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We hear many voices when we’re in public. But the logic between which ones we engage, ignore, or get frustrated by isn’t always apparent, even to ourselves.

One of the most perplexing examples is the cell phone conversation. To wit: if we’re sitting in front of two people on a bus, and they’re talking in a reasonable tone of voice, it’s very unlikely we’ll care at all. But if it’s only one person, and he’s talking at the same hypothetical volume on the phone, we might think bad thoughts about him, or have trouble concentrating. Why are we bothered by the latter and not the former?

We develop and adjust auditory filters throughout our lives. Our annoyance with overhearing cell phone chatter suggests that we’ve become accustomed to telephone conversations – however innocuous – being private. And so the sound of them in public space registers as a breach of etiquette, even if it’s no different in pitch, volume, or timbre than an old-fashioned, in-person conversation. This may change over time, perhaps after we’ve spent years and years confronted with the practice. For now, the memory of landline custom still obtains.

The following recording is a good example of this phenomenon, starring one of those much-despised Motorola walkie-talkies. As the F train went above ground during a snowstorm that had severely delayed train traffic, a man got a page (presaged by the famous tone) from a friend, and commenced telling him where he was, how long he expected to be there, and so on. There was a whole lot of eye-rolling on the busy car. The tones kept coming, and the voice of the man on the other end came through covered by a harsh, almost mean-sounding distortion. This mixed with the sound of train announcements which, as you might expect, were filtered into the normal bin.

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Putting sound in the workplace is a two-edged sword; it inspires efficiency, but also, at times, insurrection. Cuban cigar factories have a centuries-old tradition of employing readers, who sit at the front of the factory room announcing their way through a stack of printed matter, to entertain the labor force.

Cigar Factory Reader

The practice continues today. A BBC piece from last week describes how the readings, the content of which includes the newspaper, self-help books, modern novels, and classics, “help[s] workers pass away the day.” The repetition of the job makes it easy to concentrate on other information and, in turn, alleviates boredom with the original task. (Which, as you might imagine, can be immense.)

The factory owner is arguably the main beneficiary of the reader’s work, since he’ll end up with more cigars to sell. For their part, the workers are – for both better and worse – mentally shielded from their shitty jobs.

But the segment also suggests an educational benefit. Cigar factory employees often have little or no contact with literature elsewhere in their lives, so the readings offer them access to useful information about the world. What the report doesn’t mention is that reading to laborers was an idea originally organized in prisons. The modern tradition of factory reading stems directly from that history. From the Cuban Heritage Collection:

In 1861 activist and intellectual Nicolás Azcárate proposed reading to prisoners in jail as part of their rehabilitation. His idea was implemented and, since many prisoners rolled cigars to earn wages, a direct link to the cigar industry was established. The wages, received by prisoners at the end of their terms, were managed in the meantime by the prison administrators and used in part to replenish the book fund.

This is liberalism in a classic sense. But education had effects beyond rehabilitation:

Factory readings became popular, attracting passersby who stopped to listen outside. Several newspapers dedicated articles to the subject and published reading lists. But the custom also had detractors who claimed it encouraged revolutionary ideas. They were not entirely wrong: tobacco workers became the best informed working sector and vital in the fight for independence, both inside Cuba and in Tampa, where they organized in support of the Independence movement.

What other stories about sound and labor are you aware of?

Thanks to ST for the original link.

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Precious, out for about a month now, was a tremendously complicated movie to attend. Audience members were divided on how to respond, vocally. How should people react to difficult art? Loudly or quietly? And if loudly, how? This problem took on an ethical dimension, and the sound of the theater became one of the key ways that viewers experienced the movie as a document of race and racial difference.

Amina Robinson

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Something “lite” for Friday. (Trying to make this the routine.)

