The Hum of the World: A Philosophy of Listening

by Lawrence Kramer

Overview

The Hum of the World is an invitation to contemplate what would happen if we heard the world as attentively as we see it. Balancing big ideas, playful wit and lyrical prose, this imaginative volume identifies the role of sound in Western experience as the primary medium in which the presence and persistence of life acquires tangible form. The positive experience of aliveness is not merely in accord with sound, but inaccessible, even inconceivable, without it. Lawrence Kramer’s poetic book roves freely over music, media, language, philosophy, and science from the ancient world to the present, along the way revealing how life is apprehended through sounds ranging from pandemonium to the faint background hum of the world. This innovative meditation on auditory culture uncovers the knowledge and pleasure waiting when we learn that the world is alive with sound.

Product Details

ISBN-13:	9780520972728
Publisher:	University of California Press
Publication date:	03/19/2019
Sold by:	Barnes & Noble
Format:	eBook
Pages:	256
File size:	2 MB

About the Author

Lawrence Kramer, Distinguished Professor of English and Music at Fordham University, is an award-winning composer and the author of fifteen previous books, most of them with University of California Press, including The Thought of Music, winner of the 2017 ASACP Virgil Thomson Award for Outstanding Music Criticism.

Read an Excerpt

CHAPTER 1

Sound and Knowledge

The world is alive with sound. The aim of this book is to gloss this deceptively simple sentence. The gloss is cumulative, a resonance produced by the series of segments conceived as an extended polyphony. The topics vary widely, but certain themes keep returning, as they might in a piece of music: what sound makes known, what listening reveals, what music conveys, what hearing promises, and one thing more, held by all these in common, which will take some explaining: a phenomenon I propose to call the audiable, or the hum of the world.

In recent years hearing has come to rival sight, even to equal it, among the principal means by which we make sense of things. To a large degree this change has been driven by technology. We live (at any rate in "advanced" societies) in a world saturated by recorded and transmitted sound, by ringtones and notifications and voices on mobile phones, by music and media everywhere. These sounds no longer seem to strike us as noisy; they have become the very sound of the ordinary. Our nineteenth-century forebears heard a similar change in the once-obtrusive sounds of modern mechanical technology. Our saturated sonic environment has, like those mechanical sounds, become second nature.

In this context, the development of a new academic field, sound studies, was inevitable. Cultural history is in part being rewritten as auditory history; our heightened awareness of the soundscape of modern life extends retrospectively to its predecessors. In one respect, however, this auditory turn is still incomplete. It has left unanswered, has perhaps barely even asked, a fundamental question. How does finally learning to listen change our conception of the world? In other words, what does sound, as sound, contribute to the production of human knowledge?

By "knowledge" here — and the point is essential — I mean neither sense experience nor empirical understanding. The knowledge in question is the extrapolation from experience that constitutes the work of the modern humanities, the knowledge produced by critical thought, interpretation, representation, narration, imagination, philosophical reasoning, and so on. The value of this knowledge has always been subject to debate. It has most recently been challenged by cognitive science on one hand and information processing on the other. The survival of humanistic knowledge can no longer be assumed. In asking its question about the work of sound, this book seeks simultaneously to practice, extend, and ratify the mode of knowledge that it examines.

To that end the book draws attention to a phenomenon that we know well from experience but have never named. The first step, then, is to name it. The name it will go by here is the audiable. That sounds like audible, and so it should, since sound is very much the issue. But the audible and the audiable are not the same, and the difference matters. What, then, is the audiable, and why does it matter? That question will require more than one answer, but one will have to be enough to start with.

CHAPTER 2

The Audiable

AN INTRODUCTION

I.

The simplest way to characterize the audiable is as the material promise of sound. This definition comes with a proviso that enriches but also complicates it. The promise of sound is not made in silence. It is a threshold phenomenon with its own audibility. The audiable is the precursor of sound to come, yet it is also experienced through hearing, as if auditory sensation had a future tense. The audiable is the hum of the world. One has to listen for it. But how can that be done? How has it been done, and to what effect?

