Ubiquitous listening: Affect, attention, and distributed subjectivity

Ubiquitous Listening: Affect, Attention, and Distributed Subjectivity

Volumn , Issue , 2013, Pages

  Kassabian, Anahid ^a  

^a UNIVERSITY OF LIVERPOOL   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 84887684095     PISSN: None     EISSN: None     Source Type: Book    
DOI: None     Document Type: Book

References (246)

1. Abel, Richard, and Rick Altman, eds. 2001. The Sounds of Early Cinema. Bloomington: Indiana University Press.
2. Adorno, Theodor. 1988. Introduction to the Sociology of Music. New York and London: Continuum.
3. Altman, Rick. 1992. "Sound Space." In Altman, ed., Sound Theory/Sound Practice. New York: Routledge.
4. Annie. 1982. Directed by John Huston, music by Charles Strouse. Columbia Pictures and Rastar Pictures.
5. APA (American Psychiatric Association). 2000. Diagnostic and Statistical Manual of Mental Disorders, DSM-IV. Washington, DC: American Psychiatric Association.
6. Aronowitz, Stanley. 1993. Roll Over Beethoven: The Return of Cultural Strife. Hanover, NH: Wesleyan University Press.
7. Attali, Jacques. 1985. Noise: The Political Economy of Music. Minneapolis: University of Minnesota Press.
8. Attinello, Paul. 2010. "Rock, Television, Paper, Musicals, Scissors: Buffy, The Simpsons, and Parody." In Sounds of the Slayer: Music and Silence in Buffy and Angel, edited by Paul Attinello and Vanessa Knights. Farnham, UK: Ashgate.
9. Avdeeff, Melissa. 2011. "Finding Meaning in the Masses: Issues of Taste, Sociability, and Identity in Digitality." PhD thesis. University of Edinburgh.
10. Baade, Christina. 2011. Victory through Harmony: The BBC and Popular Music in World War II. New York: Oxford University Press.
11. Barenboim, Daniel. 2006. BBC Reith Lecture Number 2, "The Neglected Sense," 14 April. www.bbc.co.uk/programmes/p00gm37g. Accessed 6 July 2011.
12. BBC (British Broadcasting Company). 2006. "The Sound of Dubstep" (video feature). 6 April 2006. www.bbc.co.uk/dna/collective/A10695684. Accessed on 27 November 2009.
13. Beck, Jay, and Tony Grajeda. 2008. Lowering the Boom: Critical Studies in Film Sound. Champaign: University of Illinois Press.
14. Beller, Jonathan. 2006. The Cinematic Mode of Production: Attention Economy and the Society of the Spectacle. Hanover, NH: Dartmouth College Press.
15. Biddle, Ian. 2009. "Visitors, or The Political Ontology of Noise." Radical Musicology 4: par. 2. www.radical-musicology.org.uk/2009/Biddle.htm. Accessed 15 November 2010.
16. Bijsterveld, Karin. 2008. Mechanical Sound: Technology, Culture, and Public Problems of Noise in the Twentieth Century. Cambridge, MA: MIT Press.
17. Billson, Anne. 2005. Buffy the Vampire Slayer. London: BFI.
18. Bloxham, Donald. 2005. The Great Game of Genocide: Imperialism, Nationalism, and the Destruction of the Ottoman Armenians. Oxford: Oxford University Press.
19. Born, Georgina, and David Hesmondhalgh, eds. 2000. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley and Los Angeles: University of California Press.
20. Bothamley, Jennifer. 1993. Dictionary of Theories. London: Gale Research.
21. Bottum, J. 2000. "The Soundtracking of America." Atlantic Monthly, March 2000. www.theatlantic.com/issues/2000/03/bottum.htm.
22. Boundas, Constantin. 2005. "Virtual/Virtualities." In The Deleuze Dictionary, edited by Adrian Parr. Edinburgh: Edinburgh University Press.
23. Brackett, David. 1999. "Music." In Key Terms in Popular Music and Culture. Edited by Bruce Horner and Thomas Swiss. London: Blackwell.
24. Bradby, Barbara. 1990. "Do Talk and Don't Talk: The Division of the Subject in Girl-Group Music." In On Record: Rock, Pop, and the Written Word, edited by Simon Frith and Andrew Goodwin. London and New York: Routledge.
25. Brett, Philip. 2009. "Queer Musical Orientalism." Echo: A Music-Centered Journal 9 (1). www.echo.ucla.edu/Volume9-Issue1/brett/brett1.html. Accessed 9 August 2011.
26. Buffy the Vampire Slayer. 1997-2003. Created by Joss Whedon. Mutant Enemy, Kuzui Enterprises, Sandollar Television, and Twentieth Century Fox Television. Musical episode: "Once More, with Feeling," season six, episode seven, 6 November 2001.
27. Bull, Michael. 2000. Sounding Out the City: Personal Stereos and the Management of Everyday Life. London: Berg.
28. Bull, Michael. 2007. Sound Moves: iPod Culture and Urban Experience. London and New York: Routledge.
29. Caffentzis, George. 2007. "Crystals and Analytic Engines: Historical and Conceptual Preliminaries to a New Theory of Machines." ephemera: theory and politics in organization 7 (1): 24-45.
