От исследования технологий к звуковым исследованиям: о значении материальности
Ключевые слова:
исследования технологий, звуковые исследования, стандартизация, электронная музыка, социальный конструктивизм
Аннотация
В статье устанавливается взаимосвязь между двумя областями исследования: исследованием технологий и звуковыми исследованиями. В контексте исследования технологий автор анализирует влиятельный подход к социальному конструированию технологий и иллюстрирует его примерами из истории создания первого коммерческого электронного музыкального синтезатора. Автор уделяет особое внимание значению стандартизации клавиатуры, а также роли пользователей в развитии данной технологии. Автор утверждает, что звук, равно как и технологии, утверждаются во времени. Технологии создания звука, практики исполнения и более широкие культурные аспекты (такие как присвоение названий звукам) являются важнейшими составляющими стандартизации звучания.
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Литература
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Pinch, T. “Giving Birth to New Users: How the Minimoog Was Sold to Rock’n’Roll” in: Oudshoorn, N. & Pinch, T. (eds.) How Users Matter: The Co-Construction
of Users and Technologies. Cambridge, MA: MIT Press, 2003, pp. 247‒270.
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Pinch, T. & Bijsterveld, K. “New Technologies and Music”, Social Studies of Science, 2004, vol. 34, pp. 635‒648.
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Pinch, T. & Trocco, F. Analog Days: The Invention and Impact of the Moog Synthesizer. Cambridge: Harvard University Press, 2002, 384 pp.
Porcello, T. “Speaking of Sound: Language and the Professionalization of Sound – Recording Engineers”, Social Studies of Science, 2004, vol. 22, pp. 31‒53.
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Sterne, J. (ed.) The Sound Studies Reader. London: Routledge, 2012, 566 pp.
Sterne, J. MP3: the Meaning of a Format. Durham: Duke University Press, 2012, 360 pp.
Taylor, T. “The Avant-Garde in the Family Room: American Advertizing and the Domestication of Electronic Music in the 1960s and 1970s”, in: Pinch, T. & Bijsterveld, K. The Oxford Handbook of Sound Studies. New York and Oxford: Oxford University Press, 2012, pp. 388‒407.
Théberge, P. Any Sound You Can Imagine: Making Music/Consuming Technology. Hannover and London: Wesleyan University Press, 1997, 303 pp.
Thompson, E. Soundscapes of Modernity. Cambridge MA: MIT Press, 2002, 510 pp.
Turner, F. From Counterculture to Cyberculture. Chicago: The University of Chicago Press, 2006, 354 pp.
Waksman, S. Instruments of Desire. Cambridge, MA: Harvard University Press, 2011, 384 pp.
Bijker, W. Of Bicycles, Bakelites and Bulbs: Towards a Theory of Sociotechnical Change. Cambridge, MA: MIT Press, 1995, 390 pp.
Bijker, W.; Hughes, T.P & Pinch, T. (eds.). The Social Construction of Technological Systems: New Directions in the Sociology and History of Technology. Cambridge MA: MIT Press, 1987 (2012), 470 pp.
Bijsterveld, K. Mechanical Sound: Technology, Culture and Public Problems of Noise in the Twentieth Century. Cambridge, MA: MIT Press, 2008, 362 pp.
Bijsterveld, K. & Schulp, M. “Breaking Into a World of Perfection: Innovation in Today’s Classical Musical Instruments,” Social Studies of Science, 2004, vol. 34,
pp. 649‒974.
Brain, R.M. “The Pulse of Modernism: Experimental Physiology and Aesthetic Avant-gardes circa 1900,” Studies in History and Philosophy of Science, 2008, vol. 39, pp. 393‒417.
Bull, M. & Back, L. (eds.) The Auditory Culture Reader. London Berg, 2004, 528 pp.
Callon, M. The Laws of the Markets. London: Blackwells, 1998, 288 pp.
Feder, T. “Shhh. Listen to the Data,” Physics Today, 2012, vol. 65, pp. 20‒22.
Hackett, E.J., Amsterdamska, O., Lynch, M. & Wajcman, J. (eds.) The Handbook of Science and Technology Studies, 3rd Edition. Cambridge MA: MIT Press, 2007,
1080 pp.
Helmreich, S. “An Anthropologist Underwater: Immersive Soundscapes, Submarine Cyborgs, and Transductive Ethnography”, American Ethnologist, 2007, vol. 34, pp. 621‒641.
Holmes, T. Electronic and Experimental Music: Technology, Music, and Culture. New York: Routledge, 4th Edition, 2012, 568 pp.
