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000046149 0247_ $$a10.7146/se.v10i1.124205$$2doi
000046149 035__ $$a(OCoLC)1335039409
000046149 040__ $$aSzGeWIPO$$beng$$erda$$cSzGeWIPO$$dCaBNVSL
000046149 041__ $$aeng
000046149 24504 $$aThe folded space of machine listening.
000046149 264_1 $$aDenmark:$$bRoyal Danish Library;$$c2021
000046149 300__ $$a17 Pages.
000046149 336__ $$atext$$btxt$$2rdacontent
000046149 337__ $$aunmediated$$bn$$2rdamedia
000046149 338__ $$avolume$$bnc$$2rdacarrier
000046149 4901_ $$aSoundEffects:$$vVolume 10, no. 1, 2021.
000046149 500__ $$a1904-500X (Online).
000046149 500__ $$aThis resource was extracted from the Directory of Open Access Journals (DOAJ)
000046149 520__ $$aThe paper investigates new machine listening technologies through a comparison of phenomenological and empirical/media-archeological approaches. While phenomenology associates listening with subjectivity, empiricism takes into account the technical operations involved with listening processes in both human and non-human apparatuses. Based on this theoretical framework, the paper undertakes a media-archeological investigation of two algorithms employed in copyright detection: “acoustic fi ngerprinting” and “audio watermarking”. In the technical operations of sound recognition algorithms, empirical analysis suggests the coexistence of a multiplicity of spatialities: from the “sound event”, which occurs in three-dimensional physical space, to its mathematical representation in vector space, and to the one-dimensional informational space of data processing and machine-to-machine communication. Recalling Deleuze’s defi nition of “the fold”, we defi ne these coexistent spatial dimensions in techno-culturally mediated sound as “the folded space” of machine listening. We go on to argue that the issue of space in machine listening consists of the virtually infi nite variability of the sound event being subjected to automatic recognition. The diffi culty lies in conciliating the theoretically enduring information transmitted by sound with the contingent manifestation of sound affected by space. To make machines able to deal with the site-specifi city of sound, recognition algorithms need to reconstruct the three-dimensional space on a signal processing level, in a sort of reverse-engineering of the sound phenomenon that recalls the concept of “implicit sonicity” defi ned by Wolfgang Ernst. While the metaphors and social representations adopted to describe machine listening are often anthropomorphic – and the very term “listening”, when referring to numerical operations, can be seen as a metaphor in itself – we argue that both human listening and machine listening are co-defi ned in a socio-technical network, in which the listening space no longer coincides with the position of the listening subject, but is negotiated between human and nonhuman agencies.
000046149 588__ $$aCrossref
000046149 590__ $$aPublished online: Jan-21
000046149 650_0 $$aIntellectual property.
000046149 650_4 $$aLanguage and Literature$$xPhilology.
000046149 650_4 $$aPhysics$$xAcoustics.
000046149 7001_ $$aNapolitano, Domenico,$$eauthor.
000046149 7001_ $$aGrieco, Renato,$$eauthor.
000046149 830_0 $$aUUM Journal of Legal Studies;$$vVolume 10, no. 1, 2021.
000046149 85641 $$uhttps://doi.org/10.7146/se.v10i1.124205$$yOnline version
000046149 85648 $$3Abstract with links to full text$$uhttps://dx.doi.org/
000046149 904__ $$aJournal article
000046149 980__ $$aBIB