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studies and new media. He is editor of The Sound Studies Reader, Routledge, London, 2012. Current projects include a study of the aesthetics and politics of signal processing (funded by the Social Sciences and Humani- ties Research Council of Canada), and a study of media and the politics of inhabitability Autors 225 (as part of a team funded by the Fonds Québécois sur la Société et la Culture). He is also a member of the Sound in Media Culture research network (funded by the Ger- man Research Foundation, DFG), and Centre de recherché sur l’intermédialité. Selected

Technologies for Cultural/Creative Applications«. Seit Oktober 2009 ist sie Postdoktoranden-Stipendiatin am Exzellenzcluster »Languages of Emotion« an der Freien Universität Berlin. Publikationen (Auswahl): Uwe Seifert/Jin Hyun Kim/Anthony Moore (Hg.): Paradoxes of Interactivity: Perspectives for Media Theory, Human-Computer Interaction, and Artistic In- vestigations, Bielefeld: transcript 2008. Jin Hyun Kim: »From Interactive Live Electronic Music to New Media Art«, in: ebd., S. 282-297. Ludwig Jäger/Jin Hyun Kim: »Transparency and Opacity. Interface Technol- ogy of

Gebrauch, gar nicht mehr brauchbar oder es gehört einem Stil an, der aus der Mode geraten ist, kurz: Es ist veraltet. Wie es Jonathan Sterne in seinem Artikel Out with the Trash: On the Future of New Media schreibt,1 ist die Verfügbarkeit von Com- putern eine der wirklich einschneidenden Neuerungen der heutigen Medienlandschaft. Die Computertechnologie strebt nicht nach Stabili- tät – denn es ist die Innovation, die den Markt frisch hält und Ver- kaufszahlen garantiert. Und den Herstellern ist mehr an kurzfristiger Profitsteigerung als an langfristiger Stabilität

writes in her book Sounding New Media: Im- mersion and Embodiment in the Arts and Culture, »›Sound‹ – the term itself – is already abstracted: there is sound, inasmuch as there is atmosphere; like a dense fog, it disappears when approached, falling beyond discourse as it settles within the skin«.5 Many of those that have turned their attention to sound have attempted to clear the fog so that they may see but I wish instead to listen through it. Sound, as I will show, is a multiplicity with physical, perceptual and con- ceptual dimensions comprised of many events

• Björk »Mutual Core«, 2012, dir. Andrew Thomas Huang 1d. Human/ organisms • Arca: »Reverie«, 2017, dir. Jesse Kanda • Perfume Genius: »Die 4 You«, 2017, dir. Floria Sigismondi • Yeasayer: »Madder Red«, 2010, dir. Andreas Nilsson 1e. Human/other • Pond: »Paint Me Silver«, 2017, dir./anim. Alejandro Miguel Justino Crawford • Arca: »Reverie«, 2017, dir. Jesse Kanda • Sevdaliza: »That Other Girl«, 2015, 3D-video, dir./anim. Pussykrew • Yeasayer: »I am Chemistry«, 2015, dir. New Media Limited • Katy Perry: »E.T.«, feat. Kanye West, 2011, dir. Floria

://hardbas.ru/ (access: 14 January 2019) Hard Bass Cool, https://www.facebook.com/official.hardbasscool/?ref=py_c (ac- cess: 21 December 2018) HardbassProstejov (2011). »HARDBASS PROSTEJOV (5/2011).« In: YouTube, https:// www.youtube.com/watch?v=ZJg-oiCMSt4 (access: 14 December 2018, version of 11 June 2011). Hooligans.cz, http://hooligans.cz/ (access: 14 December 2018) Imre, Annikó (2015). »Love to Hate: National Celebrity and Racial Intimacy on Reality TV in the New Europe.« In: Television & New Media 16 (2), pp. 103-130. Ingino, Madeleine (2016). Europe's New Generation of

simply the speakers’ mental condition, but also their social function in addressing their listeners. Radio, which then was a new media technology, eventually inspired the substitution of this kind of experiential-psychological con- cept by a concept oriented towards a mediatized communication space, a sound dispositif. VON FISCHER, SABINE: From the Construction of Silence to the Construction of Intimacy: The Scenography of the House of the Future as a Laboratory for Living in a Silenced World Von der Konstruktion der Stille zur Konstruktion der Intimität. Die

://www.mtv.com/news/articles/ 1452229/20020211/story.jhtml). Walkin' T:-)M (2002). »World's Out Of Tune (1): ›Ground Zero‹ in Song and Poetry.« In: Folk World, the online music magazine, Nr. 21 (März) (http://www. folkworld.de/21/e/ground0.html). Jeff Chang (2002). »Is Protest Music Dead?« In: Counterpunch, 2. April (http:// www.counterpunch.org/changprotestmusic.html). Forman, Murray (2002). »Soundtrack to a Crisis: Music, Context, Discourse.« In: Television & New Media 3, Nr.2 (Mai), S.191-204. Zalot, Michael C. (2002). »Turning Away from the Television Tape Loop: Charac- terizing some

-61. Tribe, Mark/Jana, Reena/Grosenick, Uta: New media art, Köln 2006. Trogemann, Georg/Viehoff, Jochen: CodeArt. Eine elementare Einführung in die Programmierung als künstlerische Praktik, Wien/New York 2005. Ungeheuer, Elena: Wie die elektronische Musik »erfunden« wurde – Quellenstudie zu Werner Meyer-Epplers musikalischem Entwurf zwischen 1949 und 1953, Mainz u.a. 1992. — Von der Elektroakustischen Musik zur Computermusik, Laaber 1999. — Elektroakustische Musik (= Handbuch der Musik im 20. Jahrhundert, Bd. 5), Laaber 2002. Vail, Mark: Vintage Synthesizers

and special interest magazines as well as in scientific publications discussions about music videos have decreased in numbers. Regarding this fact it seems interesting that — on the other hand — espe- cially because of new media technologies such as the internet and DVD there can be observed a new kind of technical availability of music clips (»clip« here means short music film, not only based on video technology). Moreover, there is a new generation of scholars and intellectuals growing up who are open minded towards the use and role of popular media culture