A host of instances will follow these introductory passages, but here, itself a kind of promise, is just one. In Teaching a Stone to Talk, Annie Dillard describes how she, and how anyone, can come to discern what I call the audiable. It is not easy to do. It her case it requires a certain asceticism, mingled with a refusal, at long last, to be distracted:

At a certain point you say to the woods, to the sea, to the mountains, the world, Now I am ready. Now I will stop and be wholly attentive. You empty yourself and wait, listening. After a time you hear it: there is nothing there. There is nothing but those things only, those created objects, discrete, growing or holding, being rained on or raining, held, flooding or ebbing, standing, or spread. You feel the world's word as a tension, a hum, a single chorused note everywhere the same. This is it: this hum is silence.

What Dillard hears is that silence is not the absence of sound. It is the sound one cannot yet hear, but which, paradoxically, can be heard in advance. This hum that is silence is the near-sound of life in motion, ebbing and flowing, or exposed to what ebbs and flows. It is also, and this is something we will return to often, apprehended as a kind of music, here a choral monotone (though in other testimonies it is something far more prismatic). The audiable is not always benign, but here it repays the emptying of the self that full attentiveness requires with the fullness of created objects, a rich immanence that is above all heard.

II.

The audiable is the undertone of auditory culture. That last phrase, like "visual culture," has become familiar. The concept of auditory culture emerges from the awareness, also familiar, that the kingdom of the text has been steadily shrinking since the Enlightenment, a process accelerated by the evolution of visual and digital media in the past hundred years and more. The rivalry of text and image is well known, and the role played by sound in modern cognition is becoming so. But the realm of the audiable remains to be fully explored, along with its repercussions for the realm of the auditory.

Chief among those repercussions is that the recognition of the audiable permits, and more than that, it mandates a broadening of the boundaries of auditory experience. The gamut runs from the almost impalpable vibrancy of that choral monotone, to the humming and thrumming heard through touch, to words or music echoing inside one's head. Sound is not quite borderless, but its edges are fluid. The heard world is a plenitude.

The audiable is the felt basis of audibility as such. It becomes perceptible on the fringes of meaningful sound, whether sensory, tonal, or verbal. It includes everything in sound that is outside and around language, including those aspects of language that hover behind the silence of writing and sometimes pierce it. Opening the audiable to the ear is a constant effort. For the audiable is incessantly being reduced to something ancillary, something distracting or subsidiary, despite its omnipresence and its frequent power. Why should this be? And should it be at all? Is sound shushed to preserve the opposition of the verbal and the visual as the basis of representation? Sound troubles representation, but is that a good reason to trouble sound? The auditory has in recent years wanted to become more audible. Some thinkers have listened to it. I want to ask what is lost when we don't hearken to the audiable, and what might be gained if we do.

III.

But lost or gained by whom? Just who, exactly, can hear that the world is alive with sound?

It has become imperative to ask this question because of the dawning recognition that even sensory experience is distributed unevenly both within and between cultures, that there are privileges involved in seeing, hearing, and feeling the world as a scene of knowledge and pleasure. There is a practical and an ideal answer to the question, and I would like to say that this book offers both. The practical answer is that the person for whom sound brings things to life is the one, whoever it may be, who has recorded the experience for others to grasp. The rest is a question of empathy. Not simple, not easy, and sometimes a question of forbearance. One reason for the very broad range of this book under the rubric of Western experience is that the experience of sound as sound does not, or should not, adhere to any norms. The very dissemination of this experience across cultures, times, and languages testifies to a certain inherent generosity in experience itself. The persons involved, the subjects who apprehend the world, are heterogeneous in principle, whatever historical inequities (not to say iniquities) may have confounded practice. In principle, there is no normative subject. And that principle supplies the ideal answer to the question. Anyone who wants to should — and I emphasize the word to bring out all its fraught meanings — should freely be able to share in the world of the audiable.

CHAPTER 3

Some Leitmotifs

Although the topics in this book flow freely, three streams of thought run throughout: of sound as a source of engagement with life in what might be called the practices of sentience; of music as the original recording device for those practices, an art immanent in speech, and shared with the songs of birds and cetaceans, in which auditory knowledge and feeling become storable and retrievable; and of language as the means of reshaping auditory experience in the process of describing it. Each of these topical areas carries a thesis: that hearing (understood in its own right rather than as the other of sight) is the sensory form of promise and one capable of self-reference; that music is the means of giving auditory experience durable form, drawing pattern, shape, and movement from the whirligig of sound; and that when language, especially writing, addresses these sensory phenomena it not only records and describes them but also partly constitutes them, places them in historical time, and may change them.

