Logics of television essays in cultural criticism

The Philosophy of W.

Logics of television essays in cultural criticism

I have been working now with these in more performative contexts to explore the ways in which individual films might constitute the components of a larger modular thought synthesizer.

These are still open questions and experiments-in-progress as I regard my book less as the documentation of concluded research than a composition handbook, a score or schemata for new directions and, yes, sounds of things to come.

But I hope this chronology modulates itself over time by activating three compositional modes—the ambient glide, the shimmering fringe, and the xenomorphic—which repeatedly push time out of joint and liquefy historical reference points into a flux state.

Not components of the book as modular thought synthesizer but rather techniques for assembling and methods of playing it, these three modes share a propensity toward sonic destabilization.

University of Minnesota Press

That is, they both work against time and attenuate space while never disavowing the apparent inescapability, if not absolute necessity, of time and space as constituents of what we call sound.

I will briefly consider each and how readers might expect them to resound with Logics of television essays in cultural criticism experience of The Sound of Things to Come. Ambient glide SF sounds are ontologically unstable, neither here nor there but always shifting and drifting across categories of place.

As the sound of Martian psychogeography, the destabilized tonalities of the theremin call the American expedition to Mars. The instrument is barely audible during liftoff but becomes increasingly loud in the score as the rocket is knocked off its original course to the Moon and tugged with increasing volume and volatility of wavering sound toward Mars.

It also suggests diegetic sound. The theremin sonifies the Martian landscape in the same way that the film stock switches from black-and-white to sepia tints during the Mars sequences.

Much of my film sound analysis maps out a sub-diegetic dimension that plays out along an alien psychological substrata of cinematic phenomena that is also at the same time a techno-diegetic realm.

Here, the technological apparatus of film sound carries on an almost independent transaction among machinic, electric and otherwise material speculations. These come together in the form of sonic psychotechnologies through which the SF film imbricates and entangles psychic and cosmic indices.

In its gliding mode, this sonic psytech emphasizes mobility that makes thought travel but never arrives fully formed and is perpetually seeking its place. A series of sustained overtones and polytonal harmonics orchestrally suspend time to lend depth to a brilliant star field.

These sounds recede from audition, implying depth through a physiognomic imperceptibility.

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Likewise, in the same film, the use of an early effects processor known as the Sonovox technologically attenuates orchestral sounds as we observe a lunar panorama, a matte painting by the so-called father of modern space art, Chesley Bonestell.

We can never hear the moon, but we can hear our devices hearing the moon, as it were. Sounds that blur or play around the edges of other sounds make peripheral spaces key to our experience of the SF film and are the basis for any understanding of sonic pyschotechnologies.

Sonic psytech filters the sonorous event, objectifies it within discrete modular devices, but also gives the audible a withdrawn materiality that eludes comprehension and creates tonal apprehension in both senses of the word.

At the same time, such sounds reveal themselves as artificial sonic props for a manufactured reality and are meant to reinforce the programming of implanted memories.

As an auditory fringe beyond the flat affective encounter with the SF landscape, the warbling destabilization of the Sonovox or synthesizer suggests that our encounters with the alien diegetic ambience are experiences with and at the very limits of our perceptual apparatuses and the technologies of sense.

The fuzzy edges of synthetic tonalities, then, provide access points for an ambient attunement to an affective nonplace. The xenomorphic The xenomorphic mode is first encountered in electronic tonalities in Forbidden Planet. The Barrons would program sonic patch boards, burn them out by overdriving them as they recorded the sounds on magnetic tape, and then reanimate through a form of tape music that resembles nothing so much as an alien autopsy.

This is not hyperbole. Consistently, the Barrons characterize their work as the torture of living sound circuits, a form of biomedia.

The xenomorph invariably points to an extracinematic location, a zone of machinic materiality that is also transformed in the service of the speculative imagination in which an ethicoaesthetic dilemma transpires. In these films, the unseen becomes emblematic of the sonic xenomorph and stages alien encounter as a form of sensory deficit paradoxically dependent on existential high fidelity.Logics of Television: Essays in Cultural Criticism [Patricia, Ed.

Logics of television essays in cultural criticism

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Tsopanoglou History of the Drama - Index to Characters, Bibliography (), William Shakespeare, Henry N Hudson Cesmm3 Price . After briefly tracing the development from concerns about television in the early s to the Aspen Institute’s call for media literacy, the article overviews several types of television criticism to illustrate how criticism embraces and moves beyond mere literacy to provide a vehicle for citizen empowerment and engagement.

For speculation on the social/political effects of the news coverage of 9/11 in terms of “infotainment,” see Daya Kishan Thussu, “Live TV and Bloodless Deaths: War, Infotainment, and 24/7 News,” in Thussu and Freedman, eds., War and the Media, – There is much additional literature on issues of infotainment.

Logics of Television: Essays in Cultural Criticism (Theories of Contemporary Culture) Paperback – August 22, by Patricia Mellencamp (Editor).

Human Knowledge: Foundations and Limits