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Contact us at support funeasylearn. Free trial. See system requirements. Available on HoloLens. Surface Hub. What is all this water music in search of?
Winderen, in The Noisiest Guys on the Planet, uses snapping shrimp to shift to a multispe- cies soundscape. These animals are not simply following their instincts. It is also a research method, one that flows easily from a principle of wholeness.
The sound of ice melting and of data about ice melting are signs of global warming. However, even data collection is available for aesthetic contemplation. Beware of sudden extremely loud events.
Rather than evoking, invoking, or soaking, they broker connections between the ocean understood as natural field and considered, for better or worse, as a lab for global ecopolitical futures. For the field tradition, underwater music emerges from the noise of the Cold War, which reveals the songs of whales.
For the lab tradition, the pool begins as a stage to realize the ascetic aesthetic of Cagean modernism. Moreover, in both settings the transductive properties of water must be managed in order to invoke water as a material accomplice in this enterprise, this aim of soaking listeners in the sublime surround of sound submerged. What is it, that we hear in thy sad moan? Is this unceasing music all thine own? We have come to imagine that they are because they sound like the waves of the sea, and knowledge that the shell originally came from the sea helps us to this conclusion very easily.
That explanation sought to supplant superstition with science, trading sub- lime enchantment for fascinating fact. Actually, the dull roaring sound they hear is the echo of the blood moving inside their ear.
In Robert E. The explanation was in place by , in a college textbook: The concave, undulating, and perfectly polished surface of many sea shells, fit them to catch, to concentrate, and to return the pulses of all sounds that happen to be trembling about them, so as to produce that curious resonance from within, which resembles the distant murmur of the ocean.
Because what may be called expended vibrations always exist in air where various sounds are occurring. These tremblings of the air are received upon the thin cov- ering of the shell, and thus being collected into a focus, are transmitted to the ear.
The breakers roar; The homeless billows fret and foam and wash. And die far off upon an alien shore. Though all things fade apace, Do fade and fall, they pass not utterly; Within your jasper vase There lingers still a tone, a mystery.
A something hides Of glory fled, of love that cannot die: All life that ever was somewhere abides. Like mediums, they were often female, with voices Like the sigh of a maiden in lone despair,. Such, such are the sounds of the wild sea shell,. Across my ear like the tones of woe, It soundeth to me Like the voice of the sea, And sweet is its mournful melody.
Like a holy hymn Of nymphs in deep devotion. And other sounds as well, like the jingling of the basket of keys, or the ringing of the two bells at the front and back steps.
We have the meeting of two models for seashell sound: a mythic model that has seashells as channels for voices from a communal past, and a materialist model that has seashells as resonant chambers of individual, located experience. Although I have not been able to trace a definitive origin, the notion appeared in the late nineteenth century. We hear the sea. The sea? He heard more faintly that that they heard, each for herself alone, then each for other, hearing the plash of waves, loudly, a silent roar.
The sea they think they hear. A roar. The blood is it. Interestingly, the sounds it delivered were sometimes compared to those from a seashell. It is compared to the sound heard on placing a sea shell of moderately large size against the ear.
The move from hearing a communal mythical past to auditing an individual present continues, now reaching into physiology. The seashell makes it easier for you to hear it. This sound is very much like the sound of the ocean. It is really the greatly amplified sound of our own blood rushing.
The cochlea contains fluid that carries traveling waves. The sound comes from inside your own ear. The inner part of your ear, the part that is far back into your head, has both bone parts and soft tissue parts. Your cochlea is filled with fluid. This fluid helps you transmit sounds from your eardrum to your brain.
And it sloshes around like waves. But when you hold a seashell to your ear, this small sound echoes off the shell and back into your ear. That transformation prepared the way for a model of subjectivity in which people could imagine themselves sensing themselves sensing. Fast forward to a key moment in the history of modernist sound. Afterward I asked the engineer in charge why, if the room was so silent, I had heard two sounds.
The low one was your blood in circulation. The echoing ocean, once dethroned by vibrating air, has now been displaced by brute blood, something of a solipsistic surrogate for the salty sea. Like everyone at the mine, he had to be at work promptly at a. But he could not wake up on time. Every morning at , the neighbor came and tugged at the rope. When the alarm went off, the iron would fall and the vibration would wake him up.
He switched to this method and subsequently the shrill sound of the alarm clock be- came the sound everyone else in the village used to wake up.
