Music and the transhuman ear: Ultrasonics, material bodies, and the limits of sensation
- Submitting institution
-
University of Cambridge
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 2808
- Type
- D - Journal article
- DOI
-
10.1093/musqtl/gdy001
- Title of journal
- Musical Quarterly
- Article number
- -
- First page
- 199
- Volume
- 100
- Issue
- 2
- ISSN
- 0027-4631
- Open access status
- Compliant
- Month of publication
- June
- Year of publication
- 2017
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
0
- Research group(s)
-
-
- Proposed double-weighted
- Yes
- Double-weighted statement
- This article compresses three years of research into 26,000 words. It advances the study of non-human (animal / machine) listening, disability, and sense augmentation by weaving together heterogeneous research fields: experimental art music (Nørgard, Sciarrino); 19th-century acoustics (Helmholtz, König); biological ecology (Uexküll, Gibson); and discourses of transhumanism and posthumanism. Its long gestation is due to this breadth of scope. The principal argument is that hearing has a hitherto unnoticed special role in determining our natural sensory limits and human identity. Attempts to push against these biological limits raise questions about the status of the body for performance and music perception.
- Reserve for an output with double weighting
- No
- Additional information
- -
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -