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This open access book illustrates how interdisciplinary research
develops over the lifetime of a scholar: not in a single project,
but as an attitude that trickles down, or spirals up, into
research. This book presents how interdisciplinary work has
inspired shifts in how the contributors read, value concepts,
critically combine methods, cope with knowledge hierarchies, write
in style, and collaborate. Drawing on extensive examples from the
humanities and social sciences, the editors and chapter authors
show how they started, tried to open up, dealt with
inconsistencies, had to adapt, and ultimately learned and grew as
researchers. The book offers valuable insights into the conditions
and complexities present for interdisciplinary research to be
successful in an academic setting. This is an open access book.
This open access book illustrates how interdisciplinary research
develops over the lifetime of a scholar: not in a single project,
but as an attitude that trickles down, or spirals up, into
research. This book presents how interdisciplinary work has
inspired shifts in how the contributors read, value concepts,
critically combine methods, cope with knowledge hierarchies, write
in style, and collaborate. Drawing on extensive examples from the
humanities and social sciences, the editors and chapter authors
show how they started, tried to open up, dealt with
inconsistencies, had to adapt, and ultimately learned and grew as
researchers. The book offers valuable insights into the conditions
and complexities present for interdisciplinary research to be
successful in an academic setting. This is an open access book.
It is common for us today to associate the practice of science
primarily with the act of seeing-with staring at computer screens,
analyzing graphs, and presenting images. We may notice that
physicians use stethoscopes to listen for disease, that biologists
tune into sound recordings to understand birds, or that engineers
have created Geiger tellers warning us for radiation through sound.
But in the sciences overall, we think, seeing is believing. This
open access book explains why, indeed, listening for knowledge
plays an ambiguous, if fascinating, role in the sciences. For what
purposes have scientists, engineers and physicians listened to the
objects of their interest? How did they listen exactly? And why has
listening often been contested as a legitimate form of access to
scientific knowledge? This concise monograph combines historical
and ethnographic evidence about the practices of listening on shop
floors, in laboratories, field stations, hospitals, and conference
halls, between the 1920s and today. It shows how scientists have
used sonic skills-skills required for making, recording, storing,
retrieving, and listening to sound-in ensembles: sets of
instruments and techniques for particular situations of knowledge
making. Yet rather than pleading for the emancipation of hearing at
the expense of seeing, this essay investigates when, how, and under
which conditions the ear has contributed to science dynamics,
either in tandem with or without the eye.
It is common for us today to associate the practice of science
primarily with the act of seeing-with staring at computer screens,
analyzing graphs, and presenting images. We may notice that
physicians use stethoscopes to listen for disease, that biologists
tune into sound recordings to understand birds, or that engineers
have created Geiger tellers warning us for radiation through sound.
But in the sciences overall, we think, seeing is believing. This
open access book explains why, indeed, listening for knowledge
plays an ambiguous, if fascinating, role in the sciences. For what
purposes have scientists, engineers and physicians listened to the
objects of their interest? How did they listen exactly? And why has
listening often been contested as a legitimate form of access to
scientific knowledge? This concise monograph combines historical
and ethnographic evidence about the practices of listening on shop
floors, in laboratories, field stations, hospitals, and conference
halls, between the 1920s and today. It shows how scientists have
used sonic skills-skills required for making, recording, storing,
retrieving, and listening to sound-in ensembles: sets of
instruments and techniques for particular situations of knowledge
making. Yet rather than pleading for the emancipation of hearing at
the expense of seeing, this essay investigates when, how, and under
which conditions the ear has contributed to science dynamics,
either in tandem with or without the eye.
Tracing efforts to control unwanted sound-the noise of industry,
city traffic, gramophones and radios, and aircraft-from the late
nineteenth to the late twentieth century. Since the late nineteenth
century, the sounds of technology have been the subject of
complaints, regulation, and legislation. By the early 1900s,
antinoise leagues in Western Europe and North America had formed to
fight noise from factories, steam trains, automobiles, and
gramophones, with campaigns featuring conferences, exhibitions, and
"silence weeks." And, as Karin Bijsterveld points out in Mechanical
Sound, public discussion of noise has never died down and continues
today. In this book, Bijsterveld examines the persistence of noise
on the public agenda, looking at four episodes of noise and the
public response to it in Europe and the United States between 1875
and 1975: industrial noise, traffic noise, noise from neighborhood
radios and gramophones, and aircraft noise. She also looks at a
twentieth-century counterpoint to complaints about noise: the
celebration of mechanical sound in avant-garde music composed
between the two world wars. Bijsterveld argues that the rise of
noise from new technology combined with overlapping noise
regulations created what she calls a "paradox of control." Experts
and politicians promised to control some noise, but left other
noise problems up to citizens. Aircraft noise, for example,
measured in formulas understandable only by specialists, was
subject to public regulation; the sounds of noisy neighborhoods
were the responsibility of residents themselves. In addition,
Bijsterveld notes, the spatial character of anti-noise
interventions that impose zones and draw maps, despite the ability
of sound to cross borders and boundaries, has helped keep noise a
public problem. We have tried to create islands of silence, she
writes, yet we have left a sea of sounds to be fiercely discussed.