30. Castells, Manuel. 1996-98. The Information Age. 3 vols. London: Wiley Blackwell.
31. The Cell. 2000. Directed by Tarsem Singh, music by Howard Shore. New Line Cinema, A Caro-McLeod/Radical Media Production, in association with Katira Productions GmbH & Co. KG.
32. Charlie's Angels: Full Throttle. 2003. Directed by McG, music by Edward Shearmur. Columbia Pictures Corporation, Flower Films (II), Tall Trees Productions, Wonderland Sound and Vision.
33. Chicago. 2002. Directed by Rob Marshall, music by Danny Elfman. Miramax Films, Producers Circle Co., Storyline Entertainment, in association with Kalis Productions GmbH & Co. KG.
34. Chicago Hope. 1994-2000. Created by David E. Kelley. Twentieth Century Fox Television and David E. Kelley Productions. Musical Season 4, Episode 3, "Brain Salad Surgery." 15 October 1997.
35. Chitty Chitty Bang Bang. 1968. Directed by Ken Hughes, music by Irwin Kostal. A Warfi eld-D.F.I. Picture.
36. Chion, Michel. 1994. Audio-Vision. Translated by Claudia Gorbman. New York: Columbia University Press.
37. Chong, Sang Chul, Sabine Kastner, and Anne Treisman. 2004. "Effects of Focused and Distributed Attention on Neural Competition." Journal of Vision 4 (8). doi:10.1167/4.8.9.
38. The Chronicle of Higher Education. 2002. "Researchers Verify the Accuracy of a Protein-Folding Model Based on Distributed Computing." Information Technology Section, 49 (14): A27.
39. Chu, Maurice, Patrick Cheung, and James Reich. 2004. "Distributed Attention." Proceeding SenSys '04. Proceedings of the 2nd international conference on embedded networked sensor systems, ACM. New York, NY, USA. ISBN:1-58113-879-2. doi:10.1145/1031495.1031556.
40. Clarke, David. 2007. "Beyond the Global Imaginary: Decoding BBC Radio 3's Late Junction." Radical Musicology 2. www.radical-musicology.org.uk/ Clarkeref.htm.
41. Clarke, Eric. 2005. Ways of Listening. Oxford and New York: Oxford University Press.
42. Clough, Patricia Ticineto. 2000. Autoaffection: Unconscious Thought in the Age of Teletechnology. Minneapolis: University of Minnesota Press.
43. Clough, Patricia Ticineto. ed. 2007. The Affective Turn. Durham, NC: Duke University Press.
44. Clough, Patricia Ticineto, Greg Goldberg, Rachel Schiff, Aaron Weeks, and Craig Willse. 2007. "Notes Towards a Theory of Affect-Itself." ephemera: theory and politics in organization 7 (1): 60-77.
45. CNN.com. 2000. "The House of the Future Is Here Today." www.cnn.com/2000/TECH/ptech/01/03/future.homes/. Accessed 31 July 2011.
46. Connor, Stephen. 2000. Dumbstruck: A Cultural History of Ventriloquism. Oxford: Oxford University Press.
47. Cook, Diane J., and WenZhan Song. 2009. "Ambient Intelligence and Wearable Computing: Sensors on the Body, in the Home, and Beyond." Journal of Ambient Intelligence & Smart Environments 1: 1-4. doi:10.3233/ AIS-2009-0014.
48. Cop Rock. 1990. Created by Steven Bochco and William M. Finkelstein. Twentieth Century Fox Television and Steven Bochco Productions.
49. Corbin, Alain. 1998. Village Bells: Sound and Meaning in the Nineteenth- Century French Countryside. Translated by Martin Thom. New York: Columbia University Press.
50. Crary, Jonathan. 1999. Suspensions of Perception: Attention, Spectacle, and Modern Culture. Cambridge, MA: MIT Press.
51. Cubitt, Sean. 1984. "Maybellene: Meaning and the Listening Subject." In Popular Music. Vol. 4, Performers and Audiences, pp. 207-24. Cambridge: Cambridge University Press.
52. Dancer in the Dark. 2000. Directed by Lars von Trier, music by Björk. presented by Zentropa Entertainments, Trust Film Svenska, Film i Väst, Liberator Productions, a coproduction of Pain Unlimited GmbH Filmproduktion, Cinematograph A/S, What Else? B.V., Icelandic Film, Blind Spot Pictures Oy, France 3 Cinéma, Danish Broadcasting Corporation, arte France Cinéma, SVT Drama, Arte, in collaboration with Angel Films, Canal+, FilmFour, Filmek A/S, Constantin Film Produktion, Lantia Cinema & Audiovisivi, TV 1000, Vrijzinnig Protestantse Radio Omroep (VPRO), Westdeutscher Rundfunk (WDR), Yleisradio (YLE), Memfi s Film.
53. Daria. 1997-2001. Created by Glenn Eichler and Susie Lewis. MTV Animation.
54. Dartnell, Lewis. 2008. "How Online Games Are Solving Uncomputable Problems." New Scientist, 5 November 2008 (magazine issue 2681). www.newscientist.com/article/mg20026811.700-how-online-games-aresolving-uncomputable-problems.html. Accessed 11 July 2010.
55. Davies, Ioan. 1995. Cultural Studies and Beyond. London and New York: Routledge.
56. Dean, Josh. 2008. "Seth MacFarlane's $2 Billion Family Guy Empire." Fast Company, online magazine. www.fastcompany.com/magazine130/familyvalues.html?page=0%2C0. Accessed 30 May 2011.
