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| 1 |
ID:
162412
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| Summary/Abstract |
Sound represents a salient yet rarely examined counterpoint to visuality and materiality in security, international bordering, and mobility literature. Using the context of sub-Saharan African migration as grounding for empirical analysis and drawing on fieldwork conducted in Morocco in 2015 and 2016, this article lays the foundation for a research agenda that understands voice, and the sonic body more broadly, as mechanisms of political power. In examining the central roles that sound, hearing, and voice play in strategies of individual resistance at border crossings, as well as in state, private, and transnational communication and surveillance regimes, it attends to the ways in which sound and the audialized body reconfigure power relations, and structure mobility and personal identity. This analysis contributes to the growing literature addressing biometric borders and the deterritorialization of security practices, and argues that sound, along with more familiar nodes of securitization, constitutes a critical site of governmentality and therefore of ethical and moral negotiation.
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| 2 |
ID:
165988
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| Summary/Abstract |
In this article, I argue that audiocassette technology decentralized state-controlled Egyptian media long before the advent of al-Jazeera and the Internet. By enabling any citizen to become a cultural producer, as opposed to a mere consumer, the mass medium and its users sparked significant anxiety in the mid-to-late 20th century, when contentious cassette recordings led many local critics to assert that “vulgar” tapes were poisoning public taste, undermining high culture, and endangering Egyptian society. This article breaks down these arguments and shows that audiotapes actually broadcast a vast variety of voices. Thus, underlying many criticisms of cassette content, I contend, was not simply a concern for aesthetic sensibilities but a desire to dictate who created Egyptian culture during a time of tremendous change. By unpacking these discussions, this article harnesses Egypt as a case study to enhance prevailing investigations of sound, popular culture, and mass media in Middle East studies.
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| 3 |
ID:
169164
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Making sense of digital security practice requires grasping how data are put to use to compose the governing of individuals. Data need to be understood in their becoming, and in their becoming something across diverse practices. To do this, we suggest embracing two conceptual tropes that jointly articulate the being together of, and in, data compositions: composting and computing. With composting, we approach data as lively entities, and we explore the decaying and recycling processes inside Big Data security. With computing, we approach data as embodied and embodying elements, and we unpack the surveillance of ‘asylum speakers’. Together, composting and computing challenge recurrent images of data. Our conceptual composition takes sound as a necessary sensory counterpoint to popular data visions, notably in light of Ryoji Ikeda's artworks.
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| 4 |
ID:
183713
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| Summary/Abstract |
As the covert and clandestine practices of states multiplied in the twentieth century, so did these practices’ footprint in public life. This footprint is not just visual and material but sonic and aural, sounding the ‘secret state’ into being and suggesting ways of ‘listening in’ on it. Using multisensory methodology, this article examines Careless Talk Costs Lives, a UK Second World War propaganda campaign instructing citizens on how to practice discreet speech and listening in defence against ‘fifth columnist’ spies. This campaign reproduced the British secret state in the everyday: it represented sensitive operations as weaving in and out of citizens’ lives through imprudent chatter about ‘hush-hush’ activities and sounds you shouldn't overhear. The paradox at the campaign's heart – of revealing to people the kind of things they shouldn't say or listen to – made the secret state and its international operations a public phenomenon. Secret sounds therefore became entangled within productions of social difference, from class inequalities to German racialisation. Sound and listening, however, are unwieldy phenomena. This sonic life of the secret state risked undermining political legitimacy, while turning public space and idyllic environments into deceptive soundscapes – for international espionage, it seemed, sounded like ordinary life.
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| 5 |
ID:
086050
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| 6 |
ID:
148979
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| Summary/Abstract |
Sound has always been a factor in war; sometimes used as a weapon, signalling device, motivator or to distract or dismay the enemy. Phillip S Meilinger explores how this use of sound in battle began millennia ago as shouts, war cries and drum rolls, and continues today with the use of rock music and sonic devices to shape the battlefield.
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| 7 |
ID:
181089
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| Summary/Abstract |
This article uses ethnography of a studio recording project underway at a Qur'anic school in Salé, Morocco, to offer new insight on sound, media, and religious authority in Islamic contexts. The aim of the project is to record the entire Qur'an incorporating all of its seven canonical, variant readings (qirā’āt), which are enjoying a small renaissance in Morocco. Several of the school's faculty, known as shaykhs, engaged as expert listeners and overseers of the process. I show how a historical model of such expert listenership, which I call “aural authority,” is transformed by the technologies of the studio and then dispersed across a collective of productive agents that includes the reciter and the sound engineer. I argue that these transformations, along with erasure of the shaykh's role from the medium of circulation—the recording—presents significant challenges to the broader qirā’āt tradition and raises questions about its future.
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