Do you enjoy listening to music while driving? Do you find radio
traffic information indispensable? Do you appreciate the moments of
your drive in which you can listen to or sing along with whatever
you like? This book shows how we created auditory privacy in cars,
making them feel sound and safe, even though automobiles were
highly noisy things at the beginning of the twentieth century. It
explains how engineers in the automotive industry found pride in
making car engines quieter once they realized that noise stood for
inefficiency. It follows them as they struggle against sounds
audible within the car after the automobile had become a closed
vehicle. It tells how noise-induced fatigue became an issue once
the car became a mass means for touring across the country. It
unravels the initial societal concerns about the dangers of car
radio and what it did to drivers' attention span. It explores how
car drivers listened to their cars' engines to diagnose car
problems, and appreciated radio traffic information for avoiding
traffic jams. And it suggests that their disdain for the
ever-expanding number of roadside noise barriers made them long for
new forms of in-car audio entertainment. This book also allows you
to peep behind the scenes of international standardization
committees and automotive test benches. What did and does the
automotive industry to secure the sounds characteristic for their
makes? Drawing on archives, interviews, beautiful automotive ads,
and literature from the fields of cultural history, science and
technology studies, sound and sensory studies, this book unveils
the history of an everyday phenomenon. It is about the sounds of
car engines, tires, wipers, blinkers, warning signals, in-car audio
systems and, ultimately, about how we became used to listen while
driving.
We cannot simply listen to our urban past. Yet we encounter a rich
cultural heritage of city sounds presented in text, radio and film.
How can such "staged sounds" express the changing identities of
cities? This volume presents a collection of studies on the staging
of Amsterdam, Berlin and London soundscapes in historical
documents, radio plays and films, and offers insights into themes
such as film sound theory and museum audio guides. In doing so,
this book puts contemporary controversies on urban sound in
historical perspective, and contextualises iconic presentations of
cities. It addresses academics, students, and museum workers alike.
With contributions by Jasper Aalbers, Karin Bijsterveld, Carolyn
Birdsall, Ross Brown, Andrew Crisell, Andreas Fickers, Annelies
Jacobs, Evi Karathanasopoulou, Patricia Pisters, Holger Schulze,
Mark M. Smith and Jonathan Sterne.
Do you enjoy listening to music while driving? Do you find radio
traffic information indispensable? Do you like to sing along with
whatever you like as you drive?
This book tells the fascinating story of how, over the course of
the twentieth century, we turned automobiles from intentionally
noisy contraptions into spheres of auditory privacy that make us
feel sound and safe. It explains how engineers in the automotive
industry found pride in making car engines quieter once they
realized that noise stood for inefficiency. And, after the
automobile had become a closed vehicle, it follows them as they
struggled against sounds audible within the car. The book also
traces how noise is linked both to fears - fears of noise-induced
fatigue, fears about the danger of the car radio and drivers'
attention spans - and to wants, exploring how drivers at one point
actually desired to listen to their cars' engines in order to
diagnose mechanical problems and how they now appreciate radio
traffic information. And it suggests that their disdain for the
ever-expanding number of roadside noise barriers made them long for
new forms of in-car audio entertainment.
This book also allows you to peep behind the scenes of
international standardization committees and automotive test
benches. What did and does the automotive industry do to secure the
sounds characteristic for their brands? Drawing on archives,
interviews, beautiful historical automotive ads, and writing from
cultural history, science and technology studies, sound and sensory
studies, this book unveils the hidden history of an everyday
phenomenon. It is about the sounds of car engines, tires, wipers,
blinkers, warning signals, in-car audio systems and, ultimately,
about how we became used to listening while driving.
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