57. de Lauretis, Teresa. 1984. Alice Doesn't: Feminism, Semiotics, Cinema. Bloomington: Indiana University Press.
58. Deleuze, Gilles, and Felix Guattari. 1987. A Thousand Plateaus: Capitalism and Schizophrenia. Translated by Brian Massumi. Minneapolis: University of Minnesota Press.
59. Demers, Joanna. 2010. Listening through the Noise: The Aesthetics of Experimental Electronic Music. Oxford: Oxford University Press.
60. DeNora, Tia. 2000. Music in Everyday Life. Cambridge: Cambridge University Press.
61. Dick, Philip K. 1968/2007. Do Androids Dream of Electric Sheep? London: Gollancz Ltd.
62. The Dick van Dyke Show. 1961-66. Created by Carl Reiner. Calvada Productions, Columbia Broadcasting System.
63. Dienst, Richard. 1994. Still Life in Real Time: Theory After Television. Durham, NC: Duke University Press.
64. Dienst, Richard. 2011. The Bonds of Debt. London and Brooklyn: Verso Books.
65. Doane, Mary Ann. 1985. "Ideology and the Practice of Sound Editing and Mixing." In Film Sound, edited by Elisabeth Weis and John Belton. New York: Columbia University Press.
66. The Drew Carey Show. 1995-2004. Created by Drew Carey and Bruce Helford. Mohawk Productions and Warner Bros. Television. Musical Episode "Time Warp/Shake Your Groove Thing." Season 4, Episode 10, originally aired 18 November 1998.
67. Eisler, Hanns, and Theodor Adorno. 1947. Composing for the Films. New York: Oxford University Press. Reprint Athlone Press, 1994.
68. Erlmann, Veit. 1993. "The Politics and Aesthetics of Transnational Musics." World of Music 35 (2): 3-15.
69. Erlmann, Veit. 1996. "The Aesthetics of the Global Imagination: Refl ections on World Music in the 1990s." Public Culture 8: 467-87.
70. Erlmann, Veit. ed. 2004. Hearing Cultures: Essays on Sound, Listening, and Modernity. New York: Berg Publishers.
71. Erlmann, Veit. 2010. Reason and Resonance: A History of Modern Aurality. Cambridge, MA: MIT Press.
72. Evita. 1996. Directed by Alan Parker, music by Andrew Lloyd Webber. Hollywood Pictures, Cinergi, Dirty Hands, Summit Entertainment.
73. Fabbri, Franco. 1982. "A Theory of Musical Genres: Two Applications." In Popular Music Perspectives, edited by David Horn and Philip Tagg, pp. 52-81. Göteborg and Exeter: IASPM.
74. Fairley, Jan. 2001. "The 'Local' and the 'Global' in Popular Music." In Frith, Straw, and Street, The Cambridge Companion to Pop and Rock.
75. Falck, Daniel. n.d. "Voyages on the Line." Author's manuscript.
76. Family Guy. 1999-2012. Created by Seth MacFarlane. Twentieth Century Fox Television, Film Roman Productions, Fuzzy Door Productions, Hands Down Entertainment.
77. Feld, Steven. 1994a. "Notes on World Beat." In Keil and Feld, Music Grooves.
78. Feld, Steven. 1994b. "From Schizophonia to Schismogenesis: The Discourses of World Music and World Beat." In Keil and Feld, Music Grooves.
79. Feld, Steven. 2000. "A Sweet Lullaby for World Music." Public Culture 12 (1).
80. Fernandez, Maria Elena. 2009. "Chris Colfer's Journey from Small Town to 'Glee.' " Los Angeles Times, 8 September, Entertainment section.
81. Fink, Robert. 2000. "Orchestral Corporate." Echo: A Music-Centered Journal 2 (1). www.humnet.ucla.edu/humnet/musicology/echo/Volume2-Issue1/fink/fink-article.html.
82. Fish, Stanley. 1980. Is There a Text in This Class?. Cambridge, MA: Harvard University Press.
83. Florida, Richard. 2002. The Rise of the Creative Class: And How It's Transforming Work, Leisure, Community and Everyday Life. New York: Perseus Book Group.
84. Foucault, Michel. 1979. "What Is an Author?" In Textual Strategies: Perspectives in Post-Structuralist Criticism, edited by Josué V. Harari. New York and London: Routledge.
85. Frasca, Gonzalo. 2003. "Ludologists Love Stories, Too: Notes from a Debate That Never Took Place." www.ludology.org/articles/Frasca_LevelUp2003.pdf.
86. Frith, Simon. 2001. "Pop Music." In Frith, Straw, and Street, The Cambridge Companion to Pop and Rock.
87. Frith, Simon. 2008. "The Voice as a Musical Instrument." In Music, Words and Voice: A Reader. Manchester, UK: Manchester University Press.
88. Frith, Simon, Will Straw, and John Street, eds. 2001. The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press.
89. Fulberg, Paul. 2003. "Using Sonic Branding in the Retail Environment-An Easy and Effective Way to Create Consumer Brand Loyalty While Enhancing the In-Store Experience." Journal of Consumer Behavior 3 (2): 193-98.
