On Sound Unsound 5 of 8

Great. So welcome back, everyone. Today we have the sixth session, Sound Unsound. And today we have Toby Hayes from Manchester. And Toby Hayes is a member of the Audent unit and is a co-editor of Unsound Undead, the book that has inspired this course. He is a professor in digital media and the head of the School of Digital Arts, Soda, at Manchester Metropolitan University. His cross-disciplinary research focuses on the ways that frequencies are utilized by governments

and industry to influence, manipulate and torture. So today Toby Hayes will give a lecture titled A Century of Zombie Sound. The description of the lecture is, ever since the invention of recording technologies such as the phonograph and telephone, organizations have been interested in the ways in which vibration not only connects but also converges and deterritorializes the realms of the living and the dead. This presentation is a brief historical overview of this spectral archive that stretches from 1944 to 2064.

From the Ghost Army to the Wandering Soul strategy, from phantom sonic economies to the Walking Dead syndrome, from exhumed holographic wrappers to holosonic warfare. This is a period or didn't refer to as the century of zombie sound. During the presentation, there will be some sound examples. So you might consider using headphones, as I always say. And then after the lecture from Toby Hayes, we will have a discussion based on student presentations of around 10 minutes each. minutes each we have Alexandra, Catherine and Electra doing the presentations and after that we have a response for around five minutes by Calvin. And by that I'll give the word

to Toby. Thanks very much, cheers. Okay so you've done a bit of an intro so I won't bother I won't do an intro to myself I think that you've done enough with that. I'm just going to do, I'm just going to give a quick intro to the book, my last book, Sound Pressure, How Speaker Systems Influence, Manipulate and Torture, and just give a very, very quick overview of that. And then I'm also going to read from Unsound Undead. I'm just going to read one of the introductory pieces. So it'll probably take about 10 minutes all in all. And then I'll go into the, and then I'll go into the presentation, The Century of zombie sound after that. Cool, so sound pressure reveals how speaker systems mounted in public,

employment, military and entertainment environments have played a pivotal role in the way that humans have been physiologically and psychologically organized and disciplined throughout the past century. The networked wired radio speakers of the 1920s industrialized factory acoustically anchor a narrative based on the functional utilization of sound systems for insidious purposes, from the surround sound techniques of the Waco siege to the application of sonic torture in Guantanamo and Abu Ghraib. Crucially, sound pressure identifies the logic behind the miniaturization and disappearance of visible sound system technologies as they transmute into the ultrasonic dynamics of the hypersonic sound system and covert bone conduction technologies

of whispering windows. The book charts an evolution of speaker technology that has been and will be used to influence, manipulate and torture the collective and isolated body. It amplifies the connections between LRADs, iPods, mosquitoes, intonarumori, loud hailers and sequential art discharge acoustic generators. The meta network of speaker systems through which rhythms and cadences of power are transmitted, connected, and modulated. So that's just a very quick, like I said, a synopsis, very quick synopsis of that book. The text I'm going to read now is the introduction, one of the introductions from

Unsound Undead. So the piece is called From Marshall Hortology to Xenosonics. From high frequency crowd control systems, whispering windows and ultrasonic directional audio technology to haptic feedback devices using vibration within immersive VR, the parameters of the sonic are being constantly re-engineered. We refer to such augmentations of audition that include the imperceptible and the not yet or no longer audible as unsound. This refers not only to what humans cannot hear, but non-cognitive inhuman phenomena such as the hum, hyperrhythmia and audio hallucinations which connect to the unknown. Shaped by the vibrational taxonomy of unsound, J.G. Ballard conceived of an anomalous audible realm where sounds no longer dissipate and die but persist in an excessively residual envelope of frequencies.

A bandwidth only fit for the sonic dump. In his words, a place of strange echoes and festering silences overhung by a gloomy miasma of a million compacted sounds. It remained remote and haunted, the graveyard of countless private babels. He also stages the virtual death of music culture as it sacrifices audibility to become ultrasonically neuro effective. The essence of the undead, meanwhile, is a ruptured and contested one, a cipher that is constantly recrypted by socio-political, economic, pop-cultural, technological, biological and legal forces.

The sonically tortured detainees of Guantanamo Bay, for example, as Zizek noted, are located in the space between the two deaths, occupying the position of homo-sacer, legally dead, deprived of official legal status while biologically still alive. alive. The imperceptible cosmology of unsound and its oscillating relationship to the undead is thus what comes to demarcate the remit of this anthology's contributions. At another level, each entry in the book broadens the bandwidth of vibrational intelligence pertaining to phenomena residing outside the waveform fissure of human perception. Each text, passing the systematic and ritualized deployment of frequencies becomes an access key to this interzone between

and beyond life and death. The diversity and extent of the keywords listed prior to this preface are testament to an array of processes and devices. Each is attributed with the capacity to bring the departed back into the land of the living and vice versa. Beneath the observable plateau of technological surfaces, unsound undead mines stat strata of zombie media. It does so in order to test the supposition that ever since the invention of recording and communications technologies, such as the phonograph and telephone, there has been a fascination with the potential of waveforms to fabricate domains of the undead, aberrant zones of transmission between realms of the animate and the insensate. Concurrently themes of hauntology have inflected the musical

zeitgeist over the last decade. This condition resonates with the impact of the general cultural malaise, a reinvestment in traces of lost futures inhabiting the present, and a supernatural concept of haunting, postulated by Mark Fisher as that which acts without physically existing. Moreover, this generalized culture of the undead has already spawned the Lazarian economy based on the digital revivification of dead young African-American musicians as laser-lit holograms, Tupac, ODB and ECE. It is here that the future can be found in the cracks of the present. From the holographic appearance of Elvis on American Idol in 2007 to Tupac's cameo at Coachella Festival in 2012, popular culture has engaged rotoscoping technology in the reanimation

of dead rap and rock styles. These examples are emblematic of a newly emerging necromantic culture. They apply pressure to the conceit that performers must be breathing, exposing the cultural fixation which casts vibration under the shadow of mortality. Post-mortem, having been legally and financially dissected, the torso is scanned and cloned, its digital death mask projected onto the hollow body of the entertainment industry. Disseminated through the speakers that frame the hologram on the stage, its physicality is implanted into the social corpus in the form of organised sound and unsound. This technologically induced

rebirth opens up a series of intriguing questions concerning artificiality, mortality and virtuality, a revenant anatomy of the undead, a profane trinity that compels us to revise Donna Haraway's assertion that the boundary between science fiction and social reality is an optical illusion by substituting the closing three words with Cotard's delusion. The wandering soul produced by Cotard's delirium of negation, whilst adrift from chronological time and abstracted from physical corporeality, is, however, firmly in step with future modes of cultural communion. Fast forward to a holoculture that summons the departed energies of the entertainer back into the haptic fold via the embrace of acoustic levitation and ultrasonic pressure field technologies.

Touching the void comes camouflaged in the semi-transparent skin of your favourite domesticated hollow star. Now rewind to Kittler's proposition that the realm of the dead is as extensive as the storage and transmission capabilities of a given culture, a notion that is amplified in Unsound and Dead because of the obsolescence of both life and mnemonic machines. By comparing the two processes, Kittler presents us with the notion that excess is a spatiotemporal construct that is as functional as the ecology of communications. Such a distinction equivocates the cartography of decay with the spatial and temporal networks of transmission, and in doing so opens a direct line between expelled emission and superfluid articulation.

articulation. As such, the ear comes to represent an unnerving threshold of the remote, simultaneously the black hole of the flesh as well as its speaker. It is the third ear. Inverting this event horizon, this anthology acts as a portal, summoning spooky action at a distance, inviting the inside, the outside in. Probing the ephemeral nature of vibrational systems, the compendium promotes the modding of binary codes such as presence non-presence, audibility non-audibility, pain pleasure, and undermines the conceit of the monosensory. As such, unsound and dead is assembled as a dossier that is out of time by design. Harnessing this dynamic of activity without presence, of touching from a distance, it functions as an operations manual for catalyzing unnatural entanglements,

entanglements, alienating the auditory. So that is, as probably some of you know, is one of the introductions to Unsound Undead, and it sets up the presentation which I'm about to give, which is called A Centrial Zombie Sound. So I'll just take a quick drink. Okay, and I will do the intro. So if you can hit the play button, please, for the video, then we'll get going. I'll do that.

Thank you. While I do that, I'll just remind the students that you might have a lot of questions. So please make a note during the presentation. Then we can take them afterwards in the discussion. So. And yes. Is that not it's not playing now?

Do you see the video? No. No. It's not in front of me for some reason. It's just completely blank and not showing anything. Okay. Stop showing. Could anybody else could anybody else see that? No. Okay. Okay. I can see that. It just needs to be rewound.

