Keynote Lecture, Saturday, 16 April 2022, 10:00–11:00 (UTC+9)
Tinnitus and the Politics of Listening
Society is awash with injunctions about the encroaching loudness of our modern world, warning us of the dangers of loud sound, yet it is less often noted that our very attention to sound can cause its own set of problems. Tinnitus, which often results from noise-related hearing damage, can indeed signal the noisiness of modernity, but tinnitus is also a form of self-noise with self-reflexive dimensions. People with problematic tinnitus, hyperacusis, and misophonia are so aurally sensitive that their listening exceeds their own abilities of control. In a real sense, tinnital suffering signals a moment when a subject’s aural relationship to self takes on a sinister resonance.
In this talk, I approach tinnitus through the filters of sound studies, disability studies, and neurophysiology to suggest that this audiological phenomenon can teach us a lot about the politics of listening. Tinnitus can be a particularly acute example of not wanting to hear something—and of feeling that controlling one’s own listening is essential to self-preservation. As such, it speaks to current controversies around so-called filter bubbles, media echo chambers, campus safe spaces, disinformation, political tribalization, and so on.
A similar behavior and even a similar physiology are at work when we recoil from a sound we don’t like—such as tinnitus—and when we recoil from an idea we don’t like. The interplay between ideology, ways of listening, and neurophysiology in tinnital suffering can serve as a model of the politics of listening in contemporary, Western, neoliberal cultures. Tinnitus sounds the ways that we embody our diverse histories and traumas as listening subjects, as well as the ways that troubled modes of aural and political listening can go viral.

Mack Hagood is Robert H. and Nancy J. Blayney Associate Professor of Media and Communication at Miami University. He does ethnographic and archival research in digital media, sound technologies, disability, and popular music. His book Hush: Media and Sonic Self-Control (Duke, 2019), presents a sixty-year history of audio media designed to create “safe spaces” for their users: white noise machines, tinnitus maskers, nature sound apps, and noise-canceling headphones. Hush rethinks commonplace definitions of media and argues that our efforts to shield ourselves can also decrease our tolerance for sonic and social difference. Hagood has studied Taiwanese indie rock (Folklore Forum), noise-canceling headphones in air travel (American Quarterly), Foley and digital film sound (Cinema Journal), and crowd noise in sports telecasts (Popular Communication). His work appears in volumes such as Disability Media Studies (NYU, 2017) and Appified (Michigan, 2018). Hagood is also the producer and host of Phantom Power, a podcast on sound in arts and culture.
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