90. Galloway, Alexander. 2004. Protocol: How Control Exists after Decentralization. Cambridge, MA: MIT Press.
91. Garofalo, Reebee. 1993. "Whose World, What Beat: The Transnational Music Industry, Identity and Cultural Imperialism." World of Music 35 (2): 3-15.
92. Gay, Peter. 1996. The Naked Heart. New York: W. W. Norton.
93. Gaya, Lalya, Ramia Mazé, and Lars Erik Holmquist. 2003. "Sonic City: The Urban Environment as a Musical Interface." Proceedings of the 2003 Conference on New Interfaces for Musical Expression (NIME-03), Montreal, Canada.
94. Genette, Gerard. 1972, rep. 1983. Narrative Discourse: An Essay in Method. Ithaca, NY: Cornell University Press.
95. Gibbs, W. Wayt. 2000. "As We May Live." Scientific American, 19 November.. www.scientificamerican.com/article.cfm?id=as-we-may-live.
96. Gifford, Bill. 1995. "They're Playing Our Song," FEED. www.feedmag.com/95.10gifford/95.10gifford1.html. Accessed 16 July 2011.
97. Gillespie, Nick, and Jesse Walker. 2006. "South Park Libertarians: Trey Parker and Matt Stone on Liberals, Conservatives, Censorship, and Religion." Reason.com: Free Minds and Free Markets. http://reason.com/archives/2006/12/05/south-park-libertarians. Accessed 30 May 2011.
98. Glee. 2009-2012. Created by Ian Brennan, Ryan Murphy, and Brad Falchuck. Brad Falchuck Teley-vision and Ryan Murphy Productions in association with Twentieth Century Fox Television.
99. Glennie, Evelyn. 1993. "The Hearing Essay." www.evelyn.co.uk/Resources/Essays/Hearing%20Essay.pdf.
100. Goodman, Steve. 2010. Sonic Warfare: Sound, Affect, and the Ecology of Fear. Cambridge, MA: MIT Press.
101. Gorbman, Claudia. 1987. Unheard Melodies: Narrative Film Music. Bloomington and Indianapolis: Indiana University Press.
102. Gouk, Penelope. 1999. Music, Science and Natural Magic in Seventeenth- Century England. New Haven, CT: Yale University Press.
103. Groden, Michael, Martin Kreiswirth, and Imre Szeman, eds. 1994. The Johns Hopkins Guide to Literary Theory and Criticism. Baltimore: Johns Hopkins University Press. http://litguide.press.jhu.edu/. Accessed 16 May 2006.
104. Guilbault, Jocelyne. 2001. "World Music." In Frith, Straw, and Street, The Cambridge Companion to Pop and Rock.
105. Guys and Dolls. 1955. Directed by Joseph L. Mankiewicz, music by Frank Loesser. The Samuel Goldwyn Company.
106. Haraway, Donna. 1991. "A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century." In Simians, Cyborgs and Women: The Reinvention of Nature. New York and London: Routledge. First published in Socialist Review no. 80, 1985.
107. Hardt, Michael. 1999. "Affective Labor." boundary 2 26 (2): 89-100.
108. Hardt, Michael, and Antonio Negri. 2000. Empire. Cambridge, MA: Harvard University Press.
109. Hayles, N. Katherine. 2007. "Hyper and Deep Attention: The Generational Divide in Cognitive Modes." Profession 2007 13: 187-99.
110. Hebdige, Dick. 1979. Subculture: The Meaning of Style. London: Methuen.
111. Hegarty, Paul. 2007. Noise Music: A History. London: Continuum.
112. Hemming, Roy, and David Hajdu. 1991. Discovering Great Singers of Classic Pop: A New Listener's Guide. New York: Newmarket Press.
113. Hercules: The Legendary Journeys. 1995-99. Created by Christian Williams. MCA Television, Pacifi c Renaissance Pictures Ltd., Renaissance Pictures, Studios USA Television, Universal TV. Musical episodes: "Greece is Burning," season 5, episode 15, original air date 22 February 1999; "Men in Pink," season 4, episode 12, original air date 2 February 1998; ". . . And Fancy Free," season 4, episode 8, original air date 17 November 1997.
114. Hickey, Jim. 2010. "Smell-O-Vision: Have Japanese Found Sweet Smell of Success?" ABC News, 21 October. http://abcnews.go.com/Technology/japaneseclaim-smell-vision-advance/story?id=11936387#.T7zSqUVYv_k. Accessed 23 May 2012.
115. Howard, Keith. 2009. "Live Music vs Audio Tourism: World Music and the Changing Music Industry." Inaugural professorial address, School of Oriental and African Studies, University of London.
116. Humes, Malcolm. 1995. "What Is Ambient Music?." http://music.hyperreal.org/epsilon/info/humes_notes.html. Accessed 21 July 2012.
117. Huron, David. 2008. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: MIT Press.
118. I Love Lucy. 1951-57. Written by Bob Carroll Jr., Madelyn Davis, and Jess Oppenheimer. Desilu Productions.
119. Ipeirotis, Panagiotis. 2010. "Demographics of Mechanical Turk." New York University, Leonard N. Stern School of Business, Working Paper Series, March 2010.
120. Iskold, Alex. 2007. "The Attention Economy: An Overview." ReadWrite-Web. www.readwriteweb.com/archives/attention_economy_overview.php. Accessed 10/06/11.