I can see that. I can see that, but it just needs to be rewound and then we can get it. Yeah, that looks good. Okay. Originally formatted in 1945 by three ex-members of the Ghost Army, Auden currently consists consists of Toby Hayes, Steve Goodman, Susanna Zamfey, Eleni Akaniadu and Patrick D. Fasten. Drafted into the research cell in 2009 by a rogue artificial intelligence named IREX2, we've been directed to investigate deceptive frequency-based strategies, technologies and

programs developed by military organizations to orchestrate the phenomena of tactical haunting within areas of conflict. Of specific interest is that ever since the invention of recording technologies such as the phonograph and telephone, military organizations have been looking at the ways in which vibration not only connects but also converges and deterritorializes the realms of the living and the dead. Today I'm going to present to you with a historical overview of the Spectral Archives stretching from 1944 to 2064, a period that I'm going to refer to as a century of zombie sound. The The

The The The The The The The The The The The and advertising agencies in York, Philadelphia and Hollywood Studios in California, and the private camps at the U.S. Navy and the Army of the Navy. Staging over 20 battlefield performances, the engineers of the Ghost Army operate perilously close to the front lines. Their direct have been to saturate the masses with implicit information by an array of techniques,

including the construction of fake military installations and rubber tanks. However, it is their sonic deception that proves most telling, as they broadcast fake radio transmissions and amplify disinformation from massive speaker systems mounted on armoured trucks. The misinformation pertains to the numbers, plans and whereabouts of the Allied forces' artillery manoeuvres and is produced by three turntable setups and an array of 15-inch vinyl discs comprised of few recordings. These very same acoustic techniques are later used in the first Gulf War and speaker systems placed behind sand dunes dictate back the field movement by transmitting imaginary soundscapes of armed engagement. The Ghost Army engineer a context of sensorial disconnect by suggesting

presence where there is none and haunt the field of battle with sonic emissions of a spectral force. 1946 the opening of the third year. Auden carry out waveformed experiments on ex-AEG engineer Edouard Schuller and accidentally terminated in the process. After mummifying his prone body in magnetic tape, instead of passing on he becomes enmeshed in the network of discourses from across the continuum of human language. Ultimately, Shuler's antenna body gains the ability to

interface both with the living and with those that permeate the thresholds of existence. The phenomena analogies to those ultrasonic and infrasonic frequencies that exist at the perceptual boundaries of humankind, the dead and the yet to be born. 1949 Delusions of the Living Dead. Audit member Walter Slepien crosses the Atlantic and travels to Paris in order to gain access to the contents of Jules Cotard's notebook that is now owned

by Madame Isabelle Chimay. The rare and little understood medical document holds the encrypted formulas for seeding Cotard's delusion, also known as the walking corpse syndrome, into a subject's bed of cognition. After drugging Madame Chimay with the true serum amobarbital, Slepien purloins the notebook and takes it back to the Audent bunker in Cape May, America. Upon further examination, Slepien discovers that it is encrypted in an artificial language called La langue musicale universelle, or Sol Ressol, which was created by French composer Jean-Francois Srud in 1827. Now, Auden need to find someone who can decrypt it.

After two months of searching, they find their man. A stack of 7x5 photographs has been couriered to Abraham Sinkoff, a cryptanalyst Arnett knew from his Ghost Army days. He is now Chief of the US's first centralized cryptologic unit, the Communications Security Program, which will be later renamed the National Security Agency or the NSA. One of Sinkoff's favorite pastimes is solving arcane ciphers and codes, the package of images from 1887 landing in his pigeonhole. The 66 mini scores take the best part of eight days to translate. Abstract in part due to the languages it has been shuttled through, the principles of engagement are clear enough that Auden are confident they can program the

delusion of the walking corpse into the sentient. 1960, The Sound Suite. J.G. Ballard writes a short story set in the future where noise is perceived as the greatest single disease vector of civilization, resulting in the sonic becoming an obsolete form of pleasure. the muted protagonist is a boy who vacuums up the spectral residues of urban sounds that are redolent with associations of disorder and chaos the channels through which demons are excised conversely in the realm of the inaudible divine power reveals itself a hushed soundscape where

the god of the earth early pristine cathedrals conveyed its presence through the embrace of and where now the futuristic masters of technology communicate ultrasonically in subliminal domains of absence. Once collected from the echo bin of the city, the sonic detritus is dumped in a place of strange echoes and festering silences. Overhung by a gloomy miasma of a million compacted sounds, it remains remote and haunted, the graveyard of countless private babels. at Babels. 1961 Stone Tape Theory proposed by British archaeologist Thomas Charles Lethbridge,

the Stone Tape Theory speculates that ghosts and hauntings are in fact mental impressions that have been released by living beings under extreme or traumatic circumstances and subsequently recorded by inanimate materials such as stone. Given that the recordings are considered to be neither spectral nor otherworldly in nature, it means that under the right conditions they can be replayed and listened to. In this sense ghosts are not understood as spirits but as non-interactive recordings, similar to the registration capacities of an audio tape machine that can play back previously recorded events.

1966 backmasking subliminal transmissions in musical recordings that play backwards on a track that plays forwards numerous popular recording artists have been accused of utilizing backmasking including Britney Spears, ELO and Eminem. Initially popularized as a technique by the Beatles on their 1966 album Revolver, backmasking has regularly been cited by Christian groups as being a satanic technique that covertly urges listeners to carry out actions of a violent

nature. The most infamous incident of a defendant alleging that backmasking had inspired their actions occurred during the trial of Charles Manson for the Tate-LaBianca murders in 1969. During judicial proceedings Manson proposes that an apocalyptic race war will engulf the country and that the Beatles through songs such as Helter Skelter had embedded hidden messages for telling the hostilities. Recording his own prophetic music Manson has Leno and Rosemarie LaBianca, and actress Sharon Tate amongst others limited by his followers in order to trigger the conflict.

1967 wandering soul during the Vietnam War the 6th Saiop battalion of the United States military is a literal interpretation of haunting to induce a sense of angst and anxiety within enemy territories. They composed a religiously charged sonic strategy named Wandering Soul as part of the Urban Funk Campaign, an umbrella term for the operations of sonic psychological warfare conducted by the US during the conflict. After researching Vietnamese religious beliefs and superstitions,

SIOP personnel initiate this audio harassment program that amplifies ghostly voices to create fear within resistance fighters. The resulting cries in whales pretending to represent souls of the enemy's dead who failed to find the peace of improper burial. Helicopters were used to broadcast Vietnamese voices pretending to be from beyond the grave. They called on their descendants in the Viet Cong to defect to cease fighting. The proposed psychology of this tactic suggests slippage and existential echo. The sonic portals of disquietude of being mortally out of body in place and time elicit conceptions of the night of the living and the day of the dead to invert

and coexist in the same location. For the Viet Cong, the airborne sonic virus that was wandering Seoul propagates stress and apprehension as it makes communicable the oscillating channel of purgatory. Quite literally it is the sound of hell on earth. 1984 outsider trading. Whereas the crime of insider trading relates to the reception of covert information from within a company to unfairly guide investment gambles. Audence Ngooyen Van Fong's outsider trading involves the use of computer systems to decrypt

information from spirits and ghosts. Due to their transtemporal access to the future, they are able to perceive the imminent present retrospectively and thereby capable of providing fail-safe forecasts. In the final analysis what Van Fong has done is to produce a mathematical algorithm for transcoding the voices of the undead into implementable market data, rendering the phantom economy of ghost money into tangible assets. 1993 the Waco siege. Hulled up in their Texas compound for 51 days, the Branch Davidian

apocalyptic sect are surrounded by the US military who are trying to lure out their leader David Koresh. As the occulted performance of the siege unfolds through a series of audio interviews, prophetic recordings, radio interviews and sonic harassment strategies, an audio topic spatiality is composed. Rejecting the sect as the only survivors of an impending Armageddon, Koresh employs his rock star Persever for United's followers as he orchestrates eight hour long guitar-fueled sing-alongs. The FBI's response, Operation Just Cause, dominates waveform space by surrounding the compound with speakers. At all hours of the night and day, the sound system

transmits content such as audio tapes of rabbits being killed, Tibetan monks chanting, and Nancy Sinatra singing these boots were made for walking. Disorienting, silencing and depriving the branch Davidians of sleep, this strategy of sonic attack only stops when the Dalai Lama intervenes and demands that the employment of sacred Buddhist music for martial purposes cease. The sparks which flew between the state and the apocalyptic religious sect were flickering precursors of the charnel house that the compound was to become. an ambiguous sonic space on the edge of civilization where symphonies of conflict were outcast, fired and tempered by dueling protagonists who understood each other to represent the living

but seem to be dead. 2000 holosonic sound as san diego's american technologies corporation developed and released the hypersonic sound system mit's joseph pompey invents a new speaker called the audio spotlight which redefines the way that sound is transmitted in space.

Rather than spilling music into a room and enveloping the body in a sea of frequencies, holosonic sound directs ultrasonic frequencies cutting up space in a helium process that exposes sound only when it hits a surface such as a wall or a head. It is this heterodyning technology that would be used in the 2050s by iHolo as the carrier of sonic viruses. From such directional audio devices as holosonic speakers through to high frequency crowd control systems and haptic feedback devices using vibration within the context of VR, definitions of the sonic are constantly being re-engineered. As such, limits of the somatic become phantom placeholders for what a sonic body is and what it can do.

2003 the sonic war on terror in Guantanamo Bay and Abu Ghraib Detainees are sonically abused in cold obsidian spaces. Where homegrown genres such as rap, metal and country are the most regularly used types of music, a whole range of more esoteric recordings are employed for extended sessions of no-touch torture. Atonal soundscapes that have no beats or rhythms, oral collages consisting of noise, industrial sounds, electric piano and synth lines are played, compositions often identified as being experimental electronic or electroacoustic in nature. This new disembodied torture practice requires the means by which to invisibly score into the

body rather than onto it, which is why music is applied in such circumstances. The range of ultrasonic, infrasonic and sonic frequencies does not leave marks because it is not interested in touching or representing its power on the somatic interface. It is instead committed to enveloping the anatomical surface, moving into and beyond it, questioning the rationale of the perceivable and quantifiable. Folding the body into sound creates the antithesis of the club experience, Black ecstasy. A state in which the prisoners become the embodiment of the walking dead as they oscillate in a fluxed identity, somewhere between biologically alive but legally dead.

2007, Hasuni Miku. Hatsumi Miku is a prophetic pop princess channeled by Sapporo based Krypton Future Media. With her vamped up Kabakicha style and Cerulean pigtails, she could not be more at the moniker, her name translating to first sound of the future. She is the first truly digital 3D crush for a slew of Japanese fans, and her presence works the sliver glands of technologists, teenagers and post-humanists alike. She is also the first enunciation of a flight path taken by the military entertainment complex that simultaneously traverses the reproduction and negation of original vibrate matter.

The performance must be breathing to be considered present or entertaining. For audience members of the blooded persuasion, the dynamic of technologically induced rebirth into holographic form opens up intriguing questions concerning post and inhumanism, artificiality, mortality and virtuality, electro-alchemical states that will be referred to as the undead.