Instead of the deaf man depending on others, the villagers came to depend on the deaf man. Sound studies and Deaf studies would seem, at first perception, to operate in worlds apart. Sound studies privileges attention to listening and hearing in cultural experience, seeking to combat the primacy of vision as an organizing frame for social analysis. In sound stud- ies, deafness becomes a ready and audist figure for critical inattention.
Many began to write of a distinctive Deaf culture, forged within communities held together by sign language. There is a tradition of Deaf jokes involving use of sound to achieve Deaf ends. The husband goes out to the car to retrieve something and then realizes he does not remember his room number. Eventually, every room in the hotel has a light on except for one and this, of course, is the room in which his new wife waits.
Carol Padden and Tom Humphries write about the ways Deaf children learn about the significance of sound to the hearing. The floor will be used alternatively as a platform, instrument, and stage for an event in three parts. In the first the floor will be used as a platform for dialog [in speech and sign] between artists, design- ers, scientists, and students. In the second, the floor will be used as an instrument in a workshop on resonant vibrations.
In the third, the floor will become a stage for performances and a silent dance party. This project is part of an investigation of the politics of experience. The workshop could be understood as an intervention into what Steve Good- man a. Phenomenologies of vibration are by no means singular.
Kindred Deaf ar- tistic productions include the work of Rathskellar www. Deaf scholars and activists have in the last decades participated in an im- passioned debate about this assistive technology. A cochlear implant consists of a tiny receiver placed under the skin behind the ear. A person with a Figure The processor manipulates what the microphone captures, and sends a signal to the transducer, usually worn just behind the ear. The transducer changes the signal from electrical to magnetic, a signal that can be received through the skin by the implanted receiver.
The most heated debates around this tech- nology center on whether it is acceptable for parents to choose implant surgery for deaf children. Many implant recipients have ambivalent relationships with what this technology means for their identities and abilities, especially since, through implantation, they become biomedical subjects and are consequently more likely to identify or be identified as being disabled.
Cochlear implantation may betoken the rupture of some key kinds of Deaf sociality. We would like to experiment, however, with the notion that spoken and signed language both concern articulation.
For phoneticians, who make their living tracking the sounds of speech, articulatory phonetics details the phys- iological motion of parts of the vocal tract in the production of speech. Sign language also operates through a process of articulation, though here not of bodily managements of the flow of air via the larynx, glottis, tongue, and teeth, but rather through the positioning of fingers, hands, and facial expressions in space and time.
But by articulation, we do not wish to reduce communicative connections to those simply to do with bodily mechanics of speech and sign but want rather to amplify attention to how language and sociality are entan- gled with one other in fashioning phenomenological and cultural worlds.
Sign language, then, is not only a language: Deaf social practices and as- pirations are articulated within its transmission. Scholars in sound studies, meanwhile, miss deaf and Deaf experiences of sound through similar oversights.
It refers to a life form composed of cells or tissues drawn from genetically dis- tinct lineages. Before her death in , the evolutionary biologist Lynn Margulis had been urging the claim that almost every living thing on Earth originated as, and still can be considered, a chimera. We animals and plants are all of us organisms made out of other organisms. In her initially heterodox, but now increasingly accepted, theory, Margulis argued that evolutionary biological novelty emerged not only through Darwinian descent with modification, but also through the symbiotic fusion of different sorts of cells and organisms, through a process she called symbiogen- esis.
Chimeras are real. Life is not shy. More generally, the auditory chimera delivers a kind of structured nonsense meant to force listeners to confront their assumptions about how and what they are hearing when they hear. While auditory chimeras are usually employed in the service of scientific research into the nature of hearing, their technical and aesthetic possibilities have not gone unnoticed by musicians and sound artists. Not orientations, but disorientations.
To create the piece Figure But back, for a moment, to biology. She suggested that the tiny hairs on the edges of cells, the filaments in mitotic cell division, and the tails of sperm all came from earlier organismic incorporations of spirochetes.
On this model, hearing, as a biologically enabled capacity, is itself enabled by chimerical compounds see figure What happens when chimeric listening meets chimeric composition? In his various works using chimerization, Hecker asks auditors to tune in to the new sound that emerges when different sound qualities are pressed into jux- taposition.
From Lynn Margulis, Celeste A. Asikainen, and Wolfgang E. Krumbein, eds. The result was that the guitar sounded as though it were speaking, or articulating words.
