Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the “psychoacoustic correction” aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or “sound bombs”) over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations.
Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture.
Goodman concludes with speculations on the not yet heard—the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths.
Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread—to produce a bad vibe. Sonic weapons of this sort include the “psychoacoustic correction” aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or “sound bombs”) over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls. At the same time, artists and musicians generate intense frequencies in the search for new aesthetic experiences and new ways of mobilizing bodies in rhythm. In Sonic Warfare, Steve Goodman explores these uses of acoustic force and how they affect populations.
Traversing philosophy, science, fiction, aesthetics, and popular culture, he maps a (dis)continuum of vibrational force, encompassing police and military research into acoustic means of crowd control, the corporate deployment of sonic branding, and the intense sonic encounters of sound art and music culture.
Goodman concludes with speculations on the not yet heard—the concept of unsound, which relates to both the peripheries of auditory perception and the unactualized nexus of rhythms and frequencies within audible bandwidths.
In celebration of Caribbean American Heritage Month in June, we are sharing a collection of books by Caribbean American and Caribbean authors that includes fiction, memoir, non-fiction, and history. Find a full collection of titles here.
On Monday, May 5, three Penguin Random House authors were honored with a Pulitzer Prize. Established in 1917, the Pulitzer Prizes are the most prestigious awards in American letters. To date, PRH has 143 Pulitzer Prize winners, including William Faulkner, Eudora Welty, Josh Steinbeck, Ron Chernow, Anne Applebaum, Colson Whitehead, and many more. Take a look at our 2025 Pulitzer Prize
In June, we celebrate Black Music Appreciation month and the influential Black musicians and artists who have brought entertainment to their communities and beyond, and inspired others to make their own art. Collection of titles for Black Music Appreciation Month
In June we celebrate Lesbian, Gay, Bisexual, Transgender, Queer, Intersex, and Asexual + (LGBTQIA+) Pride Month, which honors the 1969 Stonewall riots in Manhattan. Pride Month is a time to both celebrate the accomplishments of those in the LGBTQ+ community and recognize the ongoing struggles faced by many across the world who wish to live
/