And the links among these three? Sound, in the listening ear and the bodily interior, is in the first instance the medium of self-aware sentience, the mutual sensory opening of life and the world. Sound in this aspect makes imminence a sensory reality; it finds a means to preserve and extend that sense in music, both formal and informal; and it finds the means to interpret, develop, and recreate that sense in the language that constructively describes our experiences of sound.

Together with these theses, three parallel principles will govern much of what follows, which in turn aims to validate the principles.

First, the study of the audiable understands sound as a source of humanistic knowledge in a very strong sense: as primary, creative, constructive, and intelligible. In a trilogy on understanding music that immediately precedes this book I sought to show the same of music inparticular. Here the field of inquiry widens to include the experience of auditory sentience in all its forms. Some of those forms will be material, some conceptual, some musical, some verbal, but all, in some way, will be imagined — imagined necessarily, impossible to experience otherwise, not subject to measurement, and not reducible to anything else.

Second, mood and affect must be reconceived in terms that allow us to affirm the condition of "attunement" — the resonant mutuality of mental, material, and sensory states of being — without separating it from meaning and in particular without making the separation in order to produce a surrogate for transcendence. The surrogate is not needed because the experience of meaning as and in resonance is transcendence enough.

Third, it is necessary to distinguish between language as statement, "heard" without reference to its sound, and language as utterance, heard as fully sounded. The distinction does not establish an opposition — either term is rare in its pure state — but its historical practice has been marked by a bias in favor of statement that is long overdue for correction. The fluctuation between statement and utterance is as basic to language as words are.

CHAPTER 4

The Standard of Vision

I.

Knowing and seeing, seeing and truth, have a long history together in the Western world; hearing has no place in their charmed circle. Appearances, we're told, can be deceiving, but this truism rests on the tacit assumption that under appearances there lies the truth, from which we can strip the appearances away until we see it, either with our own eyes or with the mind's eye. Othello knew enough not to listen to Iago until provided with ocular proof — provided, of course, in the form of a handkerchief, which is to say, just one more covering — but he did not know enough to hear the ring of truth in Desdemona's voice. Truth, we're told, meaning primary truth rather than mundane truths (Who was she, really? versus Did she or didn't she?), is ultimately unknowable, but when we think we know it anyway, if only for a moment, we speak of vision, the visionary.

Even if the visions speak, the source of their inspiration must show itself, if only by proxy: the legendary miasma rising to inspire the oracle's priestess at Delphi from a cleft in the rock, the voice of God issuing "in a flame of fire" from the burning bush on Mount Horeb (Exodus 3, KJV). In the Biblical story it is essential that God speak to Moses, but his word becomes efficacious only when graven in stone. Voice, as the word heard in speech, is a basic metaphor of presence, but it always seems to need someone to write it down. Voice lives in the word only when it ascends to the plateau of the dead letter. The coal on Isaiah's tongue produces a text.

When texts themselves carry a voice, they may still seem to address the mind's eye more than they do its ear. So, at least, said Joseph Conrad in a famous artistic credo. The statement is all the more memorable for "sounding" so much like its author:

My task which I am trying to achieve is, by the power of the written word, to make you hear, to make you feel — it is, before all, to make you see. That — and no more, and it is everything.

These sentences climb a rhetorical Jacob's ladder from the realization of alphabetic writing as virtual speech, to the deeper internalization of emotion (not touch, except in the sense that being moved emotionally is being "touched"), to the high point of understanding merged with visualization. Conrad goes on to reinforce the implied hierarchy of sense by leaping over the first rung of his ladder without a second thought:

In a single-minded attempt of [this] kind ... one may perchance attain to such clearness of sincerity that at last the presented vision of regret or pity, of terror or mirth, shall awaken in the hearts of the beholders that feeling of unavoidable solidarity ... in uncertain fate, which binds men to each other and all mankind to the visible world.

