Listening into writing, reading into writing take shape in F.M.R.L. through a collection of short texts, fragments and ‘deranged essays’, with attention to pacing and linguistic derives. An archive of books, notebooks, events and records prompts the texts in these pages, responding to encounters with Michel Leiris’s autobiographical fictions; concerts and events at Café Oto and the Swedenborg House in London; visits to museums such as the Pitt Rivers in Oxford and exhibitions such as Ice Age Art at the British Museum, among the others. F.M.R.L. is a book constructed across sonic patterns, assonance, repetitions, comprising texts that intermittently drift from sense to sound and to nonsense and back. A flip from the immateriality of sound to the sounds of letters and words as material, a call from reading to voicing.
Provides a pioneering interdisciplinary overview of the literature and music of nine centuriesOffers research essays by literary specialists and musicologists that provides access to the best current interdisciplinary scholarship on connections between literature and musicIncludes five historical sections from the Middle Ages to the present, with editorial introductions to enhance understanding of relationships between literature and music in each periodCharts and extends work in this expanding interdisciplinary field to provide an essential resource for researchers with an interest in literature and other mediaBringing together seventy-one newly commissioned original chapters by literary specialists and musicologists, this book presents the most recent interdisciplinary research into literature and music. In five parts, the chapters cover the Middle Ages to the present. The volume introduction and methodology chapters define key concepts for investigating the interdependence of these two art forms and a concluding chapter looks to the future of this interdisciplinary field. An editorial introduction to each historical part explains the main features of the relationships between literature and music in the period and outlines recent developments in scholarship. Contributions represent a multiplicity of approaches: theoretical, contextual and close reading. Case studies reach beyond literature and music to engage with related fields including philosophy, history of science, theatre, broadcast media and popular culture.This trailblazing companion charts and extends the work in this expanding interdisciplinary field and is an essential resource for researchers with an interest in literature and other media.
Is a sound an object, an experience, an event, or a relation? What exactly does the emerging discipline of sound studies study? Sound Objects pursues these questions while exploring how history, culture, and mediation entwine with sound’s elusive objectivity. Examining the genealogy and evolution of the concept of the sound object, the commodification of sound, acousmatic listening, nonhuman sounds, and sound and memory, the contributors not only probe conceptual issues that lie in the forefront of contemporary sonic discussions but also underscore auditory experience as fundamental to sound as a critical enterprise. In so doing, they offer exciting considerations of sound within and beyond its role in meaning, communication, and information and an illuminatingly original theoretical overview of the field of sound studies itself. Contributors. Georgina Born, Michael Bull, Michel Chion, Rey Chow, John Dack, Veit Erlmann, Brian Kane, Jairo Moreno, John Mowitt, Pooja Rangan, Gavin Steingo, James A. Steintrager, Jonathan Sterne, David Toop
As practitioner-researchers, how do we discuss and analyse our work without losing the creative drive that inspired us in the first place? Built around a diverse selection of writings from leading researcher-practitioners and emerging artists in a variety of fields, The Creative Critic: Writing as/about Practice celebrates the extraordinary range of possibilities available when writing about one’s own work and the work one is inspired by. It re-thinks the conventions of the scholarly output to propose that critical writing be understood as an integral part of the artistic process, and even as artwork in its own right. Finding ways to make the intangible nature of much of our work ‘count’ under assessment has become increasingly important in the Academy and beyond. The Creative Critic offers an inspiring and useful sourcebook for students and practitioner-researchers navigating this area. Please see the companion site to the book, http://www.creativecritic.co.uk, where some of the chapters have become unfixed from the page.
Embodied experience and sensorial understandings in Western music The Western history of aesthetics is characterised by tension between theory and practice. Musicians listen, play, and then listen more profoundly in order to play differently, adapt the body, and sense the environment. They become deeply involved in the sensorial qualities of music practice. Artistic practice refers to the original meaning of aesthetics—the senses. Whereas Baumgarten and Goethe explored the relationship between sensibility and reason, sensation and thinking, later philosophers of aesthetics deemed the sensorial to be confused and unreliable and instead prioritised a cognitive or objective approach. Written by authors from the fields of philosophy, composition, performance, and artistic practice, Sensorial Aesthetics in Music Practices repositions aesthetics as a domain of the sensible and explores the interaction between artists, life, and environment. Aesthetics becomes a field of sensorial and embodied experience involving temporal and spatial influences, implicit knowledge, and human characteristics. Contributors: Kathleen Coessens (Koninklijk Conservatorium Brussel, Orpheus Institute), Tim Ingold (University of Aberdeen), Michaël Levinas (Conservatoire National Supérieur de Musique de Paris), Fabien Lévy (Hochschule für Musik Detmold), Lasse Thoresen (Norwegian Academy of Music), Vanessa Tomlinson (Queensland Conservatorium of Music), Salomé Voegelin (University of the Arts London)
Fiction and essays inspired by Paris from more than 70 Anglophone writers -- A MoveableFeast for the twenty-first century. "When good Americans die, they go to Paris", wrote the Irish playwright Oscar Wilde in 1894. The French capital has always radiated an unmatched cultural, political and intellectual brilliance in the anglophone imagination, maintaining its status as the modern cosmopolitan city par excellence through the twentieth century to today. We'll Never Have Paris explores this enduring fascination with this myth of a bohemian and literary Paris (that of the Lost Generation, Joyce, Beckett and Shakespeare and Company) which also happens to be a largely anglophone construct -- one which the Eurostar and Brexit only seem to have exacerbated in recent years. Edited by Andrew Gallix, this collection brings together many of the most talented and adventurous writers from the UK, Ireland, USA, Australia and New Zealand to explore this theme through short stories, essays and poetry, in order to build up a captivating portrait of Paris as viewed by English speakers today -- A Moveable Feast for the twenty-first century. We'll Never Have Paris includes contributions from seventy-nine authors, including Tom McCarthy, Will Self, Brian Dillon, Joanna Walsh, Eley Williams, Max Porter, Sophie Mackintosh and Lauren Elkin.
