Why Is(n’t) Ambient so White?

This chapter investigates why white and light-skinned artists have long dominated representations of ambient music, a popular (sub)genre of electronic music and style of EDM, within anglophone EDM scenes and media discourses. It explores how early discourses on ambient implicitly shaped the genre’s aesthetics around idealizations of hip highbrow and high-middlebrow white masculinity. Starting in the 1970s and 80s, these discourses tacitly disregarded the relevance of genres racialized as non-white to ambient’s ideals of aesthetic experimentation, affective detachment, cerebral introspection, and physical ease. EDM-oriented discourses reified the putative whiteness of this formation in the early 1990s by repeatedly attaching the ambient label to the expressions of white men while describing the music, by way of a racialized and gendered mind-body binary, as the “beatless” emanation of disembodied mind(s), rather than of individuals. This history illuminates how popular genres become racialized through feedback loops of musical production and discursive categorization. In the course of tracing this history, the author proposes that a discursive framework of “strategic anti-genre-essentialism,” which positions genres as processes rather than categories, may help to undermine essentialist assumptions about music and race without dismissing them.

Medicine, connoisseurship, and the animal body

This essay reconsiders the links between medicine, connoisseurship, and aesthetic theory in early eighteenth-century Britain. Taking a satire on the body of the physician and collector John Woodward as its starting point, I show that medicine and connoisseurship shared a deep preoccupation with the possibility that the animal body could excessively influence the workings of the mind. Pursuing this line of argument, moreover, I will reconsider the place of mind–body dualism in eighteenth-century British medicine and aesthetics. With the exception of materialists such as the philosopher-physician Bernard Mandeville, medics and aesthetic theorists tended to identify the exercise of judgment with the operations of a disembodied mind, unsullied by the embodied mechanisms of the lower body. In practice, however, the insistence that the most refined forms of judgment depended on the presence and activity of a disembodied, immaterial soul was less meaningful than it seems. When confronted by failures of judgment, medics and connoisseurs alike sought explanations in the mechanisms of the animal body. Whether or not they believed in the immateriality of the soul, they pictured the mind as a malfunctioning animal machine, to be cured through the material agency of medical therapeutics.

On the Possibility of a Disembodied Mind

Even though the Cartesian mind-body dualism has largely been dismissed in contemporary philosophy, the idea that the conscious mind can be a bodiless and non-spatial entity is still held to be possible. This paper examines a series of arguments by Jaegwon Kim, Peter Strawson, and Immanuel Kant against the possibility of a disembodied mind. It is argued that although the concept of a disembodied mind is coherent, it derives from a more fundamental concept in which the mind and the body are originally unified. The unity of mind and body, which can be called a person, is logically prior to the concept of the mind as a disembodied person, and thus the possibility of a disembodied mind turns out to depend on the existence of the physical and spatial world.

Sedimentation of Habits and Orienting Experiences

Chapter 4 pivots around experiences of race, and explores social and cultural habitation to sensory perceptions and meanings. It discusses the sensorium of race perception beyond the visual, and provides historical and cultural examples of how perceiving bodily Others emerges in and is maintained by sensory experiences. It explores how understanding our orientations and perspectives on the world as fundamentally embedded in and emerging from our bodily manner of existence allows us to begin grasping how it is not reason or intellectual reflection alone by which we can address perceptual alignments that might appear problematic to us. Habits and socio-cultural practices are not simply matters of belief or conviction held in a disembodied mind, but are embedded within our bodily perceptual orientation.

Sonic Bodies

The reggae sound system has exerted a major influence on music and popular culture. Out on the streets of inner city Kingston, Jamaica, every night, sound systems stage dancehall sessions for the crowd to share the immediate, intensive and immersive visceral pleasures of sonic dominance. Sonic Bodies concentrates on the skilled performance of the crewmembers responsible for this signature sound of Jamaican music: the audio engineers designing, building and fine-tuning the hugely powerful "sets" of equipment; the selectors choosing the music tracks to play; and MCs(DJs) on the mic hyping up the crowd. Julian Henriques proposes that these dancehall "vibes" are taken literally as the periodic motion of vibrations. He offers an analysis of how a sound system operates - at auditory, corporeal and sociocultural frequencies. Sonic Bodies formulates a fascinating critique of visual dominance and the dualities inherent in ideas of image, text or discourse. This innovative book questions the assumptions that reason resides only in a disembodied mind, that communication is an exchange of information, and that meaning is only ever representation.