What is music like without the sound of a space? Historian Emily Thompson discusses the aesthetics, technology and politics of spatial absence at the dawn of the recording era while John and Susan Edwards Harvith explain how musicians coped with, adapted to and sometimes thrived in the acoustically dead confines of the recording studio. Credits, tracklists, and more: <a href="http://bit.ly/2AAWRNh">http://bit.ly/2AAWRNh</a>

What is music like without the sound of a space? Historian Emily Thompson discusses the aesthetics, technology and politics of spatial absence at the dawn of the recording era while John and Susan Edwards Harvith explain how musicians coped with, adapted to and sometimes thrived in the acoustically dead confines of the recording studio. Credits, tracklists, and more: http://bit.ly/2AAWRNh

What is music like without the sound of a space? Historian Emily Thompson discusses the aesthetics, technology and politics of spatial absence at the dawn of the recording era while John and Susan Edwards Harvith explain how musicians coped with, adapted to and sometimes thrived in the acoustically dead confines of the recording studio. Credits, tracklists, and more: <a href="http://bit.ly/2AAWRNh" rel="noopener noreferrer">http://bit.ly/2AAWRNh</a>

4 | 2 The Sound of Absence

Attention is an audio journal for architectural culture that uses the medium of sound and spoken word to capture a dimension of architecture otherwise lost in print. By precluding visual media, Attention strikes a distance between the distraction economy of much online media, creating an intimate and reflective space for the in-depth development of ideas and issues. Through interviews, roundtable debates, oral histories, field recordings, the exploration of archival recordings, experimental music and soundscapes, reportage and audio essays, Attention investigates issues of concern to contemporary architectural culture, theory and practice.

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4 | 2 The Sound of Absence

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