2012 the Rapperitions. This year is ground zero for the popularization of holographic projections or original virtual performances as they are sometimes referred to in this era. The Digital Domain Media Group revivify the rapper Tupac in order for him to play live from the grave alongside Snoop Dogg who claimed the encounter to be spiritual and Dr Dre at the Coachella Festival in California. Initially there is some unease about the sanctity of this posthumous performance of hits such as Hail Mary but this is blacked out by a public desire to bring young

rappers back to life after they have passed away at an unseasonably young age. The emergence of The holotech culture and the Lazarian industry it spawns in the USA are the final parts of the fiscal equation that multiplies young African Americans, especially those difficult to manage while still alive with the morgue. The future figures of the body and the income that will be accrued rotoscope and amortise an economy in which not only the labour but the labourer himself has been rendered immaterial, conjured up and put to work. Outsourcing here takes on the character of outsourcery, a conjuring of the dead to do work once the sole province of the living. In the 2020s, the industry expands exponentially and a Rapparition Index is created that hierarchises hip hop stars according to their estates and earning rates after death.

Only those towards the top of the list will be holographically resurrected. Ghost money adorned with their faces is made printable with downloads of their albums and singles so that phantom royalties can be made and paid, thus improving their social standing in the afterlife. 2014 Marshall Hauntology Due to the rogue Spectreware IREX 2's feeling that it might soon be caught and have its memory wiped, Audent members are instructed to put into production a first major release that chronicles three periods from its

history. Presenting them with key records from its archive, IREX2 orders the recording of these episodes on vinyl, accompanied by a book and a set of digital prints which details for the first time its digital inception and subsequent relation to World War II, the US war in Vietnam, and the war on terror. The project patches together a mix of the whispered and the unsound into an audible journey. It links the underground groove of the Large Hadron Collider with the vaults of the Bank of Hell, connects the Dead Record Network with the Phantom Hailer, and traces the viral evolution of the wandering soul tapes.

2015 dead record network east having recently written written an article on the deregulated and hyperinflationary world of ghost money for the wall street journal hong kong-based financial journalist ping chen encounters an anomalous holographic entity in a plastic sweet cycling and in South China, where millions of pieces of dead vinyl records are being melted down. 2017, Unsound, Undead. IREX 2 observes the human quest for immortality as an opportunity.

In order to gain intelligence of these developments, it instructs Auden to commission 32 leading thinkers who are researching various strange and zombie sound in order to edit a published anthology. Having recently sequestered Patrick D. Fassen to work with Auden on their film and animation outputs, IRX2 brings Susanna Zanfey into the many folds of the research unit to work on its numerous publications. Aware of the inefficiency of the flesh as a mnemonic recording device, IRIX2 is keen to keep track of immaterial modes of transmission and storage. The book takes for granted that perceptible sound is only a subset of a broader vibrational

continuum and encourages the conceptualization of a third dimension between the real, thus what is known and the imagined, the fictional or speculative. The book also forges connections between electronic voice phenomena, alien life such as the unexplained oceanic bloop and Jupiter's VLF radio emissions, morbid musical composition such as Rilke's theory of a primal sound that results from placing a phonograph needle into the cracks of a human skull and the sound of artificial intelligence the relationship between human and machine voice from Turin's vocal anomalies and Hawking's mechanical articulation to the voices of Siri and Google's new robots. Ultimately this manual examines how waveforms have provided cultures

throughout history with channels to the otherworldly. 2025 Hollowjacks as much as the Newman of Hades have influenced and shaped the topography of holographic culture, it is the erotes, the winged retinue of Aphrodite, that initially guide the direction of the business. The variation that really opens up the industry is a cheap domestic system from China's Electronics Avenue. With this apparatus you can project the musical bed into your front room and interact with them. with them. Level four however is only available on one model which is known on the street as hollow jacks and it is the hollow jacks which offers the sexual options of a growing range of projected pleasures. This is fucking the dead as the ultimate form of home entertainment.

All one needs is a stripped down suit from Akihabara that's full of actuators, protrusions, lube portals and heat transferal sensors and pleasure can last for hours, days or as long as you can pay for the hollow high to last. The high itself comes from a mixture of the synthetic drug DB4 and the hormone oxytocin. Officially packaged as DBX it is sold on the street as ox. The liquid drops are gently fed into the ears via a tiny tube. It runs into the canal and delivers the stimulant onto the cochlea where it forges its own pathway into the auditory nerve, creating a full-blown multimodal enhancement in the user.

With advances in light modulation techniques, information encoding and computational power, things have come a long way since the laser-lit days of the Rapparitions. 3D acoustic manipulation, that once radical process that allows particles to be moved by acoustic waves has now become commonplace. So much so that the music played by the hollow musician no longer simply lets you dream, it literally takes you out of your head. By adding a new modality to the sense of touch, the technology coaxes the player to envelop and penetrate the materiality of the music. Given this new visceral capacity, it becomes readily apparent. A hologram becomes a global phenomenon.

As music becomes intimately physical and takes the form of a lover, a fuck buddy, a victim. 2056 the hollow accords the hollow accords chart an alternative constitution for discord management a whole new way of engaging in conflict that reduces the massive costs and removes flesh from the messy equations of political turbulence from this point on all military

operations will be conducted by a holographic and holosonic forces. And finally 2064, iHolo. Augmented intelligence IREX2 fuses convolutional deep neural and deep belief networks with holographic technology to birth a new kind of warrior, the iHolo. It is part 3D-rept framework, part hologram, part AI, and has amassed a more than acceptable spectrum of cognitive behaviours. Spawning a new era of unsound conflict and transmitted by a directional ultrasonic speaker system, the viral scream is the iHolo's go-to ordinance.

A sonic weapon that transmits the walking corpse syndrome into digital life forms, turning enemy eye hollows into zombies. There we go. You can stop the video at this point. Thank you. Thank you so much, Toby. So we are going to the student presentations.

Maybe we just need five or seven minutes to digest the presentation from Toby. So let's do that and meet at five before, yeah, here will be six o'clock. Five before wherever you are in the world. Great. Yes. Thank you.

Thank you. Thank you.

Thank you. Thank you.

Thank you. Thank you.

Thank you. Thank you.

Thank you. Thank you.

Thank you. Okay, so we're back after the short break.

We will have three student presentations today, one by Alexandra, one by Katherine, one by Electra, and then it will be followed by a response from Kelvin. And it's doing that order. So Alexandra, please go ahead. Hey, do you hear me? Yes. Yes. First of all, thank you very much for the presentation. I'm still hypnotized. I'm completely new in the jungle of sonic, so this is very new for me. And yeah, it's wonderful to learn. So I will try to look confident while I'm presenting peripheral vibrations. The writing is about two companions traveling in between London and Cornwell, viewing and

reflecting on the landscape in motion from the train, pictured and framed in a distant view, striped of any other senses, which is the tourist gaze. The writing unfolds as a narrative pattern, the progress from the distant where the sound of the sea becomes more and more present, more prominent. As they finally settle in the house they're about to stay, the sound begins to take more space. It intensifies until its climax in a stormy night when shipwreckers return from the dead. They feel the tumult of the wind, the thunder of the heavy seas breaking upon the rocks. The house is full of sound. The sound is crossing the borders between audible and capable, vibrating the rock under its feet and thundering around the house. This whole picture in Ruth's

story Music Hath's Charms, the initial C sound paved the way to the discovery of the music box, which had a physical impact on the human ear and then on the house itself. Sound is not just heard, but felt as physical, painful and invasive force extending almost beyond the range of audibility with a piercing quality that hurts the eardrum. This vibration operating at a specific frequency on the border of audible and unaudible, it is this rather than loudness that hurts and awakens the house. In the end, we read about ghosts that are rarely directly visualized but often heard, implying a dread of terror,

but it is not the sound signaling the unseen terror, but it's of a threat. It is horrible to hear, it pierces, if possible, even vampiric, and it hurts. Thanks a lot. We'll jump to Catherine now, and then we can discuss on it afterwards. Thanks. Thank you, Toby, for the presentation. I agree, it was really fascinating. So for my presentation, I wanted to focus on Toluse's text from Whispering to Talking Windows, and in particular, just to bring up some questions it raised for me, but also to focus on how non-music and silence work in the context of the data scape that he describes

in the text. So I'll give some summaries and also raise some thoughts. So throughout this article, it discusses the whispering window and its ability to sonify surfaces through surface transducers, which act on the vibration of surfaces to turn them into a speaker. The text explains that the whispering window affects a predatory extension of consumer space, or at least it has that capacity. In particular, it orients itself toward a new kind of city dweller, a kind of roaming flaneur with more leisure to pass by areas of commerce. The result is that the technology can be exploited to exert a quasi-ocular or optical effect that, as Toby writes, telescopes desire. And I think this opens onto one of the main insights

of the text, that these transductive technologies in compressing sound expand the aesthetic and sensory operativity of sound beyond hearing. Instead of just being something perceived, sound becomes a facilitator of or operator on other faculties, particularly movement and vision. This comes up in part in connection with the discussion of Eric Satie's furniture music furnishing music, which as Toby explained, Sati originally composes not primarily as music, but in order to incite conversation in the area where it's played. So instead of preying on leisure to extend consumer space as the whispering window could, Sati's music operates in the interstitial space of interpersonal relations to extend leisure space or even discursivity in general.

And Toby contrasts this with Muzak, which as he writes, was used in a more predatory way to choreograph the body into new work in relations with machinery. And the article also notes that Satie's work by contrast empties itself of all connection with those within hearing range, creating a relational vacuum and one in which oral exchange can become communicable. communicable. So one question that's raised for me is how the negative space created by this kind of sonic apparatus is resolved within the idea of the sonic data scape explored later in the text. And I was wondering how non-music of settee's kind, instead of the whispering window, would be reframed within the data scape and among a sonic palimpsest overlaid with sounds.