Nothing As We Need It: A Chimera imagines and writes a composite and impure form of criticism that embodies the writing of research as recursive, entangled, and many-voiced. Shaped by encounters with literature not translated in English, by the polyphonies, artifices, and concealments of a bilingual self, and by the sense of speechlessness and haunting when writing of works that cannot be instantly quoted, this book's subtitle derives from the mythological Chimera: a monstrous creature made of three different parts, impossible in theory but real in the imagination and in the reading of the myth. Similarly the book is written in different styles, some of which may seem impossible, monstrous, and disturbing. It manifests critical writing as enmeshment and conversation with its subject matters; favours impurity rather than detachment; embraces exaggeration, repetition, laughter, and self-parody as legitimate forms of knowledge. Yet a chimera also designates the object of a yearning deemed unattainable: this book exists in the space of such yearning, in the tension between words and what exceeds them, their overtones. The critic is exhausted by yearning, rather than the owner of exhaustive knowledge. A Menippean satire for critical writing, Nothing As We Need It sustains its argument for composite and impure writing in its form. It demands ways of reading equally varied, and wildly imaginative. Listening to literature beyond the limits of textual analysis, it dismisses the visual implications of reflection, which assumes detachment and polished surfaces, in favour of an aural method of resonance, allowing enmeshment and interference. This book unsettles language, welcomes uninhibited exaggeration and wordplay, and manifests possibilities for working with citation beyond the boundaries of inverted commas. Daniela Cascella is an Italian-British writer, working with forms and transformations of critical writing that inhabit, echo, and are haunted by their subjects: literature, voices, concealments of the self. Writing in English as a second language, writing as a stranger in a language, she is drawn toward unstable and uncomfortable forms of writing-as-sounding, and toward the transmissions and interferences of knowledge across cultures. Her books include: Chimeras: A Deranged Essay, An Imaginary Conversation, A Transcelation (Sublunary Editions, 2022), Singed. Muted Voice-Transmissions, After The Fire (Equus Press, 2017), F.M.R.L. Footnotes, Mirages, Refrains and Leftovers of Writing Sound (Zer0 Books, 2015), and En Abîme: Listening, Reading, Writing. An Archival Fiction (Zer0 Books, 2012). Cascella is Programme Tutor in the Art Writing MLitt at the Glasgow School of Art, Associate Lecturer in the Sound Arts MA at London College of Communication, and Commissioning Editor at MAP Magazine. She publishes and lectures internationally, and often works with artists, writers, and musicians on collaborative projects and performative readings.
Ephemeral, F.M.R.L: A collection of fragments and essays recording accidents of hearing and detours of thought in response to the peripheral nature of listening and reading.
This collection explores critical and visual practices through the lens of interactions and intersections between pattern and chaos. The dynamic of the inter-relationship between pattern and chaos is such as to challenge disciplinary boundaries, critical frameworks and modes of understanding, perception and communication, often referencing the in-between territory of art and science through experimentation and visual scrutiny. A territory of 'pattern-chaos' or 'chaos-pattern' begins to unfold. Drawing upon fields such as visual culture, sociology, physics, neurobiology, linguistics or critical theory, for example, contributors have experimented with pattern and/or chaos-related forms, processes, materials, sounds and language or have reflected on the work of other artists, scientists and scholars. Diagrams, tessellations, dust, knots, mazes, folds, creases, flux, virus, fire and flow are indicative of processes through which pattern and chaos are addressed. The contributions are organized into clusters of subjects which reflect the interdisciplinary terrain through a robust, yet also experimental, arrangement. These are 'Pattern Dynamics', 'Morph Flux Mutate', 'Decompose Recompose', 'Virus; Social Imaginary' and 'Nothings in Particular'.
En Abime explores listening and reading as creative and critical activities driven by memory and return, reshaped into the present. It introduces an idea of aural landscape as a historically defined cultural experience, and contributes with previously unexplored references to the emerging area of listening as artistic practice, adopting an expansive approach across poetry, visual art and literature. …poetic, incisive, grounded in politics and history yet continually pushing at the edges of what we now consider to be sound. She interrogates notions of music and the shifting experience that is silence with a freshness and coherence that is inspiring David Toop, Author of Ocean of Sound, Haunted Weather and Sinister Resonance … compulsive and fast, rushing with you through textual territories that seem spoken, direct and contemporary while being nostalgic - invoking a past that creates the present tense. Salomé Voegelin, author of Listening to Noise and Silence: Towards a Philosophy of Sound Art ,
