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This project addresses the early history of sound archiving in broadcasting and its relationship to new arenas of cultural and knowledge production. For present purposes, the focus will be on the relationship between the Berliner Lautarchiv (cofounded by Wilhelm Doegen) and subsequent efforts in broadcasting to create, organize, and disseminate disk recordings.
Over the past twenty years neuroscience huge strides have been made in our understanding of how the brain reacts to music, and representations of music’s effects in the humanities increasingly reflect the prestige of neurology. Discussion of music and the brain has become the location of a highly significant but often unacknowledged interaction between cultural practices and epistemologies of scientific knowledge.
My project is a contribution to the history of listening techniques. It compares practices of listening in the minute’s silence, as they were programmed, established, performed, and commented on in commemoration ceremonies for the war dead in the years after 1919, with reflections on listening in theoretical work on radio in the mid-1920s.
Unbeknown to most people, in 1834, a tax collector, hobby astronomer, and musician proposed a revolutionary music theory that promoted digital principles of sound production. Friedrich Wilhelm Opelt (1794–1863) may be the most important music theorist you have never heard of. Given that music theory is working hard to catch up with developments in musical production of the last thirty years, it is quite possible that Opelt’s moment in the sun has finally come.
My project explores the nature of guji (古蹟) as artefact and as category of place-representation in China, by analyzing variations in the contents, allocation, and rationale of guji records in local gazetteers.
My project for the Local Gazetteer Workshop takes the local gazetteer as a site to demonstrate the continuity of spatial order in China between the late imperial and republican eras. “Spatial order” here refers to, among other things, the relationship between geographical entities such as the realm, the world, and the various levels of local places., and, particularly in this study, local—national relations.
Signal, Symbol, Measure, Model
The establishment of the discipline of architectural acoustics is generally attributed to the physicist Wallace Clement Sabine, who developed the formula for reverberation time around 1900, and with it the possibility of making calculated prognoses about the acoustic potential of a particular design.
This PhD project investigates new modes of listening ("attentive listening"), speaking ("plain" and "sincere speech") and remembering ("word memory") as they appear in mid sixteenth-century Geneva in the context of religious Reformation. I study the Consistory of Geneva—its church discipline and surveillance policy—in connection with a more general "acoustic turn" that can be observed in the period.
The 16th to 19th century represents a period that corresponds to a series of fundamental findings in acoustics. The aim of this project is to show, however, that the history of acoustics is not limited to the emergence of an exact science, but must also be located in a history of religious, cultural and artistic practices. The 'acoustic' is therefore of interest in its dual function as producer and object of science/knowledge.