Is the relational vacuum it creates only something instrumentalized as a space of transductive flows, or is it possibly a less oppressive way of further decompressing the social human? I'd suggest that maybe an answer would be found for this particular case in the fact that Satie's music is a composition written for instruments rather than a machine in itself. Maybe that's something we can discuss later. Further, another question that the article raised for me was the problem of distinguishability among messages or the intelligibility of the vibrational spaces when there is sonic interference. And I was wondering how can the data scape be effective if in the end it opens up the possibility of a cacophony of sounds, or at least wouldn't there be a problem maybe of

sonic bleed between different emitters of noise and messages. My thought was that the paper offers an answer that essentially humans end up being interrupters of these transmissions. And so to the extent that there are crossed wires, so to speak, it's actually due to the failure of the human body to be compressed into an object through which transmissions can flow. But for me, the question is still somewhat open how these different messages would be intelligible. So maybe we can discuss that more later. So to go back to the summary of sati, its formal characteristics are described as well. There's an emphasis on its compositional passivity,

but also a discussion of how it remains as an aesthetic form entangled with aesthetic judgments of tepidness and insipidness. In discussing again the whispering windows, the article brings up its capitalist effects and introduces the idea of Teflon aesthetics in which nothing sticks and nothing is meant to. And it's noted that this is one of the most financially, that one is most financially viable and an automated leisure mode. And also in relation to this, the idea of stealth economics is discussed, which is the context that is given for the use of whispering windows to basically direct potential consumers towards making purchases or participating in capitalist

activities. And one question this raised for me was how the leisure mode required for stealth economics might conflict with the hyper alert state which would be required for us to navigate these data scapes. And that's again I think an elaboration of my earlier question. And one thing that I found compelling about the text is how it explores the way that predatory uses of these channels open up a form of ideology that is not strictly speaking about myths or imagination or even a kind of superstructure but actually has a non-structural form and so ideology acts more in the form of a kind of prosthetic so to speak.

I also wanted to bring up the discussion about the undead that's also that of course Toby touched on in his presentation and then also in this text and I was curious to relate it to the model of ontology which is kind of applied in this context and I was interested in considering how we might sort of invert this and think of sound less of a container that holds sonic imprints of events, but more as a present force that makes the material immaterial and makes things seem unreal. And moreover, I wanted to suggest that maybe the very flows and vibrations we've discussing themselves have some character of retrospection, so they have a historical character, and that just

as the whispering window reels us back from the center of the street to look at something we might have passed by or as Sati's non-music pulls us back into a conversation that might have been dwindling, sound compressed into surfaces or into architecture has the tendency actually to pull us back in time and when representations themselves are at issue sonic surfaces lend their contents a historical character. So this was kind of just a thought I wanted to introduce maybe to put but in contrast with another way of thinking about this undead as a more literal resurgence of the past. In that context, I was also thinking of the way the whispering window on the train operates in the discussion of it here through dream and sleep,

which I think is significant since they also tend to rely on forms of memory or past recollection. So some final thoughts. I wanted to, again, elaborating on the idea of hauntology, maybe bring up the idea as it was kind of originally discussed in the Derrida text that introduced that term, where the ghost isn't necessarily truly resurgent from the past, and in fact has a kind of atemporal aspect. There's not necessarily a temporal origin, but rather it's the quality of the historical, of the ideological phenomenon itself that tends to have this character of haunting. So in this connection, the stone tape theory of traumatic imprints was interesting because it

seems to show a kind of rejection or departure from that philosophical context. And instead, it approaches the metaphor of the ghost more literally. But I wonder how I guess I'd be interested to hear Toby's thoughts on this kind of inversion that's happening there. And I guess my final thought is in connection with the undead to highlight the fictive aspect of this. I think Alexandra also highlighted this, that three of the texts we read were fictions. And I think Toby's text was unique in that it relies on the ideas of the undead that are put in a fictive context in the other texts, but it adds them in continuity with more theoretical and

kind of realistic discussions. So yeah, that's my presentation. Thank you. Thanks, Yes then a lot of really great questions. I hope we remember all of them all otherwise you have to make us re-remembering them. We go to Elektra. Hello. Hello. Thank you for your interesting presentation topic too. I'm very new to the field so I'm very super excited for the things that I here and today i brought some reflection from the reading material that we have i will share also my screen in order to see just a little presentation can you see that thank you so

reflections we came across recently developed the vibration technologies such as this in the window or talking to the indoor or operating to turn a flat surface into a speaker the many flat panels begin to force to change the body's inflation to space connectivity and communication with the manner that requires to us to think about the latency of the sound system in a completely new manner. And here is the presentation. Superface sound, a technology with 1080 sensor phase to determine the sound sound in zone. In 1917, the 10-penetrant music was invented by Saturn.

Saturn was situated in the location background in the paratel social interaction, operating just beneath the impression of this inclusion music would be used to generally oscillate communication by embedding melodic threads into the texture of this chord so when verbal exchange becomes a stringy such as a such arrangements were there to help secure the silence moreover such as composition was supposed to pass unnoticed and therefore to be passive to the point where other types of behaviors and movement would negate any perception of them at all. Music competition comes in contradiction to music furniture as such this approach avoids

any involvement with language of competition. On the other hand, in music competition, form of music can be identified as being comprised of competitive elements or being and instigated by competitive behaviors. This interactive and child-friendly weaponization of cultural things to be mainstream because it loops the listener and watcher into the player competition and the feeling that even if they are still devoted for TV shows or just tuning, they are somehow involved in the reduction of meaning derived from public. To derive us out of the complex, and then receive reverberatory micro-politics of everyday decisions,

which are more intensively recorded and whose ramifications are more easily frustrated than ever before. As such, competition becomes a place for a straight decision. A removal from the disease with the vast density of information that then develops out every decision, the state in which the full firing of zeros and one plays out. We live in an age of hyper-compression where the traditional notions of high quality are irregularly for mobility, transfer speed, connectivity and obedience. The more recent listening practices are subsumed by the pressure of instantly forgetment of being sustained by sonic textures rather

than getting worked down in the personalized narratives and the identities contained by me that is essentially aggressively converted to be different with selfish less 45 the computer does not need to make choices matching them as vibratory tendencies in perfect alignment with the contemporary capitalism decision making slow down late consumption whereas being tightly the world under the very real consumption by sounds of the business you put for business for business to expand further this talk in the imaginary future when meta-ingrich whispering windows sorry windows light up with an individual name also taking into account the ai

by passing human presence and things all together they communicate without mobile devices rather than looking through interface with a comparatively slowly series. Mobile space will be formated via converges of the digital and concrete realms. Varying intersection and integration will be superfluous in nature with such units ensuring that connections, analysis, prediction and action take place with the time it takes to set up a selfie. The future project above only enters the of the UNS of dystopia when the communication of which humans are a part of the human to treat the presence as a influence of the otherwise good materiality. Future cities will stipulate

that humans do not say in relation to the way of building violence repeats itself because of the human being. Another application of ways of this way to talk to the leaders could be found brain windows for example taking windows by the contact of bomb against glass aims in their face with the mind when it's in a subtle pre-culture state and complete the city that allows market information to be transferred directly to the head a really interesting parallelism from the base in every century french villages to the uses of flood panels from capitalism describes the power of the heavy sound system organized space and territory. All sound systems encompass this realistic tendency to summon and

threats to the institution we can. Stone tape theory speculates that ghosts and haunted are impact mental impressions that have been released by living beings under extreme and traumatic circumstances and then recorded by lifeless materials such as coal. If one should always had ears they now also have mouths in these way memories especially ones that are amplified by feelings as adrenaline anxiety and fear gain the capacity to change the register and short term in an updated version of the stock of the stone tape the flat panel sound system is repurposed as a playback mechanism that refresh the hidden capital archives stored in the glass.

Central edge of the final section is the fact that everything oscillates and has a reasonable frequency. In this sense, it is simply a case of to identify the frequency in order to remove the static and locked nature of an object. Once they are moving, objects are static and different stories and to assume new relations with the world around them. The idea of compressed frequencies, time and space, in that afterlife could be considered an area of the vibratory spectrum, the other world radiating throughout the world. In Trauer's text, Letters of the Force and Peripheral of the Creation, not only does oracle system reading, memory, forgetting, crossings and places

have a dominant role. Oral history, except from preserving voices from political points of view, can also preserve voices of the dead. Therefore, narrators' voices will indeed speak for dead when they are gone. All the above-wariable ways of preserving voices were only able after editing phonograph invasion that was released in 1877. Another suggestion to approach to cure the dead was the law of energy conservation. The idea that the air itself is one vast library, on those pages are forever written on the one that's ever set on the human beings birth. In other situations, phonographic and atmospheric forms are outlined as libraries, presenting this from the elite to the masses.

The difference between these forms are the one is the tangible archive that can be monitored in contrast to the atmospheric one that could be all over the place. In the peripheral of our equations, we see parts of the world's musical jazz, with the common spazzy, drum-storps, the gallery of seven stars, and pensions-coast stories, which they are sharing in common the rhythm, the narration, the gradual understanding, the complexity, progressively immersing with our second sounds. sounds that are described not only as scared but felt as physical and painful and invasive work extending almost beyond the range of probability with the piercing quality sound is being used to alert something dark free from unnecessary realization in order to enhance the

because of the imagination. Thank you so much, Elektra. We now have a response from Calvin. Is Calvin there? I don't see him in the list. OK, then we don't have a response from Calvin. but we have a big discussion to make um toby maybe you will i try to to to answer some of the thoughts and questions posed here we can't hear yeah um

i think we need to go back into specific i mean there's a lot of obviously a lot of analysis and questions and points race so should we start with should we just go in order would that be can i go back to alexandria and alexand no it's alexandra isn't it not alexandria sorry about alexandra did you have were there any specific questions that i wrote i don't think yours had a huge amount of questions but do you have any questions that arise from the reading of your thoughts? Yeah, well, actually, I actually have a long list of things here, but I, the way I was used to the previous seminars, we first present and then we have some, and then in the end we have some kind of response, but I can, I can say my, a few thoughts now about the peripheral vibrations.

Again, as I said, I'm quite new in the jungle of Sonic, so I may sound a little bit maybe naive, but I'm really open to learn. And what I would say is just based on intuition and say I am very open to learn. learn. The text began from a certain distance and while closing more and more to the sea and all the vibration around it. I'm a landscape architect, but I'm reflecting a lot on landscape and our nature within it.

