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