Class Cultural Studies

  • Presentation


    This course investigates the theoretical identification of concepts related to a theory of culture and cultural formations; the identification of operational paradigms in the contemporary debate around Cultural Studies and Sound Studies; the acquisition of critical and analytical skills in addressing the cultural economy of sound; the conceptual recognition of aural techniques and devices as cultural encoders; the identification and systematic contextualization of aural ecologies active in contemporary culture.

  • Code


  • Syllabus


    1. Problematization of the concept of culture

    1.1 cultural studies and sound studies

    1.2 scientific perspectives on sound. Science and perception

    1.3 technique, institution and symbolic production

    1.4 culture as a political economy of perception: the case of hearing

    1.5 aural landscapes, community and power.

    2. From sound to symbol. From symbol to sound

    2.1. musical notation and the introduction of electricity.

    2.2 the origins of music and musical informatics

    3. Sound Aesthetics

    3.1 Rock and Drugs

    3.2 Jazz: racism and revolution

    3.3 planetary songs: ethnocentrism and eurocentrism

    3.4 John Cage

    3.5 from Varèse to Electronic Music

    4. Formation tensions of Western aural culture: synoptic view

    4.1 Harmony / noise 

    4.2 voice / logos

    5. "Redemption of the ear" and postmodern aural ethnography: multiculturalism, cosmopolitanism, globalization.

  • Objectives


    The goals of this course are:
    - questioning the different plans through which sound cultures fit the heritage of Cultural Studies;

    - interrogating the phenomena of contemporary aural specificity;

    - identifying the modes of cultural inscription of contemporary sound technology

    - investigating the propaedeutics (supported by a genealogical concern) of contemporary sound culture and its relationship with cultural institutions;

    - acquiring conceptual tools suitable for the critical confrontation of contemporary aural devices and the corresponding modes of cultural expression.

    - acquiring parameters for the significant inclusion of the practice itself (current or future) in the panorama of the contemporary cultural debate.

  • Teaching methodologies and assessment

    Teaching methodologies and assessment

    Theoretical presentation and class discussion. Examples and practical exercises. All points in the program involve textual or sound instances that will allow the points to be developed to be analytically or illustratively rooted.

  • References


    Adorno, T., The Culture Industry, Londres, 1991 

    Attali, J., Bruits. Essai sur l'économie politique de la musique, Paris, 2001

    Bennett, A., Cultures of Popular Music, Maidenhead, 2005

    Bijsterveld, K., Dijck, J., Sound Souvenirs, Amsterdam, 2009

    Cage, J. Silence. Lectures and Writings, Hannover, 1963 

    During, S., Cultural Studies: A critical introduction, Londres, 2005

    Erlmann, V. (ed.), Hearing Cultures. Essays on Sound, Listening and Modernity, Oxford, 2004

    Johnson, J., Listening in Paris. A Cultural Story, Berkeley, 1995

    Kahn, D., Noise, Water, Meat, Cambridge (Mass), 1999

    LaBelle, B., Acoustic Territories. Sound Culture and Everyday Life, New York, 2010

    Miranda, J.A.B., Teoria da Cultura, Edições Séc. XXI, 2002

    Russolo, L., "El Arte de los Ruídos", in Sín Título, nº 3, 1996

    Sterne, J. The Audible Past. Cultural Origins of Sound Reproduction, Durham, 2003



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