Like travellers from fabled lands, voices come telling tales, sometimes shocking, sometimes familiar, sometimes magnetic, like echoes, like ultra soundings... Duncan Richardson's poetry can be fanciful like this but also grounded. A speaker softens the terror of his son observing a sabre-toothed tiger in a museum. Another hears a Siren urging him to jump from Victoria Falls. Join in his discovery of ghosts in everyday highrises.
In 2006, the posthumously-published works of little known poet Jason Silver caused a minor sensation on the Adelaide literary scene. His surreal, image-laden writings offered a raw, confronting portrait of his struggle with bipolar disorder - the illness which, many said, also drove his creativity. Sensation turned to scandal when a hapless biographer accidentally unearthed the truth: there was no Jason Silver. He was the fictional creation of three living poets - Pete Lind, Shannon Woodford and Angie Rawkins, also known as the Red Lion Poets. The Jason Silver poems were thereafter disregarded as meaningless twaddle, as were all of the Red Lions' other writings... Inspired by the Ern Malley affair, Sound and Bundy takes a new approach to the verse novel format. Presenting the works of four fictional poets in anthology form, it invites readers to draw together disparate accounts and to create their own conclusions as to what "really" happened.
Winner of the 2012 IP Picks Best Poetry Award, MUSEFOOD is modern, savvy and sharp-tongued verse at its best. Ruckert's musings on women in contemporary life explore a subject not often visited through verse. What could have easily been flighty or frivolous is instead a witty and honest social commentary, intertwined with varying shades of comedy and poignancy.
After Sound considers contemporary art practices that reconceive music beyond the limitation of sound. This book is called After Sound because music and sound are, in Barrett's account, different entities. While musicology and sound art theory alike typically equate music with pure instrumental sound, or absolute music, Barrett posits music as an expanded field of artistic practice encompassing a range of different media and symbolic relationships. The works discussed in After Sound thus use performance, text scores, musical automata, video, social practice, and installation while they articulate a novel aesthetic space for a radically engaged musical practice. Coining the term "critical music," this book examines a diverse collection of art projects which intervene into specific political and philosophical conflicts by exploring music's unique historical forms. Through a series of intimate studies of artworks surveyed from the visual and performing arts of the past ten years-Pussy Riot, Ultra-red, Hong-Kai Wang, Peter Ablinger, Pauline Boudry and Renate Lorenz, and others-After Sound offers a significant revision to the way we think about music. The book as a whole offers a way out of one of the most vexing deadlocks of contemporary cultural criticism: the choice between a sound art effectively divorced from the formal-historical coordinates of musical practice and the hermetic music that dominates new music circles today.
Ticking clocks, claps of thunder, the human voice—sound is anything that can be heard. Hearing sound is one thing, but understanding just how it works and what its properties are is quite another. Answering these questions and others concerning supersonic speed and breaking the sound barrier, how the human voice and ear work, and the age-old question of whether a tree falling in the forest unobserved makes any noise, this volume provides an accessible yet detailed and amply illustrated guide to the science of sound. Also included are several fun projects, which allow readers to explore in a hands-on way the nature, quality, and behavior of sound.
Motivated by an interest in the long-standing divisions between analytic and Continental philosophy author Roger V. Bell engages in an extensive reading of Cavell's work from the position of his differences with Derrida. As Derrida himself has not responded (at least in writing) to Cavell's comments and criticism, the opportunity is rife for examining this latent debate to gain greater insight into the relationship between their work Bell investigates Cavell and Derrida's development within the American philosophical scene. The critique of Cavell's sense of American inheritance serves as a way to momentarily direct the reader away from the abyss and toward the westward view intrinsic to the 19th century bearings Cavell takes with Emerson and Thoreau. This refiguring of Cavell's notion of inheritance is then brought alongside important features of Derrida's deconstruction and the question of its reception in America. By extending Cavell's thought in this manner - through its meeting with Derrida - broader concerns are opened up with regard to both philosopher's work. In Derrida's case, deconstruction - especially its American reception - gets situated in the emerging post-poststructuralist rubrics of film theory, cultural criticism, postcolonialism, and multiculturalism. Taking in an incredible range of sources and cultural and intellectual contexts Roger Bell has produced an important and original work.
What is sound design? What is its function in the early 21st century and into the future? Sound Works examines these questions in four parts: Part 1, "Why This Sound?", presents an overview of the modern history of sound design. Part 2 is highly visual and provides a glance onto a sound designer's workbench and the current state of "Sonic Labor." Part 3 uses cultural analysis to explore our contemporary "Living with Sounds." The final and fourth part then proposes a series of anthropological and political interpretations of how “Sound Works” today. This book is not a manual on sound design; it instead argues for a cultural theory of sound design for sound designers and sound artists, for clients who commission a sound design and for researchers in the fields of sound studies, design research, and cultural studies
