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'' Resonance and transduction are both active , ensuring "To alter the
that while the listening subject is specifically situated, she physical nature
is also filtered , calibrated , and tuned to pick up signals or medium of (a
amid noise, sometimes switching the cultural valuation of signal); to con-
vert variations in
one for the other (turning noise into signal, nonsense into
(a medium) into
sense). Listeners become the sound engineers of their corresponding
own spatial-temporal experience (165). variations in
another
'' If the dominant visual idiom of reflection has posited that the mind medium "
is a mirror of the world-an entity detached, apart, objective-then
resonance suggests participating in the world, moving in
sympathy, working in an empirically attuned embodiment (163).
(OED).
-
._.....
--_
..___
.----
'' Resonance allows us to understand how energy must always be
translated, through a relay of associations, in order for it to be
received at a point distant from its source (163).
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'' Put simply, in order for us ' ' These auditory emanations all
submariners to feel immersed in sea contributed to my sense of
sound, this energy had to be immersion: in sound, in water, in the
seamlessly transduced , translated culture of oceanographers. But that
from the watery surround into our immersion was hard won- the result
interior sphere (165). of an assembly of technologies
working well, working In sync,
'' There is no life of sound without an working in harmony (165).
apparatus of sensing, and this
transducing apparatus frames and '' Being present to sonic energy can
forms effects typically associated with give humans the feeling of
subjective experience (166). something preexisting their
sensing (166).

'' Resonance has a history, a language, and an infrastructure. It is indebted to

transduction, all the way up, down, and across. In the contemporary
moment, we and our machines have come to specialize in transducing
operations in order to produce what we can then call experience (167).

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