Part of the work of this book, as of many other recent studies of sound, is to replace the ladder with a network of crossing paths, some diverging, some converging, on which the senses do not so much bind us to the world as release us into it. Along with the investigations made by sound studies into the materiality and technology of sound, it is essential to investigate the ways in which sound changes, and changes us, as we register it in symbolic forms: in recording our experiences of it, in taking it as an object of representation, in making music of it, in hearing ourselves know and feel. This process goes back to antiquity and no doubt long before, but it too changes once we grant hearing and listening the full epistemological value they have more often been denied.

II.

Speaking of that denial, it is worth noting that there is no auditory equivalent in English (or in the European languages familiar to me) of the word gaze. Neither of the word's primary meanings — as a verb, to direct the eye with the intent of close scrutiny; as a noun, the line of sight that can itself be seen as one observes what is looked at, painted, photographed, filmed, and so on — has a conceptual parallel that customarily applies to listening. Sound, indeed, is sometimes exonerated from the charge of seeking domination which has at times bedeviled the gaze, especially in the later twentieth century. (The exoneration is perhaps too hasty. We have also become aware that sound can be made an instrument of torture, and that escape from the noise of industrialized cities was an elite privilege in the later nineteenth century.) But it is certainly possible to direct the ear as well as the eye. We can listen for things. We can listen closely. We do both all the time. Music depends on them. So it may be time to think about the existence of an auditory parallel to the gaze and to observe its workings. We can, if we like, pilfer from the lexicon of vision and speak without apology of "the auditory gaze." Or we can simply observe the practices and records of listening more closely.

III.

Scholars sometimes speak of the preference for vision as "ocularcentrism." Aristotle spoke of it in more down-to-earth terms — in plain Greek — in the opening lines of his Metaphysics:

All men by nature desire to know. An indication of this is the delight we take in our senses; for even apart from their usefulness they are loved for themselves; and above all others the sense of sight. Even when we are not going to do anything, we prefer seeing (one might say) to everything else. The reason is that this, most of all the senses, makes us know.

(Continues…)

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Table of Contents

Prelude
Sound and Knowledge
The Audiable: An Introduction
Some Leitmotifs
The Standard of Vision
A Philosophy of Listening?
Constructive Description
Sight, Sound, and Language
The Sound of Words
Seeing, Saying, and Hearing
The Audiable: Variations on a Theme
Music in the Air
“No Sound without Music”
Language and the Human
Lord Bacon’s Echoes
Ripple Effects: Distant Voices
The Infinite Broadcast
Immanence
Reading Transfigured: St. Augustine
To the Life: The Image
Moving Pictures
Modern Times: The Cartoon
The Sound of Meaning
Music and the Audiable: A Suite in Three Movements
Plato’s Singing School
Musical Synesthesia
The Music of Language
The Soundscape
Song
Noise and Silence
Fish, Flesh, or Fowl
Sensory Hybrids
“Waiting to Be the Music”
Circle Songs
Forty-Part Motets
The Ether
Elemental Media
Elemental Fluids
Writing the Soundscape
Haunting Melodies
The Lifelike: The Undead
Beyond Words? 1
The Audiable and the Audible
Into Silence
Enchantments of the Name
The Inaudible
On Saying “I am”
The Shriek
Metal
Here Comes That Song Again
The Mirror of Silence
Rhythmic Hearing
Media All the Way Down
The Auditory Window
Cacophony: Dispossession (Beckett)
Euphony: Repossession (Beckett)
Worldly Dissonance
Sounds of Battle: The Civil War
Sounds of Battle: World War I
Ulysses in Auschwitz
Intermezzo
Sounding Bodies
Pandemonium?
Songs of Entropy
By Hand
Past and Present
Consciousness

Acknowledgments
Index

Editorial Reviews

An Alex Ross "Bookshelf" recommendation 

The Rest is Noise

"Summing Up: Recommended." 

CHOICE

"The Hum of the World is a more-than-intriguing read and definitely one that will get you thinking about the role of sound within a cosmic context. . . . Recommended."

Journal of the Association of Anglican Musicians