Capitalism and the Senses is the first edited volume to explore how the forces of capitalism are entangled with everyday sensory experience. If the senses have a history, as Karl Marx wrote, then that history is inseparable from the development of capitalism, which has both taken advantage of the senses and influenced how sensory experience has changed over time. This pioneering collection shows how seeing, hearing, tasting, smelling, and touching have both shaped and been shaped by commercial interests from the turn of the twentieth century to our own time. From the manipulation of taste and texture in the food industry to the careful engineering of the feel of artificial fabrics, capitalist enterprises have worked to commodify the senses in a wide variety of ways. Drawing on history, anthropology, geography, and other fields, the volume’s essays analyze not only where this effort has succeeded but also where the senses have resisted control and the logic of markets. The result is an innovative ensemble that demonstrates how the drive to exploit sensorial experience for profit became a defining feature of capitalist modernity and establishes the senses as an important dimension of the history of capitalism. Contributors: Nicholas Anderman, Regina Lee Blaszczyk, Jessica P. Clark, Ai Hisano, Lisa Jacobson, Sven Kube, Grace Lees-Maffei, Ingemar Pettersson, David Suisman, Ana María Ulloa, Nicole Welk-Joerger.

From Tin Pan Alley to grand opera, player-pianos to phonograph records, David Suisman's Selling Sounds explores the rise of music as big business and the creation of a radically new musical culture. Around the turn of the twentieth century, music entrepreneurs laid the foundation for today's vast industry, with new products, technologies, and commercial strategies to incorporate music into the daily rhythm of modern life. Popular songs filled the air with a new kind of musical pleasure, phonographs brought opera into the parlor, and celebrity performers like Enrico Caruso captivated the imagination of consumers from coast to coast. Selling Sounds uncovers the origins of the culture industry in music and chronicles how music ignited an auditory explosion that penetrated all aspects of society. It maps the growth of the music business across the social landscape-in homes, theaters, department stores, schools-and analyzes the effect of this development on everything from copyright law to the sensory environment. While music came to resemble other consumer goods, its distinct properties as sound ensured that its commercial growth and social impact would remain unique. Today, the music that surrounds us-from iPods to ring tones to Muzak-accompanies us everywhere from airports to grocery stores. The roots of this modern culture lie in the business of popular song, player-pianos, and phonographs of a century ago. Provocative, original, and lucidly written, Selling Sounds reveals the commercial architecture of America's musical life.

During the twentieth century sound underwent a dramatic transformation as new technologies and social practices challenged conventional aural experience. As a result, sound functioned as a means to exert social, cultural, and political power in unprecedented and unexpected ways. The fleeting nature of sound has long made it a difficult topic for historical study, but innovative scholars have recently begun to analyze the sonic traces of the past using innovative approaches. "Sound in the Age of Mechanical Reproduction" investigates sound as part of the social construction of historical experience and as an element of the sensory relationship people have to the world, showing how hearing and listening can inform people's feelings, ideas, decisions, and actions.The essays in "Sound in the Age of Mechanical Reproduction" uncover the varying dimensions of sound in twentieth-century history. Together they connect a host of disparate concerns, from issues of gender and technology to contests over intellectual property and government regulation. Topics covered range from debates over listening practices and good citizenship in the 1930s, to Tokyo Rose and Axis radio propaganda during World War II, to CB-radio culture on the freeways of Los Angeles in the 1970s. These and other studies reveal the contingent nature of aural experience and demonstrate how a better grasp of the culture of sound can enhance our understanding of the past.