121. Jarman, Freya. 2009. "Notes on Musical Camp." In The Ashgate Research Companion to Popular Musicology, edited by Derek Scott. Farham, UK: Ashgate.
122. Johnson, James. 1995. Listening in Paris: A Cultural History. Berkeley: University of California Press.
123. Kahn, Douglas. 2001. Noise, Water, Meat: A History of Sound in the Arts. Cambridge, MA: MIT Press.
124. Kassabian, Anahid. 2001a. Hearing Film: Tracking Identifi cations in Contemporary Hollywood Film Music. New York and London: Routledge.
125. Kassabian, Anahid. 2001b. "Ubisub: Ubiquitous Listening and Networked Subjectivity." Echo: A Music-Centered Journal 3 (2). www.humnet.ucla.edu/echo/Volume3-issue2/kassabian/index.html.
126. Kassabian, Anahid. 2003. "The Sound of a New Film Form." In Popular Music and Film, edited by Ian Inglis. London: Wallfl ower.
127. Kaufman, Joanne. 2001. "If You Liked Our Oil Change, Wait 'Til You Hear Our Taste in Music." Wall Street Journal, 28 August 2001, p. A12.
128. Keightley, Keir. n.d. "Reading Capitol/E.M.I.: Musical Tourism and Industrial Globalization in the Record Industry, 1954-63." Author's manuscript.
129. Keightley, Keir. n.d. "Around the World, Musical Tourism and the Globalization of the Record Industry, 1946-66." Author's manuscript.
130. Keil, Charles, and Steven Feld. 1994. Music Grooves. Chicago: University of Chicago Press.
131. Knights, Vanessa, and Paul Attinello, eds. 2010. Music, Sound, and Silence in "Buffy the Vampire Slayer." Farnham, UK: Ashgate.
132. Koblin, Aaron. 2011. "Artfully Visualizing Our Humanity." www.ted.com/talks/aaron_koblin.html. Accessed 29 April 2012.
133. Kramer, Lawrence. 1994. Music As Cultural Practice, 1800-1900. Berkeley: University of California Press.
134. Kramer, Lawrence. 1996. Classical Music and Postmodern Knowledge. Berkeley: University of California Press.
135. Kramer, Lawrence. 2000. After the Lovedeath: Sexual Violence and the Making of Culture. Berkeley and Los Angeles: University of California Press.
136. Kramer, Lawrence. 2003. Franz Schubert: Sexuality, Subjectivity, Song. Cambridge: Cambridge University Press.
137. Kricfalusi, John. 2010. "Good Direction VS Turning the Furnace On and Off." http://johnkstuff.blogspot.com/2010/10/good-direction.html. Accessed 30 May 2011.
138. Lanza, Joseph. 2004. Elevator Music : A Surreal History of Muzak, Easy- Listening, and Other Moodsong, rev. ed. Ann Arbor: University of Michigan Press. (New York: Picador USA, 1995.)
139. Lara Croft: Tomb Raider. 2001. Directed by Simon West, music by Graeme Revell. Paramount Pictures, Mutual Film Company, British Broadcasting Corporation (BBC), Lawrence Gordon Productions, Marubeni Corporation, Eidos Interactive, KFP Produktions GmbH & Co. KG, Tele München Fernseh Produktionsgesellschaft (TMG), Toho-Towa.
140. The Larry Sanders Show. 1992-98. Created by Dennis Klein and Garry Shandling. Brillstein-Grey Entertainment, Columbia Pictures Television, Home Box Offi ce (HBO), Partners with Boundaries.
141. Lastra, James. 2000. Sound Technology and the American Cinema: Perception, Representation, Modernity. New York: Columbia University Press.
142. Lee, David, Amanda Henderson, and David Shum. 2004. "The Effect of Music on Preprocedure Anxiety in Hong Kong Chinese Day Patients." Journal of Clinical Nursing 13 (3): 297-303.
143. Lee, Haesung, and Joonhee Kwon. 2010. "Combining Context-Awareness with Wearable Computing for Emotion-based Contents Service." International Journal of Advanced Science and Technology 22 (September): 13-24.
144. Le Sang d'un Poète. 1932. Directed by Jean Cocteau, music by Georges Auric. Vicomte de Noailles.
145. Lipsitz, George. 1994. Dangerous Crossroads: Popular Music, Postmodernism, and the Poetics of Place. New York: Verso.
146. Ludlow, Peter, and Mark Wallace. 2009. The Second Life Herald: The Virtual Tabloid That Witnessed the Dawn of the Metaverse. Cambridge, MA: MIT Press.
147. Lunenfeld, Peter. 2011a. The Secret War Between Downloading and Uploading: Tales of the Computer as Culture Machine. Cambridge, MA: MIT Press.
148. Lunenfeld, Peter. 2011b. "How Computers Can Cure Cultural Diabetes." New Scientist, 5 July 2011.
149. Lyotard, Jean-Francois. 1984. The Postmodern Condition: A Report on Knowledge. Minneapolis: University of Minnesota Press.
150. Maasø, Arnt. 2000. "This Goes to Eleven: 'High' and 'Low' Sound in Television." Author's manuscript.
151. MacDonald, Scott. 1998. "Arthur Peleshian." In A Critical Cinema 3: Interviews with Independent Filmmakers, pp. 93-103. Berkeley and Los Angeles: University of California Press.
