![]() ![]() ![]() Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.) Granted Application number US12/398,707 Other versions US8022286B2 #SOUNDOBJECT RECORDS PDF# ( en Inventor Peter Neubacker Current Assignee (The listed assignees may be inaccurate. Google has not performed a legal analysis and makes no representation or warranty as to the accuracy of the list.) Original Assignee Peter Neubacker Priority date (The priority date is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the date listed.) Filing date Publication date Priority to DE102008013172.5 priority Critical Priority to DE102008013172 priority Priority to DE102008013172A priority patent/DE102008013172B4/en Application filed by Peter Neubacker filed Critical Peter Neubacker Publication of US20090241758A1 publication Critical patent/US20090241758A1/en Application granted granted Critical Publication of US8022286B2 publication Critical patent/US8022286B2/en Assigned to CELEMONY SOFTWARE GMBH reassignment CELEMONY SOFTWARE GMBH ASSIGNMENT OF ASSIGNORS INTEREST (SEE DOCUMENT FOR DETAILS). Assignors: Neubäcker, Peter Status Active legal-status Critical Current Adjusted expiration legal-status Critical Links.238000004458 analytical method Methods 0.000 title claims abstract description 11.230000003595 spectral Effects 0.000 claims abstract description 13.They merit an ethical metaphysics, where metaphysical language, ironically, asks us to be attentive to mundane objects that have been disdained and overlooked. The sound objects, finally, give voice to a vernacular philosophy of music's efficacy. The carbon microphone, invented in 1878, had delivered a shock to machine age imaginations its history is largely untold, and is sketched here to suggest that a fuller history centered on microphonics would lie athwart conventional scholarly accounts of sound technologies, listening, and hearing ca. This separation contextualizes a return to the film sequences and their historical precedents, with an emphasis on their patrimony from sound-engineer improvisation, and as aesthetic negotiations with the microphone itself. To underline this dilemma I make a heuristic separation between imaginarium, sensorium, and reshaped hand. They provoke us to consider technological artifacts not as embodying empirical truths, but as mischief-makers, fabulists, or liars and to confront technological determinism's sway in fields such as sound studies and music and science, which has given rise to intellectual talismans that sidestep the complexities in interactions between humans, instruments, and technologies. The sound objects give expression to fables about hearing in the machine age (1870–1930), and they disenthrall the inaudible: a sign of modernity. This article charts the genealogies, cultural resonances, and interactions of these sound objects, drawing on the history of sound and acoustic technologies, film music aesthetics, and music philosophy. Two brief film sequences, in which paper blowing down a street ( The Informer, 1935) and a candle passed along a table ( The Old Dark House, 1931) make sounds. ![]()
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