· 2020· Book chapter
Music as Torture / Music as Weapon
- 194citations
- 2020year
Short summary
US Department of Defense contractors have developed "acoustic weapons" since 1997, with sound and music theorized for battlefield bodily effects and interrogation-induced subjectivity destruction.
AI-generated from the title and abstract; the full text is not read.
Key points
- US Department of Defense contractors have developed "acoustic weapons" since 1997.
- These weapons are theorized for both battlefield bodily effects and interrogation-induced destruction of subjectivity.
- Classical music listening practices highlight how intense attention to sound relationships can produce ecstasy.
- Mainstream press coverage of music used for torture has often generated blogosphere responses.
AI-generated from the title and abstract; the full text is not read.
Abstract
"Acoustic weapons" have been in development by Department of Defense contractors since at least the 1997 creation of the Joint Non-Lethal Weapons Task Force, accounting for a third of the Task Force's budget in 1998-9. Theorists of battlefield use emphasize sound's bodily effects, while theorists of the interrogation room focus on the capacity of sound and music to destroy subjectivity. The practices and ideologies of classical music listening suggest that such music-induced ecstasy is produced by intense attention to the relationships among the sounds themselves. Nearly every story in the mainstream US press about music's use to "torture" detainees has prompted responses in the virtual world known as the blogosphere. The practices and ideologies of classical music listening suggest that such music-induced ecstasy is produced by intense attention to the relationships among the sounds themselves.
The authors' abstract, as published at the source., 2020 · DOI ↗
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Field: Music
MusicArts and Humanities