One famous attempt to pin timbre down came in in the pages of Stereo- phile magazine, in which the editor and audiophile J. In this way, timbre is itself chimeric. Chimeric hearing, meet chimeric sound. These are phenomena that, to be sure, have met before. Both life and timbre are chimeric. Answering the question What is life? And so it seems to be with timbre.
What Hecker and Sagan each underscore, then, is the fleeting and compoundly experiential character of vitality and sensing. What can one learn from the texture of that experience? Now that we are big-heartedly making it available to the world at large, you will undoubtedly see some of the terminology appearing in other hi-fi rags. When you do, just remember that You saw it in Stereophile first. From The Stereophile 3, no. And if such sound can be put together artificially, it can certainly be put together in ways that go against the grain of everyday experience.
The judgment that permits listeners to understand timbre is being taken apart, atomized into a collection of abstracted, formal processes.
Listeners, after all, might listen to, with, or through his compositions, adding them up to new experience. Curiously, the judgment of timbre is naturalized through becoming cyborg, through fusing information and flesh, through becoming a chimera. Perhaps this is no surprise.
The abstraction only works through formalisms, for- malisms that are then rendered inaudible, out of earshot. This is not what Hecker is doing. He is not making timbre whole again. He is decomposing it, so its original cannot be retrieved. As I hope has become clear, the material and formal structures through which life, water, and sound are known shape these objects as abstractions and empirical phenomena both.
Abstraction is based not only on those variously formatted and materialized formalisms that make assumptions explicit, operational, and organized; abstraction is also an everyday activity lay- ered into the traffic of contingent human relations across a buzz of domains.
And I have been particularly interested in those moments when abstractions and formalisms break, forcing reimaginations of the phenomena they would apprehend. And this is why I have found sounding a useful analytic in unifying these essays. As I noted at the outset, sounding as fathoming, resounding, uttering, being heard, conveying impressions, suggesting analogies, repeating, and echo- ing is a good tool for getting at the empirical world, which is abloom with res- onances and dissonances across domains.
Sounding is also, I have intimated, an appropriate idiom for investigating that which is not yet fully known, that which people discover only through a kind of auditing that can change the very substance to which it listens, that can create new echoes, new reverberations.
I have kept them in mind to keep in awareness the fact that the medium through which one in- vestigates things in the world is significant. What emerges from such an enterprise for such concepts as life, water, and sound? I think it reveals them to be not quite concepts at all. Compare what W. The basis of race distinction was changed without explanation, without apology. There is usually one in the three that does not fit, that demonstrates a crisis of thinking, a need to move beyond received categories.
At stake in spotlighting abstractions and nonhuman phenomena is an at- tempt to make sense of how naturalcultural worlds are now being created. The Anthropocene, that new geobiopolitical term proposed to call attention to how anthropogenic processes are modulating the planet, is perhaps a term too anthropocentric.
Or even away from the fetish of articulate language. Reverse reverb is an audio effect in which a reverberation, or echo, precedes or anticipates a sound to come.
A less common name is preverber- ation. The essays in Sounding the Limits of Life offer possible preverberations of how life, water, and sound may morph, conceptually and actually. I acknowledge these interlocutors chapter by chapter. Several names appear more than once, indicating a generous and sustained engagement by col- leagues and friends on many of the themes developed here. Barbara Herrnstein Smith extended the invitation to participate. The historian Joan Steigerwald, who writes on Ger- man Romanticism in science, was an indispensable reader.
I thank Jessica Riskin for inviting this contribution and Timothy Lenoir and Heidi Voskuhl for key conference conversations. Wyn Kelley provided valuable guidance. I have benefited, in reweavings, from com- ments from Eva Hayward, Heather Paxson, Sophia Roosth, and Malcolm Shick, as well as from an expert reading by the historian of reef science Alistair Spon- sel. For the version reproduced here, I add thanks to Margaret Wertheim, one of the founders of the Institute for Figuring, which has organized the crafting of the hyperbolic crochet coral reef.
It also poaches a few paragraphs from S. I thank Brad Weiss and Marisol de la Cadena for the invitation. On a next round of writing, Julie Olson and Pam Ballinger provided readings informed by maritime anthropology, and Heather Paxson and Bill Maurer made invaluable suggestions about the larger sea of anthropological theory.
I thank Tom Boell- storff and the three anonymous reviewers for American Anthropologist. Scott Coe and W. Scott Howard. Fischer, Heather Paxson, and Ajantha Subramanian for commentary. I thank Trevor Pinch and Karin Bijsterveld as well as participants at the originating workshop.