So on distance, I have a quote that I really like, and it says, distance is the raw matter of all utopias, but also the main intuition of transcendence. So while closing more and more to the house, we hear the sound of the sea, but there is the saying that we're 90% water, well, 60, 70, whatever, since we're more or less out of the same matter by logics of matter, I guess we, for some reason, by this magnetic field, we go close to each other. We tend to go closer to those things that have an answer of ourselves, even though they

they're attracted by fear or love of it. It's simply intelligence of matter, yes, if we're made out of the same things. So, and the more closer we get to the water, I was reflecting on John Cage's book, Silence. I actually have it right here. He says something about the more, one entering a chamber to discover that one hears two sounds of one's own intentional making. And one is the nerve's systematic operation and the second is the blood circulation. Well, once in the house,

we have this box of resonance. We feel more and more the vibration. and which leaded to the music box and this is a very sweet tendency of ours to try to inhabit those very sources that those that determine those original sounds to have those sources of our fears but that's that may be on a large scale that may be a little bit far a little bit far fetched but I still yeah and then I have a particular relationship to fear and a little bit I fear that fear messes with a little bit our intuition and a little bit distorts it

while talking about ghosts and dread and terror but specifically especially about sound and vibration that hurts uh i have again it's it's my intuition and i'm open to learn but it hurts in a way because we may choose to it may be dreads because we choose to and um i'm um i can give an example of a little bit from my my memory i'm living and living and working in stockholm but i'm from romania i i grew up there and i i have this memory when i was very small and we were in those big communist blocks and all the kids were gathering in the evenings and you know you know trying to do things together and we had those basements in the

big communist blocks where we were all of us we were 10 of us going in the basement and the basements were really uh full very little lights very very humid and really creepy and uh by our imagination we we thought we were seeing like uh you know red eyes trying to catch us and all of a sudden all of us trying to scream together and run out of that out of basement but um once out of there we were um we wanted to be afraid together we it was fun we were missing each other when we were going back to our homes um so in a way what i want to say is that i'm i just hope whatever we built from now on is not so much fed of fear that's uh um that's uh but because the the

text ended with um vampiric vampiric uh it that yeah it's horrible to hear it pierces if possibly vampiric and it hurts um yeah it's um i'm just thinking we're maybe we're some sort of these sources of vibration we we attract as we tend to go closer to the water we attract what we we we are by the nature maybe we're ghosts for other other beings so uh i just uh i just hope we we don't attract just uh by fear that's my my my what i have to say okay i mean i think i think that's an interesting idea around that kind of idea that we're compelled and seduced by fear

and collective fear is an is an interesting idea especially especially given the politics you know obviously the politics that we live in global politics we live in and obviously the the politics espoused by the US government for example is a really good example of that kind of like collective playing on collective fear but then not just that not just being a one-way mechanism it's a two-way mechanism and i think that is true there is a there is a desire there are collective forms of desire to feel fear because it's intense there's an intensity and the intensity is very is compelling and and it is there's a seduction i think in that type of

intensity. So I think as much as collective forms of fear are harnessed and deployed by governmental and political leaders, there is a desire for it as well, to be living in that kind of intense situation to a degree. And that's something that doesn't get, I don't think gets examined or analyze that often of how much there is an actual requirement not a requirement but there is it's a two-way it's not just one way it's not just a power dynamic top bottom power dynamic whereby some people with power are exploiting the fear and what happens to a cultural you know

a population when when it has fear and it works on an economy of fear of course then it becomes easier to pass certain types of draconian types of laws and ideologies into the fabric of it and embed those kind of draconian ideologies but it is also that there is that desire isn't it it's a desire around intensity as well it's an intense and fear of course is one of the most intense intense uh drivers of humanity so it's not it's not surprising but it like it doesn't get i think the fact that it doesn't get analyzed in terms of how much we want to feel fear as well i think it's actually i think it's a really interesting point that you made um what else did you bring

landscape architecture and just trying to think of that you brought up the water and the body and the fact that you know that there's the resonating the way you know the human body resonate the different parts of the human body resonate at different frequencies so the eyeball for example resonates at 18 or 19 hertz and you get visual smearing from that for example so you get hallucination in your peripheral field your organs tend to like a room more around five six seven hertz um there's different brain where there's different brain patterns obviously which have different uh different wave patterns as well frequency fields so all different types different parts of the body resonate at different levels and we of course we're

drawn i think we align ourselves with what we resonate with whether that's theoretically politically uh culturally musically etc etc etc we tend to align ourselves in with things that we feel we resonate with you know it's that idea i mean if in under the umbrella of the only consistent thing in the universe and everything that we know is that everything moves it's the only constant there's no other there's no other constant everything moves everything resonates sorry perhaps it starts to hurt when it's what perhaps it starts to hurt when we stop that's why we should move when we stop but nothing does stop yeah nothing nothing does stop moving

everything does everything does resonate and of course it hurts maybe when things are over resonant, when things become over resonant, you know, like the, you know, the way of building in a standing wave, if a standing wave is, if a building comes under the power of the standing wave, you can make a building move, you know, like two, two or three meters from side to side, because you've got the resonating frequency of the building, for example, so that, you know, experiments have been done with skyscrapers and are done around this, these type of events, or events which cause massive frequency displacement. But there's something interesting there about when something resonates, when something is over amplified, when something over resonates,

that it can actually be pleasurable. But then, of course, it can be also hold the destruction, destruction of anything, of a building, of a body, of a of anything that's material can be made can be destroyed by over resonating the over amplification of the frequency it resonates at. So there's something interesting there as well from what you said. What else was the whispering windows? It's funny with the whispering windows, the whispering windows haven't taken off as much as they thought as everybody thought they would. I think there was a really big, there was a drive for them. I mean the original experiments were done on trains in Germany a long, quite a long

time ago now. They were, I think they were back, when were they? About 15 years? No, no, maybe not that much. Maybe seven, six, seven years ago I think they were done, like the initial experiments were done with the transducers on windows that when people fall asleep and they were in a state of semi-consciousness it would be a chance to be able to transmit ideas and again consumer messages into people's heads whilst they were in this semi-conscious state which obviously is pretty, is fairly insidious. It is that they are different from the whispering windows in shop windows,

although those are still, those are still used today, but not in the same, they don't have the same end point. I mean, whispering windows are a direct contact into your cranium, which is in terms of ethically you know ethically it's uh incredibly questionable the spring windows are are questionable as well in terms of their the ethical framework in which they work but they're not connected in the same way to the human body as when you put your head against a window and you enter a state whereby it's much easier for ideas to permeate your consciousness or subconsciousness

So I don't know if they hit legal framework, I don't know if there was legal, there are legal implications about whispering windows, I don't know if that's why, I've never seen anything or the research I've done has never unearthed any legal cases that have been bought against people, you know, like in the way that, you know, Muzak on planes, for example, was legal cases were bought against were bought against companies who used to play music on planes. So there was about two or three years where it was actually illegal to play music on planes. But that's obviously not the case anymore, that was overturned. But in terms of the whispering windows, I think they still work in the legal framework in the West anyway.

Should we move on to Catherine? I'm just aware of time and I just want to make sure that we get through people's questions. Can we move on to Catherine, please? We have a small hour left. So, Catherine? Sure. Thank you, Toby. I guess I'll just reiterate a few questions. I was particularly interested in the relationship between the stealth economics that are described in that text and then the data scape that you discuss as well. And as I was reading it, I felt that there could, we might see a tension between these,

in which on the one hand, silence is necessary for some of these things to be transmitted, but the data scape risks kind of overloading us with sound and sonic input. There were some other, Let's see. Yeah, I was also wondering about how you see the idea of the undead and unsound in relation to the idea of hauntology, I guess. And as I mentioned, I saw this maybe as being kind of an inversion of that original idea. And I think you even maybe say as much in your presentation from this session where you mentioned something about the event horizon being reversed, I

think. Yeah, inverting the event horizon, inviting the outside in. So I guess I'm curious maybe if it was a conscious change for you, departing from this idea of the ghost as something that's not as much a feature of actual history, but something that is connected to this like phenomenal effect of sound or of something to suggest that it came from the past. And I guess I'll... Sorry, can we just do these one at a time because otherwise I'm going to forget them. So just to pick up on some of the points you're bringing up, I mean that kind of like inversion

of the notion of unsound and dead in terms of the past. I mean a lot a lot of the thinking around this was about a kind of trans temporal access which is the way that the presentation worked as well in terms of thinking about time not be not this linear notion of time kind of like deconstructing this linear notion of time so that access go that kind of idea that ghosts are future future facing as well and come from the future as well as come from the past and work in a myriad of different ways to to assert pressure to the cracks in the present and make themselves apparent I think that was very much in the thinking of on the book Unsound Undead and of the presentation

that I just gave as well. So it was kind of going beyond that kind of Derrida's idea of Marx and Fisher's ideas of hauntology as well, Mark Fisher's idea, and opening it up to a more, yeah, to a much more kind of future-facing idea as well, so that we aren't just thinking about how the present about how the present is is you know is um pushed or pulled by the ghosts of the past but it is also the ghosts of the future that are also doing that work as well so that's kind of one in terms of where that book of where unsound and dead kind of posits itself it is in a very

non-linear kind of manner or it was thought about in a non-linear manner. What was the other, what else were you asking or referring to? Yeah I would also ask about maybe if you could expand a bit on the data scape and how like the sort of conditions of reception of those messages in the situation you propose, what is, how would it be possible say for us to kind of differentiate between messages? And that's what I meant I think when I suggested that there could seem to be a tension between the stealth

economics and its dependence on some kind of silence or like withdrawal of sound or the creation of a sort of vacuum through which something can be transmitted. So I guess I'm interested in just to hear more about how these ideas do or don't interact in your understanding of data scapes. In terms of messages and data scapes, what are you referring to exactly? I can see if I'll open up the text. So there's a discussion partway through that, if you don't mind, I can just read this.

So it says, if and when this sentient city comes into being, a new approach will be required that canvases these disciplines to formulate a robust set of strategies. They will be tasked with renegotiating our spatial and temporal relationships with this newly evolving sensory climate in which all of our somatic mechanisms for collecting information have been massively extended and new ones added, and yet the data accrued exists at one remove from our internal processing facilities. Our skills in negotiating data scapes will increasingly become more vital than those required for navigating physical terrains. And then you also bring up a remark from Caroline Bassett and some of her thoughts in connection with that too.

