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"Erlmann, Veit"
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Refiguring the Early Modern Voice
Neither Tomlinson nor Cowart questions the larger Cartesian framework, though. [...]Tomlinson's adumbration of the Lullian recitative as \"habituation\" may well open up a space for envisaging a new, albeit somewhat passive type of listener. And like the celebrated philosopher, he believed the penchant of Greek musicians for what he called \"excessive transport\" to reside in the fact that \"all they put their effort into was to touch the heart and the senses, which is quite a lot easier than to satisfy the intellect [esprit].\" According to Luc Ferry, the \"birth of taste\" is directly correlated with Cartesianism's attempt to ground the quest for truth (and, implicitly, freedom) in a radical shift from tradition as the basis of certainty to a form of subjectivity affirming itself through self-reflexive doubt.21 Yet for Perrault the pursuit of certainty and the \"modern liberty to move on\" entailed a far less unequivocally Cartesian type of subject.
Journal Article
Sound-Politics in São Paulo
In this article, I discuss community noise in São Paulo, Brazil’s wealthiest, largest, and most emblematic modern metropolis. I draw on ethnographic research conducted between 2012 and 2015 with the antinoise agency and the police, the two main institutions responsible for dealing with community noise in the city. I present law enforcement assemblages as both unstable and heterogeneous, managed by people with different (and often diverging) expectations regarding how the city should sound. I expand on Bijsterveld’s notion of “paradox of control” and show that the heterogeneity of “noise” as an umbrella concept, the complexity of its scientific mensuration, and the unsteadiness of its legal encoding make this a particularly difficult object for the state to grasp. After describing the institutional flows inside the antinoise agency, I examine the troublesome ordeal of community noise for the São Paulo police department. The third section of the article introduces the concept of sound-politics, which I define as the ways in which sounds enter (and leave) the sphere of state control. I am particularly interested in how sounds turn into objects susceptible to state intervention through the establishment of specific regulatory, disciplinary, and punishing mechanisms.
Journal Article
