 2. Samuel Butler, Hudibras, part 2, canto 1, lines 465–66, in Marx, Capital, 126. boundary 2 43:1 (2016) DOI 10.1215/01903659-­3340625 © 2016 by Duke University Press 6 boundary 2 / February 2016 perception of sound and music historically...

... 178 boundary 2 / Summer 2000 chanical devices for reproducing visual phenomena—from the camera to the X-ray machine—the artist’s eye increasingly claims autonomy from the habits of artistic perception inherited from...

... and instrumental playing were merely outward-extending­ sounds of living property seemed increasingly to be giving way to the opinion that these soundings were a kind of Music. In large part, this shift in perception arose materially, as a consequence of changes in slave performance prac- tices...

..., indeed perhaps the central racial problematic within American popular music, is based on this imaginary yet perceptible difference. By calling this difference in harmon- ics imaginary, I want to characterize it as the result of fantasy. That is, the awareness of an unnotatable difference between...

..., “Evolutionary Studies in the Humanities: The Case of Music,” Critical Inquiry 39, no. 4 (2013): 647–75. I am grateful to the editors of this special issue, Jairo Moreno and Gavin Steingo, for their close reading of an earlier version of this essay and perceptive comments on it; the misconceptions...

... the organs of perception, but they endlessly recombine the assemblages (agencements) of these organs through technical mediations. This can happen, for example, by (artificially) bringing together the ear and the hand through the musical instrument (by an organon that is an artifact), or by bringing...

... in interpreting Invisible Man have devoted no small measure of attention to the musical sources of the book’s experimen- tal attitude—to jazz and blues, in particular—in part because of the mani- fest autobiographical impress of musical experience on Ellison’s sensibility. Those of us who have approached...

... index Dziga Vertov And you yourselves—how many times have you wondered about mankind's destiny, or asked the old questions: “Where are we going? Like the unheard music that lies latent in a phonograph record, where are we until God orders us to be born?” —Adolfo Bioy Casares, The Invention...

...Kevin Bell Duke University Press 2003 The Embrace of Entropy: Ralph Ellison and the Freedom Principle of Jazz Invisible Kevin Bell For Lee Morgan and John Gilmore 1. Space Music...

... entrepreneurs and circulated through informal distribution networks across the island using flash drives and hard drives. Combining archival and textual analysis with ethnographic research, this article analyzes how the legacy of state socialism gave distinctive shape to experiences and perceptions of digital...

... today due to the increasing globality of black musical practices. In other words, we need to probe the conditions for the possibility of ‘‘modern black sounds what makes these perceptible in the modern era are sonic technologies. Not too long ago, both Paul Gilroy and Houston Baker attempted...

... and financing of films as modern commodities (Ganti 2012 : 253–59; Morcom 2007 ; Booth 2011 ; Majumdar 2009 ). From a different vantage, scholars interested in questions of globalization and cinema have accounted for the centrality of musical numbers by mapping their protean circulation in other media forms...

..., the work becomes a space for rehearsing a relational virtuosity by means of musical instruments. Within the performing collective, the literal relations between musicians, their perception of each others’ cues and coordinations, describe an indeterminate geography in which sound becomes secondary...

... for playing with words to construct the poetry with our own personalized feelings/perceptions/consciousness, where there was more sign than word, tingling of sound, radiance of flashing, music of nature” (Ghosal 2016 : 64; my translation). It is like Wittgenstein's language-game : “The speaking of language...

... of perception and interspecies research, a “singing with,” not just about or like, the nonhuman animal. The infrahuman sounds of Lila Zemborain's jellyfish (“Mauve Sea Orchids”) or the revolving phonemes of Emily Dickinson's hummingbird (“A route of evanescence”) organize perception and citation along...

... “of the liminal problem of individua- tion of perceptive phenomena” such as music, sound, or language. Neither the physical manifestation of sound, nor the performativity of sound, nor questions of formal analysis, nor questions posed solely as “social” ques- tions of music resolve the issue of the liminal...

... . “ Tape: Or, Rewinding the Phonographic Regime .” Twentieth-Century Music 14 , no. 1 : 3 – 24 . Böll Heinrich . 1966 . “ Murke’s Collected Silences .” In 18 Stories , translated by Vennewitz Leila , 118 – 49 . New York : McGraw-Hill . Bryld Mette Marie Lykke Nina...

...], and by the fact that 6808 boundar ‘‘each scene [is] for itself’’ (ST, 20; BT, 37). For the productions of epic the- ater Brecht insists on ‘‘a radical separation of the elements This means, for example, that ‘‘words, music, and setting must...

... projection onto Weber—nor a top-­ down model, that is, global capital and its local instantiations, simply the perception that mere gestures of disavowal are not sufficient to their own claims, that they are revivalisms rather than genuine revivals of past social and cultural configurations...