Two anonymous reviewers provided key reflections. I thank my research assistant, Clare Kim, who provided invaluable help with image permissions. This list above is still short many people essential to the writing and think- ing of these pieces. I partic- ularly thank Michael M. I have had crucial conversations on the themes here with colleagues and friends in the wider world of anthropology, STS, and beyond. Without the thinking and work of a number of stellar students I have had over the years, this collection would be much hollower.
The MIT undergradu- ates Xan Chacko, Shahriar Kahn, and Caroline Rubin asked insightful questions about the fundamentals of anthropology that still have me scouting for answers. Sharp readers will have noted the repeated appearance in these acknowledg- ments of Heather Paxson. My colleague at MIT as well as my wife, she is my very best friend and collaborator in all things.
My life with Heather and Rufus, buoyed as it is by their limitless love, keeps me sane, safe, and sound. On fetal ultrasound, Lisa M. On ultra- sound for zooplankton classification, Paul L. Roberts and Jules S. The sound of different biologies also points to diverse sorts of biologists, having distinct trainings and tunings. Basel, Switzerland: Basilius, For scholarship on sound in outer space, consult William R.
Macauley, ed. Gordon, Shelley E. Tobias J. Even so, there are today new conversations between anthropologists of biology and biological anthropologists centering around how to think critically about the making of knowledge about human genes, bodies, populations. American Anthropologist , no. And see Eben Kirksey, ed. See, e. Collins and Yearley accused Callon and Latour, with their emphases on non- human agency, of smuggling in unreflexive realist and materialist stories about the world.
Hacking posits that looping effects are particularly germane to human classifications of humans. Evidence, Realism and Pluralism Dordrecht: Springer, These works argue against philosophical claims that there exist essences outside signification. Jamie Linton, What Is Water? Thanks to Caterina Scaramelli for essential conversations on water and anthropology. See Veronica Strang, ed.
The version here does not include the ethnographic interludes of its original form; those stories appear in full in Alien Ocean. Steintrager, eds. See Goodman, Sonic Warfare. Related, but not identical, to the kinds of formalism examined by historians of science, are those associated with art and art history. I thank Alma Steingart for thinking with me on this topic. They refer primarily to a frame of mind, to a state of knowledge and to the character of mathematical substance.
And the color line has not been left behind. For a reading of the relation be- tween climate change and the racialized geography of the United States see Deir- dre Smith. Paul J. Crutzen and Eugene F. Taylor, Saul E. Halfon, and Paul N. Ed- wards, eds. Susan Lindee, eds. Richardson, eds. Collier, eds.
Jones, eds. Historians, sociologists, and anthropologists of science have employed the term to describe scientific, religious, economic, and ethical worldviews. See e. Betty E. Spillmann New York: Pantheon Books, for a strong claim about life as a program. For a contrasting view of life from one of his contemporaries, see J. Haldane, What Is Life? New York: Boni and Gaer, Berkeley: University of California Press, And that, if biology was unknown, there was a very simple reason for it: that life itself did not exist.
And that, if biology has been undone, there is a very simple reason for it: that life itself has been disassembled and revealed to be an effect, not an originary force. All that now exist are living things and their parts, which are viewed through a grid of knowledge constituted by biotechnology.
Doyle, Wetwares, Michel Foucault, The History of Sexuality, vol. Robert Hur- ley New York: Vintage, , There are many other candidates for limit biologies, not all of them historically new. Such biologies ask us to consider what tempo and cadence or- ganic processes must possess to count as alive. Quoted in Coleman, Biology in the Nineteenth Century, 2. See Christopher G. Langton, ed. An Anthropology of Subjects and Objects Cand polit. Christopher G. Susan Oyama, The Ontogeny of Information, Lang- ton, Redwood City, CA, , 2.
See Geraci, Apocalyptic AI. As I observed in Silicon Second Nature, while many people who imagined them- selves part of this evolutionary vanguard were at the fringes of their professional fields, many also occupied positions of gender, race, class, and national privilege.
Compare Roosth, Synthetic, on the scientists J. Marilyn Strathern, Reproducing the Future. Jean Baudrillard, Simulations, trans. Sallie W. Francisco Varela, Principles of Biological Autonomy. One might also call it, following a recent coinage of Scott Gilbert, symbiopoiesis. See Scott F. Robert D. David S. David J.
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