Most of the interview snippets concern race, obliquely or head-on. If you ask New Yorkers open-ended questions about anything, the conversation will almost always end up there sooner or later. The movie anthropomorphizes common New York objects in a generally random fashion (with the exception of the Italian luggage, I didn’t read any associations between thing and identity), but the matter of race remains, both explicitly and implicitly. Explicitly, when the red emergency services box speaks about her pride as a black woman, when the big and little newspaper boxes discuss their Cherokee ancestry, etc., and implicitly when accents and other vocal details suggest individual histories – the smoker’s cough of the Bronx-born free-used-car-info box seemed, to me, particularly suggestive. Also notable was the Asian (?) pay phone’s awkward reference to “some black people” blasting music from their car, although the remark was obviously well-meaning.

Thanks to TM for the original link.

Next week: the ethics of recording involuntary outbursts, and the sound sculptures of Harry Bertoia.

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Fair warning: unlike the majority of Halloween content, this post is quite genuinely frightening.

Okkulte Stimmen

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The city of Pattaya, Thailand, closish to Bangkok, hosts an annual laughing contest.


The winner of the 2008 contest, who laughed for more than 12 minutes and reached 110 decibels

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The physiology of the avian vocal apparatus is a lot more complex than the human’s. Birds have an organ called a syrinx (named for the Greek nymph – this is a human name, not a bird one – ed.) that sits at the bottom of the trachea. The human larynx, by contrast, is at the top.

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This recording sounds absurd, abstract, and probably doctored. In truth, it is only the first of these three.

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Bureaucratic departments – the DMV, the career services agency, the post office – are places of infinite, futile drama. Although they are designed to move customers with mechanical efficiency from the entrance to the exit, they are usually tense and messy.

Their drama, ironically, results from trying to maintain rigid structures in a liquid universe. On paper, in the abstract, less flexibility means a more streamlined service process. Take a number, proceed to the desk when you’re called, hand over the necessary forms, and wait for the thud of the stamp. In Plato’s post office, it’s that easy.

Outside the world of forms, however, there are always delays, because there is always serendipity, confusion, and disagreement, sometimes all at once. The man at the front of the line has a complicated question. He doesn’t speak English very well. The clerk can’t find his package. Now he’s arguing with her, although she legislates nothing and therefore can only argue back at him, all the more cruelly because she recognizes her own impotence. (Mutual impotence is the infinite loop that renders bureaucratic drama futile.)

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Sound is a useful tool in bureaucratic settings because, under the right conditions, listening can synchronize tightly with action. We can hear ourselves called faster than we can see our number appear on the stern little LED board. No matter what we’re doing – reading, staring, resting – we can mostly be responsible for hearing “68!” and then standing at attention and proceeding. In the post office/DMV/career center, we willingly reduce ourselves to veritable automatons – obedient listening machines – in order to finish our business quickly and get out. We submit to the authority of the system for our own ultimate benefit. Sound, which we don’t have to face to receive, is a great convenience to this end. With it, we can orchestrate a nearly immediate dynamic of command and obedience.

But noise is dangerous. In a bureaucratic utopia, a listener would hear only numbers, perfectly repetitive instructions, and the shuffling of feet. In actual offices, we hear much more. Dramas, futile as they may be for the actors involved, crash the noiseless utopia of efficient repetition, for better or worse. Noise is not only evidence of these dramas, but also a frequent cause of them.

If sound is expedient for an efficient bureaucracy, then we have an opportunity to hear the failure of bureaucracy in noise – sensation, metaphor, and disruption all rolled into one. (We will continue to listen to both the operations and failures of bureaucracy in this space.)

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Voice is integral to many acts of protest.

Why? First, voice, in the low-tech sense, is a readily available public alert system. If one is unable to appear on broadcast media, or to start a blog or distribute printed material for fear of political reprisal, one can usually still walk out into the street and scream.

Second, the use of the voice has acute affective power for listeners. It carries not only explicit meaning but also a great deal of emotional content. If listeners feel the depth of a speaker’s resolve, they may be moved by it.

Third, the use of the voice in unison, as with singing or chanting, produces a sense of political singularity that can serve to inspire fellow protesters, and to recruit others.
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