About that, yeah, so that the mobile space is that the kind of the usurping of physical space by mobile space about being mobile and what that means and the technologies that allow us to be mobile. I mean I think that what was what's interesting or what some of my thinking around that was based around is that kind of that extending of the sensorium to a degree is a large part of that and the idea that we are in the process culturally of extending our sensoriums We're obviously interfacing with technology and whether that's chips or bionic or wearable technologies or if you think of artists like Stellark who are doing very obvious work in this type of work or tissue culture work by Orrin Katz.

there's lots of different people artists and cultural producers working to extend the sensorium and that will need to I think that absolutely has to happen for us to stand any chance of being able to comprehend the noise in data sets for example because I mean if you think about data sets are just massive, massive fields of noise. That's what they are. The only way that we make sense of those is by finding signal within that noise. So we find narrative and we extrude narrative out of the noise. But that story basically in many ways is storytelling, it's a functionality

of storytelling with that to find the signal to trace it to map the signal that happens in this massive these massive data sets which are just huge vectors of noise essentially. I think extending the sensorium will help us be able to better derive signals from the noise. Great, thank you. Yeah, I see. Is there, what else was, what else was there? Because I think you had a few points. Uh, well, yeah, I guess maybe if there's time and one other question I had had was,

I guess I was curious about the fictional inflection of the idea of the undead and I guess maybe the question would be how these texts work in conversation in your idea of that. Sorry that's not quite clear. I guess I mean that so you gave us a few kind of fictional text or at least text with a slightly speculative inflection and yet you also apply this these same ideas in the context of your theoretical text that's clearly describing or at least projecting kind of real possibilities. So I guess I'm just interested in how you see the world of maybe

sonic fiction and elaborating the theory but then also standing on its own as maybe a way of developing these ideas. I guess that kind of speculative fiction or theory fiction approach is a massively resonant part of the way Audint works in general and it's to say for myself as well as somebody who works outside of Ordin with my own artistic practice, my own writing practice. It's still very, it's a strong foundation for the way I approach a lot of what I produce. I think a lot of that comes, Mark Fisher again is like really instructive here in terms of that

his thinking around speculative theory as an absolutely necessary way of being able to open up conversations, different types of futures, and actually, again, forcing those fissures into culture, those cracks into culture, which then widen and widen as they gain more credence and as they gain more mass, and importance within a culture, but they've got to come from somewhere. And they come from these, often they come from very speculative, future-facing ideas, which are, you know, which in the first instance

are just very minor, you know, minor thoughts. Well, not minor thoughts, but they're minor lines of intrusion to dominant modes of culture, which then force those open and force you know a force of remapping or a rethinking of the context of the culture that they they exist within so I think it's that thing of sending out lines into the where you're hoping that these fictions will embed themselves into the culture and and you know and grow much as in the way I'm just trying I'm trying to think of like you know I'm trying to think of like at the moment we're doing some really interesting work in where I work at the School of Digital Arts where we're looking at futurisms post-Afrofuturism so it's like what kind of futurism using

Afrofuturism as a methodology for disenfranchised and marginalised cultures and people to actually be able to forge even a notion you know it's like what what does a you know in Syria what you know the idea of a future in Syria even that as a sentence is massively problematic because you know what's going on on the ground makes it so or in Iraq or in a number of countries where the notion of a future in and of itself is massively problematic because the present is so difficult that but it's absolutely in those situations that really require thoughts about

what a future could be because that without those types of conversations and ideas then there won't be there won't be futures I mean it's it's very simplistic and what I'm saying is very I'm putting it in a very simplified manner but it's just that the requirement of of disenfranchised and cultures and cultures that are going through massive modes of conflict or you know or physical conflict or war that absolutely need a methodology whereby ideas can still permeate for better futures did you have are there any other questions or have we kind of we worked our way through

I think those were the main thoughts and then if there's time later I could maybe bring up anything remaining. Yeah, thanks. Okay, cool. Thank you. Who was next? Was it Elektra? Yes, for me, I haven't prepared anything but it was something that particular coming and getting into my mind. It's about, it's from the first part that we saw from whispering talking windows. And especially from, it was about this, that we are able from flat surfaces to turn flat surface into a speaker. So I saw a lot of videos about that. I haven't seen something similar to that. And I was just wondering how you see the future of them.

Just a simple thought. of how I see the future of of these panel speakers what do I see what do I think of the future I think they do absolutely do have the future I think it's probably again that kind of stealth in terms of stealth economics and stealth capitalism anything that can any types of technology that have the capacity to be driven and to be able to target individuals I think unfortunately have really solid futures in our cultures and that's probably that's probably fairly cynical but I think

I mean, in terms of resonant, you know, everything potentially having, or everything having the potential to resonate and be a speaker is an amazing step in the evolution of speaker sound systems. and it's an amazing step forward in the technologies that could be utilized by policing organization governments and you know bastions of capitalism so shopping men from shopping miles to stores yeah they absolutely will they will be used and they will be upgraded i think

they're fairly i still they're they're early we're really early on in their evolution as technology so they're they're quite lumpen in some ways at this point they they work they they work effectively but they're not hyper effective like they don't they're not seamless at this point and they're not hidden in the way that i think they will become and they're not discrete to the point where it will become very difficult to understand where certain messages are coming from as you're walking down the street, for example. It can be done now, but it's still quite difficult to aim, for example, things like HSS speakers, hyperdirectional sound system, ultrasonic speakers.

You have to be in the line of fire, as it were, to actually, and if anything comes in between that, than anything physical, then it will, the sound will bounce off and it won't reach you. So they're effective to a degree, but they will become, it's inevitable that they will be, that they will be upgraded. And it's probably the military which will drive this type of development. I'm thinking of the way the military use sound systems, how they use them in Iraq, for example, during the first Gulf War,

where they would actually have sound system battles with directional, but these not, they didn't use, they use them off Humvees, off the back of the Humvees that they had, and they had sound systems, but they're very directional, like L-Rads, long range acoustic devices, where they shoot kind of sound, very high density, high decibel sound, in a very directional manner at people in mosques, for example, and there was sound system battles between the minari and with the speakers in minaris and the nasheeds that were played from them, And then the, you know, the US coming along and playing very directional hip hop and death metal and country music. So very, you know, very US associated music, traditional US music.

So again, these are being used in conflict. They are being used so that the technological determinants of them will reside with military institutions, I think. I have a comment on this flat surface speaker, the transducer speaker. Yeah. Another use is also they're used as a noise cancelling device to put also on windows. So in the same way that noise cancelling headphones are working with, like, taking the sound coming from outside and facing it around and playing the opposite sound into here and then cancelling out the sound.

They're also using these transducers put on windows and cancelling out the incoming noise from streets, for example. So you can have closed windows and you can have a silent work environment or a silent home. Like this kind of optimisation of how you use the window speakers. and and that also reminds of of this notion of of of musak that was made for a capitalist reasons like optimizing the workforce we are living in in larger and larger cities and we have these tall buildings with a lot of glass fronts and we can put transducers in those windows to optimize the

the sonic work environment, then we can get a better workforce, earn more money, and so on. So it's also used in that kind of business way. Yeah, yeah, yeah. Yeah, that kind of hyper-designed, efficient kind of workroom, like, and the kind of, the sonic, yeah, absolutely, the sonic, obviously the sonic environment of that. I mean, I was speaking to you before about we're building a new building for the School of Digital Arts at the moment. And of course, that's very, very much at the forefront of my thinking is because it generally isn't in anybody else's thinking. Like even architects rarely, really think about this stuff.

It absolutely amazes me. People who, you know, design massive buildings and architects and very, very well-known architects. but they're thinking around the sonic spaces that they are producing. It leaves a lot to be desired. And that's, yeah, that's putting it very nicely. But so I've been really, really thinking about kind of the sonic spaces of this, of this new school and the kind of these optimal, you know, what are the optimal conditions for working in? and background yeah what what happens with background obviously like sound spaces they're all soundproof but with other spaces it's it's that thing of like do how much of uh you know

we live it's that caroline bassett which was i think she was brought up before in terms of mobile space but caroline bassett wrote a lot about you know the fact that we we exist in you know like six or seven soundscapes at any given time from planes passing overhead to traffic outside to your nervous system to your kids playing downstairs, the word of, you know, the fan on your computer, we have, we, we're constantly embedded in all these different spatialities, which are, which is her idea of mobile, this wide kind of mobile space is so aligned to sonic space, because it's easy to transverse and from one space to another. It's whether that's also something, if there are modes or spaces where it's desirable for that to be part of the makeup of the space

so we don't you know we don't want to cut off every sound from every space you know so that's maybe not the optimal way people work you know I personally work really well with a lot of noise going on I like lots of noise happening like this I don't like this idea of silence of working in silence i find it's really detrimental to the way i think because if there's silence if there's noise you have to carve out a space for yourself and if you have to do that mentally psychologically delineate a space within the noise for you to work in i find it that really i find that really useful whereas if there's complete silence i don't have to go through that process and then it becomes much more difficult for me to focus because I don't have to go

through the process of making the space. I would really like to invite the rest of the students to the discussion as well so anyone sitting with a comment please feel free to turn on the mic. I would have a question. Please. I think somebody spoke then. Yes. I would have a question. Yes. Yes. No. It's a bit fragmented in the audio quality.

Sorry, I can't, I can't, I didn't hear anything. I just heard that there might be a voice, which is quite... Now we're here. Now I'm back. I'm back. You talked about extending the sensorial. I wonder, what do you think about extending the sensorial at the bound of event horizon? Both McLuhan and Baudrillard, they talk a lot about implosion. So I'm wondering, what do you think about it? Sorry, what do I think about? You're still dropping out. I heard Baudrillard mentioned at some point and Implosion, but I didn't hear too much around.

Yes, do you hear me now? I'm trying to, yeah. So yeah, I can just about, yeah, go on. Perhaps I can write. Okay, so Alexander wrote the question in the chat.