152. Malcolm in the Middle. 2000-2006. Created by Linwood Boomer. Satin City Productions, Regency Television, and Fox Television Studios.
153. Marks, Laura U. 2002. Touch: Sensuous Theory and Multisensory Media. Minneapolis: University of Minnesota Press.
154. Mary Poppins. 1964. Directed by Robert Stevenson, music by Irwin Kostal. Walt DisneyProductions.
155. Massumi, Brian. 2002. Parables for the Virtual: Movement, Affect, Sensation. Durham, NC: Duke University Press.
156. The Matrix. 1999. Directed by Andy Wachowski and Lana Wachowski, music by Don Davis, music supervisor Jason Bentley. Warner Bros. Pictures, Groucho II Film Partnership, Silver Pictures.
157. McCarthy, Anna. 2000. Ambient Television: Visual Culture and Public Space . Durham, NC: Duke University Press.
158. McClary, Susan. 1986. "A Musical Dialectic from the Enlightenment: Mozart's Piano Concerto in G Major, K. 453, Movement 2." Cultural Critique 4: 129-70.
159. McClary, Susan. 1991. Feminine Endings: Music, Gender and Sexuality. Minneapolis: University of Minnesota Press.
160. McCracken, Allison. 2001. "Real Men Don't Sing Ballads: The Radio Crooner in Hollywood, 1929-1933." In Soundtrack Available: Essays on Film and Popular Music, edited by Pamela Wojcik and Arthur Knight. Durham, NC: Duke University Press.
161. Meier, Leslie. 2011. "Promotional Ubiquitous Musics: Recording Artists, Brands, and "Rendering Authenticity." Popular Music and Society 34 (4): 399-415.
162. Men in Black 3 IMAX 3D. 2012. Directed by Barry Sonnenfeld, music by Danny Elfman. Amblin Entertainment, Hemisphere Media Capital, Imagenation Abu Dhabi FZ, Media Magik Entertainment, Parkes/ MacDonald Productions.
163. Meyer, Moe. 1994. The Politics and Poetics of Camp. London: Psychology Press.
164. Milliman, Ronald E. 1982. "Using Background Music to Affect the Behavior of Supermarket Shoppers." Journal of Marketing 46 (3): 86-91.
165. Mirror, Mirror: The Untold Adventures of Snow White. 2012. Directed by Tarsem Singh, music by Alan Menken. Relativity Media, Yuk Films, Goldmann Pictures, Rat Entertainment, Misha Films, Citizen Snow Film Productions.
166. Modleski, Tania. 1986. Studies in Entertainment: Critical Approaches to Mass Culture. Bloomington: Indiana University Press.
167. Moulin Rouge! 2001. Directed by Baz Luhrmann, music by Craig Armstrong. Twentieth Century Fox Film Corporation, Bazmark Films, Angel Studios.
168. Murray, Janet. 2005. "The Last Word on Ludology v Narratology in Game Studies." Preface to keynote at DiGRA 2005, http://lcc.gatech.edu/~murray/digra05/lastword.pdf.
169. Nichanian, Marc. 2002. Writers of Disaster: The National Revolution. London: Taderon Press.
170. Nielsen, Michael A. 2002. "Rules for a Complex Quantum World." Scientific American, 15 October, 66-75.
171. North, Adrian C., David J. Hargreaves, and Jennifer McKendrick. 1999. "The Influence of In-Store Music on Wine Selections." Journal of Applied Psychology 84 (2): 271-76.
172. Northmore, Sarah. 2004. "Hear, New York: Sounding the Space." NY Arts, September/October. www.nyartsmagazine.com/september-october-2004/hear-new-york-sounding-the-space-by-sarah-northmore.
173. Oakes, Steve. 2003. "Musical Tempo and Waiting Perceptions." Psychology and Marketing 20 (8): 685-705.
174. Open University. 2006. "Reith 2006: In The Beginning Was Sound." www.open2.net/reith2006/. Accessed 6 July 2011.
175. O'Sullivan, Tim, John Hartley, Danny Saunders, Martin Montgomery, and John Fiske, eds. 1994. Key Concepts in Communication and Cultural Studies. 2nd ed. London and New York: Routledge.
176. Oz. 1997-2003. Created by Tom Fontana. The Levinson/Fontana Company and Rysher Entertainment. Musical episode season 5, episode 6, original air date 10 February 2002.
177. Palahniuk, Chuck. 2002. Lullaby. New York: Anchor Books.
178. Parks, Lisa, and Elana Levine, eds. 2003. Red Noise: "Buffy the Vampire Slayer" and Critical Television Studies. Durham, NC: Duke University Press.
179. Parks Associates. 2003. "Listening to Music Tops the List of Most Important Home Media Activities; Consumers Find More Value in Listening to Music Than in Watching TV or Using the PC." Business Wire. 15 July.
180. Parr, Adrian, ed. 2005. The Deleuze Dictionary. Edinburgh: Edinburgh University Press.
181. Passler, Jann. 2000. "Race, Orientalism, and Distinction in the Wake of the Yellow Peril." In Born and Hesmondhalgh, Western Music and Its Others.
182. Pentland, A. 2000. "It's Alive!" IBM Systems Journal 39 (3/4): 821-22.
183. Pi. 1998. Directed by Darren Aronofsky, music by Clint Mansell. Harvest Filmworks, Truth and Soul Pictures, Plantain Films, Protozoa Pictures.
184. Picard, R. W. 2000. "Toward Computers That Recognize and Respond to User Emotion." IBM Systems Journal 39 (3/4): 705-19.
185. Picker, John M. 2003. Victorian Soundscapes. New York: Oxford University Press.
186. Postman, Neil. 2000. Building a Bridge to the 18th Century: How the Past Can Improve Our Future. New York: Random House.
187. Powers, Devon. 2010. "Strange Powers: The Branded Sensorium and the Intrigue of Musical Sound." In Blowing Up the Brand: Critical Perspectives on Promotional Culture, edited by Melissa Aronczyk and Devon Powers. New York: Peter Lang.
188. Putumayo. 2003. Putumayo World Music: 10th Anniversary Collection, 1993-2003. New York: Putumayo World Music.
189. Rath, Richard Cullen. 2005. How Early America Sounded. Ithaca, NY, and London: Cornell University Press.
190. Ree, Jonathan. 1999. I See a Voice: A History of Deafness, Language, and the Senses. New York: Metropolitan Books.
191. Rogers, Holly. 2013. Sounding the Gallery: Video and the Rise of Art-Music. New York and Oxford: Oxford University Press.
192. Roles, Joy. 2010. "Forming Soundmarks: A Critical Evaluation of the Sonic Brand within the Contemporary Mediascape." PhD thesis. University of East London.
193. Run Lola Run. 1998. Directed by Tom Twyker, music by Reinhold Heil, Johnny Klimek, and Tom Twyker. X-Filme Creative Pool, Westdeutscher Rundfunk (WDR), Arte.
194. Sadie, Stanley, and John Tyrell, eds. 2001. The New Grove Dictionary of Music and Musicians. New York: Macmillan.
195. Schafer, Own. n.d. "The Sound of Muzak." Tokyo Classifi ed Rant 'n' Rave. http://archive.metropolis.co.jp/tokyorantsravesarchive299/265/tokyorantsravesinc.htm. Accessed 16 July 2011.
196. Schafer, R. Murray. 1993. The Soundscape. Rochester, VT: Inner Traditions Intl.
197. Schwarz, David. 1997. Listening Subjects: Music, Psychoanalysis, Culture. Durham, NC: Duke University Press.
198. Schwarz, David. 2006. Listening Awry: Music and Alterity in German Culture. Minneapolis: University of Minnesota Press.
199. Scrubs. 2001-2010. Created by Bill Lawrence. Doozer, Towers Productions, ABC Studios (2007-2010), Touchstone Television (2001-2007). "My Musical" season 6, episode 6, originally aired 18 January 2007.
200. Sedgwick, Eve Kosofsky. 1985. Between Men: English Literature and Male Homosocial Desire. New York: Columbia University Press.
201. Shaviro, Steven. 2010. Post Cinematic Affect. Ropley, UK: O Books.
202. Shaviro, Steven. 2012. "Post-Continuity." Text of SCMS talk, on blog The Pinocchio Theory. http://www.shaviro.com/Blog/?p=1034. Accessed 12 May 2012.
203. Simon, Bryant. 2009. Everything but the Coffee: Learning about America from Starbucks. Berkeley and Los Angeles: University of California Press.
204. Simon, Herbert. 1971. "Designing Organizations for an Information-Rich World." In Computers, Communications, and the Public Interest, edited by Martin Greenberger. Baltimore, MD: Johns Hopkins University Press.
205. The Simpsons. 1989-2012. Created by Matt Groening. Gracie Films and Twentieth Century Fox Television. Numerous musical episodes.
206. The Singing Detective. 1986. Created by Dennis Potter. British Broadcasting Company (BBC) and Australian Broadcasting Company (ABC).
207. A Single Man. 2009. Directed by Tom Ford, music Abel Korzeniowski. Fade to Black Productions, Depth of Field, Artina Films.
208. Smith, Adam. 1759/2010. Theory of Moral Sentiments. London: Penguin Classics.
209. Smith, Mark M. 2001. Listening to Nineteenth-Century America. Chapel Hill: University of North Carolina Press.
210. Some Like It Hot. 1959. Directed by Billy Wilder, music by Adolph Deutsch. Ashton Productions and the Mirisch Corporation.
211. The Sound of Music. 1965. Directed by Robert Wise, music by Richard Rodgers and Irwin Kostal. Robert Wise Productions and Argyle Enterprises.
212. South, James B., ed. 2003. "Buffy the Vampire Slayer" and Philosophy: Fear and Trembling in Sunnydale. Chicago and LaSalle, IL: Open Court.
213. Spivak, Gayatri Chakravorty. 1999. A Critique of Postcolonial Reason: Towards a History of the Vanishing Present. Cambridge, MA: Harvard University Press.
214. Stagoll, Cliff. 2005. "Plane." In Parr, The Deleuze Dictionary.
215. Stein, Alexander. 2000. "On Listening in Music and Psychoanalysis." Journal for the Psychoanalysis of Culture and Society 5 (1): 139-44.
216. Stephenson, Neal. 1992. Snowcrash. New York: Bantam Spectra.
217. Stevenson, Gregory. 2004. Televised Morality: The Case of "Buffy the Vampire Slayer.". Lanham, MD: Hamilton Books.
218. Sterne, Jonathan. 1997. "Sounds Like the Mall of America: Programmed Music and the Architectonics of Commercial Space." Ethnomusicology 41 (1): 22-50.
219. Sterne, Jonathan. 2003. The Audible Past: Cultural Origins of Sound Reproduction. Durham, NC: Duke University Press.
220. Sterne, Jonathan. Forthcoming. "The Non-Aggressive Musical Deterrent." In Ubiquitous Musics, edited by Marta García Quiñones, Anahid Kassabian, and Elena Boschi. Farnham, UK: Ashgate.
221. Stilwell, Robynn J. 2003. "It May Look Like a Living Room . . . : The Musical Number and the Sitcom." Echo: A Music-Centered Journal 5 (1). www.echo.ucla.edu/Volume5-issue1/stilwell/stilwell.pdf.
222. Stockfelt, Ola. 1997. "Adequate Modes of Listening." In Keeping Score: Music, Disciplinarity, Culture, edited by David Schwarz, Anahid Kassabian, and Lawrence Siegel. Charlottesville: University Press of Virginia.
223. A Streetcar Named Desire. 1951. Directed by Elia Kazan, music by Alex North. Charles K. Feldman Group and Warner Bros. Pictures.
224. Subotnik, Rose Rosengard. 1991. Developing Variations: Style and Ideology in Western Music. Minneapolis: University of Minnesota Press.
225. Sucker Punch. 2011. Directed by Zack Snyder, music by Tyler Bates and Marius De Vries. Warner Bros. Pictures, Legendary Pictures, Cruel & Unusual Films, Lennox House Films.
226. Talachian, Reza. n.d. A Brief Critical History of Iranian Feature Film (1896-1975). www.lib.washington.edu/neareast/cinemaofiran/intro.html. Accessed 16 May 2006.
227. Tamaoki, Mihoko. n.d. Unpublished manuscript.
228. Tauber, Daveena, n.d. "What I Did on My Summer Vacation; or, the Politics of Postmodern Tourism." Passionfruit: A Women's Travel Journal. www.passionfruit.com/postmodern.htm. (No longer archived on this site.)
229. Taylor, Timothy D. 1997. Global Pop: World Music, World Markets. New York: Routledge.
230. Taylor, Timothy D. 2002. "Music and the Rise of Radio in 1920s America." Historical Journal of Film, Radio and Television. 22 (4): 425-43.
231. Terranova, Tiziana. 2000. "Free Labor: Producing Culture for the Digital Economy." Social Text 18 (2): 33-58.
232. Thompson, Emily. 2002. The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933. Cambridge, MA: MIT Press.
233. Thorburn, Sandy. 2004. "Insights and Outlooks: Getting Serious with Series Television Musicals." Discourses in Music 5 (1). www.discourses.ca/v5n1io.html.
234. Thornton, Sarah (1996) Club Cultures: Music, Media and Sub cultural Capital. Hanover, NH: Wesleyan University Press.
235. Thrift, Nigel. 2004. "Intensities of Feeling: Towards a Spatial Politics of Affect." Geografi ska Annaler 86 B (1): 57-78. http://onlinelibrary.wiley.com/doi/10.1111/j.0435-3684.2004.00154.x/pdf.
236. Tomlinson, Gary. 1994. Music in Renaissance Magic: Toward a Historiography of Others. Chicago: University of Chicago Press.
237. Two Pints of Lager and a Packet of Crisps. 2001-2012. Created by Susan Nickson. British Broadcasting Corporation (BBC). Musical Episode "The Aftermath, Part 1," season 8, episode 9, original air date 15 December 2009.
238. Venn C. 1997. "Beyond Enlightenment: After the Subject of Foucault, Who Comes?." Theory, Culture, and Society 14 (3): 1-28.
239. Walser, Robert. 1993. Running with the Devil: Power, Gender, and Madness in Heavy Metal Music. Hanover and London: Wesleyan University Press (University Press of New England).
240. Webster's New Twentieth-Century Dictionary. 1983. 2nd ed., unabridged. New York: Prentice Hall.
241. Weiser, Mark. 1991. "The Computer for the Twenty-First Century." Scientific American 265, no. 3 (September): 94-104. www.ubiq.com/hypertext/weiser/SciAmDraft3.html.
242. Westcott, Kathryn. 2006. "Barenboim Hits Out at 'Sound of Muzak.' " BBC News, 7 April. http://news.bbc.co.uk/1/hi/entertainment/4883612.stm. Accessed 6 July 2011.
243. Wilcox, Rhonda. 2005. Why Buffy Matters: The Art of "Buffy the Vampire Slayer." London: I. B. Tauris.
244. Wilcox, Rhonda V., and David Lavery, eds. 2002. Fighting the Forces: What's at Stake in "Buffy the Vampire Slayer"? Lanham, MD: Rowman and Littlefi eld.Williams, Raymond. 1976. Keywords: A Vocabulary of Culture and Society. London and New York: Oxford University Press.
245. Xena: Warrior Princess. 1995-2001. Created by John Schulian and Robert G. Tapert. MCA Television, Renaissance Pictures Studios, USA Television, Universal TV. Musical episodes "Lyre, Lyre Hearts on Fire," season 5, episode 10, original air date 17 January 2000; "The Bitter Suite," season 3, episode 12, original air date 2 February 1998.
246. 4 Media and TechTV Inc.