Testi: Goodman Steve. pagg. 240; rileg. brossura.
Editore: M.I.T. Press, Cambridge, 2009.
Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the “psychoacoustic correction” aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or “sound bombs”) over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations., Most theoretical discussions of sound and music cultures in relationship to power, Goodman argues, have a missing dimension: the politics of frequency. Goodman supplies this by drawing a speculative diagram of sonic forces, investigating the deployment of sound systems in the modulation of affect., Goodman concludes with speculations on the not yet heard—the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths.