Sound Cultures: (Re)Productions, (Re)(Re)Presentations, and Records in Times of Digitalization

Abstract

How are acoustic-sound politics and poetics produced, communicated, shared, consumed, made objects of study, archived and constituted in collections, materially supported, expressed in language and performance? How do they translate or transport the debates on the representation of culture into written/aural modalities? What are the conditions of possibility for assigning value to events and objects in the universe of the so-called politics of sonority? These and other questions mobilize academic exploration interests in Social Sciences, in general, and here, we intend to explore them through the locution of sound cultures to approach an understanding of human diversity in the contemporary context characterized by the digitalization of social experience. We compose a transversal dialog, in the interstitial space between complementary fields of study. The articles in this dossier, after all, project reflections and debates around five thematic axes: a) phonographic production, dissemination, and consumption; b) the formation of collections, collecting, and sound curation; c) sociolinguistics, ritual, and performance; d) different types of materiality, and their capacity to produce value; e) digital technologies in the context of new media.