|
|
|
Erasing Evidences of Emotion from the Police Body |
|
Achieving Embodied Disconnectedness via (Non-Visual) Surveillance |
|
Chapter Three:Rehearsal: The Recipe for Sad |
|
Recipe |
|
An Invitation to the Present Body |
|
Synaesthetic Surveillance and the Pain of Separation |
|
Synaesthetic Surveillance: Hearing Undeaf to Itself |
|
The Tiny of the Titanic |
|
Listening Audiences, Instrumentalized Players |
|
The Recipe for Sad and the Buzz of the Sad Performance |
|
Chapter Four:Becoming an Instrumentalized Person |
|
Some Orienting Notes |
|
Performance Experience |
|
Hearing |
|
Touch |
|
Sight |
|
Taste and Smell |
|
Becoming a Band |
|
Chapter Five:Some Law Enforcement Officers will Now Sing ‘My Heart Will Go On’ (Or Metonyms and Contradictions) |
|
Emotion—Not Meta-Emotion |
|
Power-Laden ‘Material Memories’ |
|
Three Kinds of Materiality: Police Bodies, Instrument Bodies, Sounds and Musical Genre |
|
Police Bodies as Material Memories |
|
Musical Material Memories: Sonic and Visual |
|
Seeming Contradictions |
|
Chapter Six:The Final Curtain |
|
Notes |
|
Bibliography |
|
Index |