Idhe, D. Listening and Voice: Phenomenologies of Sound. Stony Brook: SUNY Press, 2007 (1976), 296 pp.
Jackson, M. Harmonius Triads:Physicists, Musicians and Instrument Makers in Nineteenth Century Germany. Cambridge MA: MIT Press, 2006, 408 pp.
Jasanoff, S., Markle, G., Petersen, J. and Pinch, T (eds.) Handbook of Science and Technology Studies. Thousand Oaks and London: Sage, 1994, 848 pp.
Labelle, B. Acoustic Territories: Sound Culture and Everyday Life. London: Bloomsbury, 2010, 304 pp.
Latour, B. Science in Action. Cambridge MA: Harvard University Press, 1987, 288 pp.
Mills, M. “Do Signals Have Politics? Inscribing Abilities in Cochlear Implants”, in: Pinch, T. & Bijsterveld, K. The Oxford Handbook of Sound Studies. New York and
Oxford: Oxford University Press, 2012, pp. 320‒344.
Oudshoorn, N. & Pinch, T. (eds.) How Users Matter: The Co-Construction of Users and Technologies. Cambridge, MA: MIT Press, 2003, 352 pp.
Pinch, T. Confronting Nature: The Sociology of Solar-Neutrino Detection. Dordrecht: Reidel, 1986, xi+268 pp.
Pinch, T. “Why You Go to a Piano Store to Buy a Synthesizer: Path Dependence and the Social Construction of Technology”, in: R. Garud & P. Karnoe (eds.) Path Dependence and Creation. New Jersey: LEA Press, 2001, pp. 381‒400.
Pinch, T. “Emulating Sound. What Synthesizers Can and Can’t do: Explorations in the Social Construction of Sound”, in: C. Zittel (ed.) Wissen und soziale Konstruktion. Berlin: Akademie Verlag, 2003, pp. 109‒127.
Pinch, T. “Giving Birth to New Users: How the Minimoog Was Sold to Rock’n’Roll” in: Oudshoorn, N. & Pinch, T. (eds.) How Users Matter: The Co-Construction
of Users and Technologies. Cambridge, MA: MIT Press, 2003, pp. 247‒270.
Pinch, T. & Bijker, W. “The Social Construction of Facts and Artifacts: Or How the Sociology of Science and the Sociology of Technology Might Benefit Each Other,” Social Studies of Science, 1984, vol. 14, pp. 339‒441.
Pinch, T. & Bijsterveld, K. “New Technologies and Music”, Social Studies of Science, 2004, vol. 34, pp. 635‒648.
Pinch, T. & Bijsterveld, K. The Oxford Handbook of Sound Studies. New York and Oxford: Oxford University Press, 2012, 624 pp.
Pinch, T. & Trocco, F. Analog Days: The Invention and Impact of the Moog Synthesizer. Cambridge: Harvard University Press, 2002, 384 pp.
Porcello, T. “Speaking of Sound: Language and the Professionalization of Sound – Recording Engineers”, Social Studies of Science, 2004, vol. 22, pp. 31‒53.
Roosth, S. “Screaming Yeast: Sonocytology, Cytopplasmic Milieus, and Cellular Subjectivities”, Critical Inquiry, 2009, vol. 35, pp. 332‒350.
Sterne, J. The Audible Past. Durham: Duke University Press, 2006, 472 pp.
Sterne, J. (ed.) The Sound Studies Reader. London: Routledge, 2012, 566 pp.
Sterne, J. MP3: the Meaning of a Format. Durham: Duke University Press, 2012, 360 pp.
Taylor, T. “The Avant-Garde in the Family Room: American Advertizing and the Domestication of Electronic Music in the 1960s and 1970s”, in: Pinch, T. & Bijsterveld, K. The Oxford Handbook of Sound Studies. New York and Oxford: Oxford University Press, 2012, pp. 388‒407.
Théberge, P. Any Sound You Can Imagine: Making Music/Consuming Technology. Hannover and London: Wesleyan University Press, 1997, 303 pp.
Thompson, E. Soundscapes of Modernity. Cambridge MA: MIT Press, 2002, 510 pp.
Turner, F. From Counterculture to Cyberculture. Chicago: The University of Chicago Press, 2006, 354 pp.
Waksman, S. Instruments of Desire. Cambridge, MA: Harvard University Press, 2011, 384 pp.
Опубликован
2020-01-03
Как цитировать
Пинч Т. От исследования технологий к звуковым исследованиям: о значении материальности // Эпистемология и философия науки. 2020. Т. 56. № 3. С. 123-137.
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