This paper contributes to non-ocularcentric theory and theorizing by way of a methodological application and extension of Henri Lefebvre’s Rhythmanalysis. It explores the cultural dynamics of echoes and history, using as an instrumental case study Steve Reich’s 1966 tape-loop composition, Come Out, to elucidate the ambivalent and contradictory relations of time, temporality, and possibility. While the focus is primarily on the text of Come Out and its context of police brutality and civil rights, it moreover contributes to an enriched and (...) historically grounded understanding of rhythmanalysis while engaging with rhythmanalysis as a methodology, based on the expanded conception of echoes proposed. (shrink)

The COVID-19 pandemic redefines how we think about the body, physiologically and socially. But what does it mean to have and to be a body in the COVID-19 pandemic? The COVID-19 pandemic offers data scholars the unique opportunity, and perhaps obligation, to revisit and reinvent the fundamental concepts of our mediated experiences. The article critiques the data double, a longstanding concept in critical data and media studies, as incompatible with the current public health and social distancing imperative. The data double, (...) instead, is now the presupposition of a new data entity, which will emerge out of a current data shimmer: a long-sustaining transition that blurs the older boundaries of bodies and the social, and establishes new ethical boundaries around the activity and mobility of doing nothing to do something. The data double faces a unique dynamic in the COVID-19 pandemic between boredom and exhaustion. Following the currently simple rule to stay home presents data scholars the opportunity to revisit the meaning of data as something given, a shimmering embodied relationship with data that contributes to the common good in a global health crisis. (shrink)

This article is interested in ‘voice imaging’ as a technical field through which people experience new relations between organic and inorganic forms of life. Grounded in a study of voice imaging in historical and contemporary scientific research, the article applies and expands on Bernard Stiegler’s ‘General Organology’, with an eye to understanding the voice as a dynamic capacity for volition. By exploring the scientific research into voice imaging, the article argues that the voice, as a cultural image, is an imaginary (...) organ that transgresses the boundaries of technological, biological, physical, psychological, social and cultural frameworks. (shrink)

The aim of this article is to demonstrate that data modelling is becoming a crucial, if not dominant, vector for our understanding of animal populations and is consequential for how we study the affective relations between individual bodies and the communities to which they belong. It takes up the relationship between animal, body and data, following the datafication of starling murmurations, to explore the topological relationships between nature, culture and science. The case study thus embodies a data journey, invoking the (...) tactics claimed by social or natural scientists, who generated recent discoveries in starling murmurations, including their topological expansions and contractions. The article concludes with thoughts and suggestions for further research on animal/data entanglement, and threads the concept of databodiment throughout, as a necessary dynamic for the formation and maintenance of communities. (shrink)

Bioacoustics is an interdisciplinary field bridging biological and acoustic sciences, which uses sound technologies to record, preserve, and analyse large datasets of animal communications. But it is also a world, made of the meanings created through inter- and intra-species communication. This article empirically explores a variety of bioacoustics research, including interviews with researchers, as part of a broader qualitative study, in order to theorize the expanding sense and sensation of a global biosphere and sonic data. By giving a sustained and (...) detailed account of the science of bioacoustics, particularly how its modes of measurement allow for a new way of understanding what is involved in the de-centred modes of hearing that re-centre acts of listening and, by extension, the nature of the relation between researcher and researched, the article contributes to methodological discussions regarding the longstanding questions of how researchers and scientists are implicated in the knowledge and objects they collectively produce. (shrink)

In A Thousand Plateaus, Deleuze and Guattari refer to Glenn Gould as an illustration of the third principle of the rhizome, that of multiplicity: ‘When Glenn Gould speeds up the performance of a piece, he is not just displaying virtuosity, he is transforming the musical points into lines, he is making the whole piece proliferate’ (1987: 8). In an attempt to make sensible their ostensibly modest statement, I proliferate the relationships between Glenn Gould's philosophy of sound recording, Deleuze's theory of (...) passive synthesis, and Deleuze and Guattari's concept of the stutter. I argue, ultimately, that Glenn Gould's radical recording practice stutters and deterritorialises the temporality of the recorded performance. More generally, the Deleuzian perspective broadens the scope of Gould's aesthetic practices that highlights the importance of aesthetic acts in the redistribution of sensory experience. But the study serves a broader purpose than celebrating a pianist/recordist that Deleuze admired. Rather, while his contemporaries began to use the studio as a compositional element in sound recording, Gould bypassed such a step towards the informational logics of recording studios. Thus, it is inappropriate to think of Gould as having immersed himself in ‘technology’ than the broader concept of a complex, one that redistributed the striated listening space of the concert hall. (shrink)