I'll just read it loud. You write the question. Okay, go ahead. You talked about extending the sensorial. And I was wondering how do you see it at the bound of event horizon? That's a tough question. I mean, I'm just trying to think of... I mean, I think it's getting that kind of extension. I mean, as I said before, I think this extension of the sensorium is in full effect and has been for decades now. I think

it's obviously going to become as we have more embedded interiorized types of technology will help us i'm just trying to god i can't believe i've forgotten his name what's the guy um the guy's name who's got the antenna on his uh coming off the back of his head so that he can see he can what was it he can he can hear the colors he can hear that's right but But you can also hear the ultraviolet. Oh, yeah. So he expanded the spectrum of collaboration. What's going on? I can't believe. I actually, what's his name? Neil Harbison.

That's right. Yes, yes, yes. Neil Harbison, yeah. So, I mean, they're already, you know, there's already kind of humans who are learning to reconfigure the sensorium and how we how we navigate the world. Stellark obviously is a really good example of this. He's been working in this area for decades and decades. Obviously, the third, people know about Stellark and his third year. not that that actually functions, but there is that proposition that this could be wet-wired at some point in the future,

which is really compelling. I think it's compelling in a non-post-humanist kind of way, in terms of it's not a way of exiting the body it's not a way of looking beyond the human body it's a way of it is very much about an extension of it which is also obviously what technology I mean that's all technology does you know if we if we think about the way we work with mobile phones and the computers and the networks we use. I mean, they're all ways of extending ourselves in space, for example.

Again, that goes back to Caroline Bassett's idea of being, you know, of being in many spaces at the same time is the kind of ultimate, you know, ultimately that mobile space is what we're after, being able to transgress space and time by being omnipresent in some ways. it's quite a god and her idea for her it's kind of like almost like a an attempt to be god like you know it's almost godlike and it's almost godlike what technology allows us to do in terms of i can be on the phone to three different people in istanbul and in brisbane and paris i can be writing an email to two people in germany i can be you know it's a our capacity to extend our agency via technology is already with us and will become increasingly so I think going forward

obviously in terms of especially when we have things like if we have routers for example embedded or versions of routers embedded into our consciousness which will happen I don't think it'll happen I don't feel it'll happen in my lifetime but it'll probably happen in your your all your lifetimes yeah the idea that we will already you you have the internet basically internalized but also sorry yeah it's it's kind of not just an extension of the senses is more like or also an externalization of the senses like uh like how i get around like i can hardly go go out of my door without it turning on the maps function on my phone or memory functions and all that if I

if I lose my phone I lose my memory and my orientation sort of or part of it which I'm relying on so in in that way it's it's really externalizing that what we were used to do like we had to to memorize how we get around and we were still doing that I know, but to, to, to, to another, uh, maybe lesser degree. Yeah, no, absolutely. Yeah, absolutely. Of course. Yeah. And then that the maps one is a very good, uh, very, yeah, it is a very good, uh, in example, uh, that gets brought up often in terms of how we outsource our memory to machines, which then carry that capacity for us, which supposedly frees up our cranial capacity.

But to do what? To do what exactly? I'm not sure what to do because it doesn't seem to be replaced by anything. Maybe more time to consume. Probably it gives us more time and capacity to consume. That's ultimately what it's probably for. I have a question because I know that a lot of the students here in the seminar, it's the first time they are encountering sound in this way. And other students are very familiar with a lot of theory and sound works and music and so on. So I think my question is a basic one and maybe also way too big for an answer. but um like you work with an uh an idea of that everything vibrates as the only constant that we

can we know is there um so where in in in this kind of vibrating world where or universe where does sound start and stop where the sound start and stop that's a really easy question it starts at 20 hertz and goes to 20 000 hertz which is a a really thin very thin spectrum of the vibra of the vibrational uh of the whole vibrational spectrum there's a very very tiny sliver of that which we can actually hear so sound everything outside of that is unsound is either above or below our hearing range i think that would be the centric answer what would be the what that would

be the anthropocentric answer right like if you if you take a dog that would be another spectrum exactly exactly if that's that's the thing that the point is is that it's for the humans we we actually perceive a very very tiny about a tiny amount of vibrational information and no and can you know, in which we can derive meaning from. The idea to expand the sensorium would be also a call to understand lower and higher forms of frequency and what that, and what they do to the body and what they do to us as human beings. So lower frequency through touch, for example, through vibration beneath 20 hertz, you feel through the feel through the skin and through

the resonance on the skin and on the of the of your internal organs and your bones and sinew and to understand and to actually have a language and a vocabulary which can I mean you know as people like Julian Enriquez which I'm sure is his sonic bodies work I'm sure you have come across that goes into and you know talks about the need for a vocabulary and a language which you know displaces the ocular as the dominant form of sensory information, the delivery of information, so that we have a wider, we understand the world in the way that someone like David Howes or Constance Classen's write about in terms of we need to understand it through all our senses, the five

senses that we talk about and then the other 15 that exist outside of that, and then all the others which we haven't even discovered yet, but understanding the world through, or understanding the language of the senses in a much more expanded and distributed manner than we already do. Because at the moment we have the hierarchy of the ocular, which is ever since the printing press has absolutely been the most dominant form of understanding our navigation of the world and of relationships and relationships to matter and information so that that i think desperately needs changing in the west i think it is changing very very slowly but not fast enough for me

there's a comment from anna do you want to uh to ask it in in person or should it also has to do with the consciousness of the listener with the ability of hearing and listening to access to that vibration in the tactile's only way interpret it or use it. I think that's the thing. That's the thing. I mean, there's a feeling sound is not about hearing. It's about touch.

So it's not just about thinking about hearing, it's also thinking about touch, it's also thinking about the kind of multi-sensory approaches to experience, whereby different types of formations of vibration, the way they attenuate or change taste, for example. you know it's like there used to be the in there used to be an idea that the the senses used to feed in separately information into the brain and now we know that that's that's not the case at all and the fact that all the senses feed information into the brain in a really knotted manner so that that's you know you that the information get changes the what so the way you see changes the

way you hear, the way you smell changes, the way you taste, the way you smell changes, the way you hear, etc, etc, ad infinitum. So this is kind of, you know, we need a much more distributed notion of how we think about vibration that isn't just dependent on these, because this is just, again, this is just one way of comprehending frequencies. It's just one way. It's like the body is a resonating chamber. Everything we do with our body, everything we taste, everything we smell, everything we feel is associated with some type of vibrational framework that it works within. And we need to understand that better. So it isn't just about hearing, I guess would be my

answer to that. Thanks. Can I ask a question? Yeah, I feel very, very related to this naive question. I was thinking about my position in the course of these seminars. I remember in the first seminar, very naively also, I asked, okay, is unsound meant to be heard? And that was one of the first questions that came to my mind in all these seminars. and so it will be okay. Isn't sound meant to be, I think your answer right now would be,

would be that okay, it isn't. We are meant to hear sound in the audible range from 20 to 20k and but interactive and sound in other ways that is not hearing but it's also sensing I think. And last seminar with Elenia, I remember thinking about this notion of an unsound artist, in contraposition with a sound artist. And then it was a bit, not this separate, I think it was more of, to me it was more of a question of working with things that are not yet heard, but will become heard, will become sound.

unsound would be this pre-existing condition or unconditioned, but state of something that would become sound later. Sorry. So I think right now, I think my question to Toby is, okay, but if unsound is not meant to be heard, but meant to be sensed in other ways, would also that would also be a unsound art and would that art also not be with sound it would be oh sorry I'm getting I always get confused talking in English for without a script sorry uh would that unsound art also be not heard would be a uh yeah okay I think that's that's the question sorry

I can clear it a bit more. Are we kind of thinking about what unsound art could and should be? Yeah, I kind of came up with this. Sorry, go ahead. I mean, I think that that's kind of, I mean, in terms of thinking about what unsound art could or should be, should be. I mean, obviously there's people already doing this kind of work who are working with very, very low frequency fields. Obviously we do a lot of work like this using types of phenomena which are at the edge of kind of perception, which is a lot of the kind of

we do is kind of trying to eke out this space or work in this space where phenomena is at the edge of perception and therefore it's difficult to quantify and it's difficult to put voice to and it's purpose it's difficult to speak about and i think that's it is again it does it is trying to find this language of like it's trying to find a language for what exists at the edge of perception that is that we're we're kind of after in some ways that's what we're going after we're trying to find this language it's like what is the language maybe it's a type of language if it's an experiential language maybe it's not a language

in the way we think about it obviously not a written or spoken language but it is trying to find a way to convey meaning from the edges of perception because at that point things things become blurred and they become difficult and they become miscommunicated and discommunicated and that's where things become interesting i think and for audit that is the point at where we're we're always trying to edge towards the the uh towards this boundary marker of perception to give people experiences whereby it often you know often leaves people feeling like they've had an intense experience in a space

but sometimes they don't exactly know why they've had an intense experience and again it's that point you know it's not like putting on a blinding rock show where you've got lights and you've got like people on stage doing whatever they do and it's like I saw people doing that I felt the music if if you've got if you've got freak very low frequency for example a lot of the time people won't even know it won't necessarily even know it's there because you can't hear it but then again with like I was saying about the you know the resonating eyeballs if you get that kind of resonating eyeball it's really interesting I don't know if ever anybody's actually experienced 18 or 19 hertz where your eyeballs actually start moving shaking it's very interesting what happens to your

vision as a result of that and it's quite and it isn't it's unnerving it's an unnerving space to be in which is also that you know that kind of work that i don't know if anyone's come across the work of vic tandy he's not alive anymore unfortunately he was at coventry university and he was doing all his work around hauntings uh he was a like a sick building researcher and he was looking into why hauntings in buildings were being reported and it was often found that it was broken fans or broken ducting that would generate 18 19 or 20 hertz frequency fields and it would it would make people feel very unnerved because the brain the brain can't process this it can't process

sound that sound that low but it does actually it can process it in a physical way so it understands that those frequencies are occurring but it gives because it can't comprehend it as sound it triggers into the fight or flight reflex so into survival basically the survival reflex which is why infrasound makes people very anxious. So it's a scientific fact that infrasound makes people anxious, and that's why. So when people are anxious, of course, they're in a mode where they're more likely to think that there's an external force or pressure.

pressure, well, and there is, there's this 18 or 19 hertz, but people don't understand that that's what's happening, so then these other kind of stories come to cover that eventuality, or those frequency-based eventualities, so other stories are made to explain them, so otherworldliness, otherworldly stories, which are the reports of haunting. Sorry, I digressed there wildly, but hopefully that started the edge of perception stuff is what was the answer to your question anyway. I think that clears a lot of, to me at least, this position. Thank you. I had a question. So hi. So thanks everybody for their presentations and thoughts. It conjured

kind of a speculative question inspired by these ideas of hauntology and futurity in sound. So Toby, you had mentioned Mark Fisher's writing on early 2000s artists, hauntological musicians like Burial, for example, who incorporated spectral sounds of older music technology to evoke and concretize particular cultural memory. And so I'm thinking about in the context of your paper, could this current imperative to sublimate and flatten sonified space and content being exemplified by whispering windows and Muzak in particular, could those things yield sonic experiences that could be reinterpreted by a future ontology? Because that kind of sounds like a project that you are interested in. So yeah, I'm just thinking about Teflon aesthetics

and these types of pre-metabolized sonic experiences and how they are inherently opposed to memory formation. So does this automated leisure mode of listening have the capacity to produce future ghosts to be conjured in future decades? that's a good question i mean i think if you that's the thing they all change you know it's like from music to ambient music to hauntological music to vaporwave they're all they're all they all have different modes i think they're not i don't think they should be conflict none of them should be conflated with each other they all have different modes of different aesthetic modes

different functional modes different cultural modes whether they can generate ghosts are you asking whether they can generate the type of memory that would then be incorporated again as signifiers of a time or place yes exactly yeah yes absolutely yes i think i think i think they will be and then we'll have height like well i guess we'll have like hyper hyper hauntology which modes of hyperhauntology but everything yes I think everything will be everything can and will be reutilized I think a lot you know I think this idea of kind of sonic textures is really interesting this kind of like this I'd like to say this teflon the teflon kind of functionalism

of contemporary culture and its relationship to sound and music. In terms of, I think things like Spotify are really good examples of that, of systems that it's not about, it's about a texture, it's about generating textures. It's not about generating standout moments or individual identities. It's kind of like this seamless mix of a texture that will be reimagined and almost like just constantly re-sampled, sampled and re-sampled, sampled and re-sampled.

And I think about, you know, think about what AI is doing with music right now. So the companies that are basically out there at the moment working with AI and music and just forming nonstop mixes of everything that's already happened into new sonic textures and new forms of a new form, new genres, new modes. it's going to be really interesting I think what happens over the next couple of years well even maybe the next year in terms of what AI because AI will forge that new kind of hyperhauntology if anything does it will be AI that does that and the fact that we already have

technology that allows us to it's a bit like GPT-3 the kind of GPT-3 algorithm for writing that's happening in music whereby we can mix, you know, we can have Nancy Sinatra doing a Public Enemy track, for example. That's completely plausible right now. And if you think of all the sonic textures that will come out of these reimaginings of being able to have artists versioning of undoing iterations of other artists, So you can almost stop the recording industry right now and let AI go at it and it would create dozens and dozens of new genres as a result.

Dozens and dozens of new aesthetic modes within sonic culture. But what will stop that is the legalities. In the UK, we don't have the legal framework that exists around music culture. is not is very different from the US's so whereas the US because it happened with Jay-Z didn't it Jay-Z so there was the AI where Jay-Z was made to sing a Billy Joel song and do some Shakespeare as well I think yeah this was this already happened and it's been and it was closed down so it was uh there is Jay-Z's manager took it to court uh took the folks to court and got it

closed down. We don't have the capacity to do that in the UK in the same way. We don't have the same legal framework around music. And it's very difficult to stop that versioning that AI does or will be able to do. So it's going to be really interesting to see how the music industry responds to artificial intelligence, I think. And two, it's kind of how it imagines, how it's going to imagine the future because the way AI imagines the future is going to be very different from the way humans imagine the future which is going to be incredibly interesting and to see what kind of strictures and legal frameworks we place on it to stop it imagining

will also be there will be incredibly telling and that a lot of this a lot of this will happen in the next it'll have to happen because it's it's happening already AI is at a point where it is is powerful enough to do this work. So yeah, I think that, yeah, if you keep an eye on the AI and the legal frameworks that are put around it over the next two years, it will be incredibly instructive for the way we move forward culturally. We have a last question from Michael in the chat. So would auditory hallucinations be considered a language for what exists on the edges of perception? Is this sonic ontology as we are hearing the ghost of a sound created by the interpretation of a memory of a sonic experience?

As we are hearing the ghost of the sound created by the interpretation of a memory of a sonic experience. I'm not sure what to make of that, to be honest with you. Michael, you're welcome to turn on your microphone if you want to. Do you want to have a go at explaining that to me? Because I'm finding it hard to pass that, to be honest with you. There seems to be a number of ideas there intertwined. Maybe if you speak,

you can rephrase it if you're there. Oh, we don't have a mic. Okay. That's ironic. I mean, I think it depends how we think about auditory hallucinations, doesn't it? Auditory hallucinations from the perspective of schizophrenic are obviously very different from the auditory hallucinations perceived by people who have been targeted by an HSS technology, a hyper directional sound system.

I think there's a number of different ways to think about auditory hallucinations um Schaeffer obviously Schaeffer does that in some of his work uh Armory Schaeffer in terms of thinking about the you know the auditory hallucination was basically somebody you're either a schizophrenic or you were somebody who has had a channel to god or a godly a godly otherworldliness or deity that was also that kind of space in which auditory hallucinations could be culturally explained um i don't think there is there's one way of thinking i think there's a number of ways of thinking about this and there's now that also we have obviously we have the kind of technologies

which allow for auditory hallucinations to occur for basically anybody on us who's walking down the street and that has you know that has been experimented with i know people who do who do these kind of activities from build on buildings and aim the hss's hss's down on people and and then to see if if they can actually affect this opening of a channel where people think they've heard something that nobody else has heard. Again, I spoke about this before, the technology will get better so that minority report style targeting will happen in the way that it is suggested in minority report is very ocular, but it will in the future also be done through

sonic channels as well and infrasonic channels i think to to make people feel to be able to cause anxiety you know some if you think of you know it's like walking if you're in a in a cityscape and there are certain parts of it that resonate at different kind of infrasonic frequencies as well i mean infrasound happens because of traffic of course so we have that but that's not control but being able to control that so that there would be parts where you'd feel more anxiety and more dread if you wanted people to move through a space for example more quickly that would be a really good way of effect of trying to make that happen um i'm digressing again here but i think that's

because i wasn't i'm not exactly sure what the question is asking to be honest so hopefully was adequate for Michael. We are kind of coming to an end now, we reached the time limit. Do you have a final remark before we end the session? That's for you, Toby. Oh, for myself? No, not so much. I mean, I just, I guess I was interested in asking, and I didn't get to ask this early on, but in terms of the kind of, are you, how much is sonic cultures a part of what you do at the university? Is it like,

is it strongly embedded? Are you, is it in a cult, obviously it's a culture coming from a cultural theory perspective but do you I mean how deeply embedded is it into the because I'm seeing more and more sonic theory and sonic culture happening in in universities which is really which is great and really really exciting I'm just wondering where you know how or is it something that you've just that you're having for a semester and then you'll move on to something completely different or so this is a question for the students right or whoever yeah or yourself or well i'm doing a phd in sound studies so i'm i'm stuck in it for some more okay um yeah like i think um there has

not been too many courses on sound um or about sound at the news center um but definitely it's been like for the last 10 20 years especially last 10 years like emerging uh from like in academia at universities and not just being musicology or art history or physics of sound or acoustics so this kind of sound studies yeah this kind of studies studies kind of coming from a cultural studies interpretation of academics. James has a question here. Jacob, I was wondering if there were, there are,

are there any update on final projects? Ah, okay. A technical question. I will get back to that afterwards. Yeah. Well, I just, I just wanted to anyway, I wanted to thank everybody for their feedback and their presentations. It was really, it's really, it's really interesting and it's really nice to know that the Unsound and Dead book is out there in the world and being considered by such a wide range of folks from different backgrounds. I think that's another thing, the Unsound and Dead book, you know, it's very multi, it comes from a very multi-disciplinary place as well. There's quite a large array of writers in that book coming from very different perspectives which is something that we're really also really driving at is to really have that

comprehension of sonic culture come from a really multi-disciplinary and multi-sensory perception kind of space so that we're not just thinking of it as a cultural kind of cultural theory from cultural theory perspective we're also thinking from it from a range from health to maths and computing through legal and business and you know so I think it's way more interesting when we have all these disciplines bring their fields of knowledge to bear on sonic studies or I have a really quick question what about your other book the sound pressure I looked it up through my university library and they didn't have it which is kind of surprising

and I just wondered if maybe it was out of print or if it's still sort of available out there. No, it was released last year and it's still in hardback and it's in hardback form at the moment, which means it's also absurdly expensive because that's how publishers make their money, by selling the hardback for absurd amounts of money generally to university libraries and that's how they get their publishing covered in the first place usually and then it will go out to I think it goes out into paperback next year mid next year where it will actually become viable for the for people where it actually because I think at the moment it's like 90 it's like 90 it's like 120

bucks or something it's an absurd amount of money thank you but you can ask you like you can also you can also get you can also my phd is you can download my phd which the book is based on free of charge i shouldn't be saying that my publishers would hate me for telling me this but Here's for your child from Liverpool, John Moores University. So you can go and you can download it for free off them. And the book is, it's not the, the book has the last chapter. It's not in my PhD, but otherwise it's, yeah, it covers four fifths of the book. So you can go get that for free as a PDF.

Thank you. Any of all? Remark. I'll just quickly answer to James' question about the final project. It has to be a written paper of the length 3,000 to 4,000 words, so no art projects. But that's kind of standard. That should be in the student book of the new center. And by that, I want to thank Alexandra, Catherine and Elektra for the fantastic presentations. And of course, Toby for being with us today and introducing us to your work. It was really a pleasure for me and I feel that the discussion was also really good.

So thank you for that. Yeah, likewise. Thank you very much for inviting me. It was great. It was a nice two and a half hours. good good to hear all right and for the rest of you see you on sunday thanks very much folks thank you