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The hidden material histories of music. Music is seen as the most immaterial of the arts, and recorded music as a progress of dematerialization—an evolution from physical discs to invisible digits. In Decomposed, Kyle Devine offers another perspective. He shows that recorded music has always been a significant exploiter of both natural and human resources, and that its reliance on these resources is more problematic today than ever before. Devine uncovers the hidden history of recorded music—what recordings are made of and what happens to them when they are disposed of. Devine's story focuses on three forms of materiality. Before 1950, 78 rpm records were made of shellac, a bug-based resin. Between 1950 and 2000, formats such as LPs, cassettes, and CDs were all made of petroleum-based plastic. Today, recordings exist as data-based audio files. Devine describes the people who harvest and process these materials, from women and children in the Global South to scientists and industrialists in the Global North. He reminds us that vinyl records are oil products, and that the so-called vinyl revival is part of petrocapitalism. The supposed immateriality of music as data is belied by the energy required to power the internet and the devices required to access music online. We tend to think of the recordings we buy as finished products. Devine offers an essential backstory. He reveals how a range of apparently peripheral people and processes are actually central to what music is, how it works, and why it matters.
Decomposition is a bracing, revisionary, and provocative inquiry into music—from Beethoven to Duke Ellington, from Conlon Nancarrow to Evelyn Glennie—as a personal and cultural experience: how it is composed, how it is idiosyncratically perceived by critics and reviewers, and why we listen to it the way we do. Andrew Durkin, best known as the leader of the West Coast–based Industrial Jazz Group, is singular for his insistence on asking tough questions about the complexity of our presumptions about music and about listening, especially in the digital age. In this winning and lucid study he explodes the age-old concept of musical composition as the work of individual genius, arguing instead that in both its composition and reception music is fundamentally a collaborative enterprise that comes into being only through mediation. Drawing on a rich variety of examples—Big Jay McNeely’s “Deacon’s Hop,” Biz Markie’s “Alone Again,” George Antheil’s Ballet Mécanique, Frank Zappa’s “While You Were Art,” and Pauline Oliveros’s “Tuning Meditation,” to name only a few—Durkin makes clear that our appreciation of any piece of music is always informed by neuroscientific, psychological, technological, and cultural factors. How we listen to music, he maintains, might have as much power to change it as music might have to change how we listen.
In Colombia, decades of social and armed conflict and the US-led war on drugs have created a seemingly untenable situation for scientists and rural communities as they attempt to care for forests and grow non-illicit crops. In Vital Decomposition Kristina M. Lyons presents an ethnography of human-soil relations. She follows state soil scientists and peasants across labs, greenhouses, forests, and farms and attends to the struggles and collaborations between farmers, agrarian movements, state officials, and scientists over the meanings of peace, productivity, rural development, and sustainability in Colombia. In particular, Lyons examines the practices and philosophies of rural farmers who value the decomposing layers of leaves, which make the soils that sustain life in the Amazon, and shows how the study and stewardship of the soil point to alternative frameworks for living and dying. In outlining the life-making processes that compose and decompose into soil, Lyons theorizes how life can thrive in the face of the violence, criminalization, and poisoning produced by militarized, growth-oriented development.
Everybody agrees that mold is just disgusting, until the class goes on a field trip inside a rotting log. They discover that all the dead-looking stuff is actually alive...and it's pretty neat after all. Join the class on their "rotten" adventure, and learn about how nature recycles through decomposition.
The fate of the human body after death is a subject that has fascinated enquirers, both in the scientific and legal realms for millennia. However, objective research into the causes and nature of human decomposition has only taken place in the last two centuries, and quantitative measurement of the process as a means of estimating the time of death has only recently been attempted. The substantial literature concerning this research has been published in numerous scientific journals since the beginning of the nineteenth century. Human Body Decomposition expands on the current literature to include the evolving research on estimating the time of death. This volume details the process of decomposition to include early period after death when the body cools to ambient temperature, and when the body begins to putrefy. This process is significant because the estimation of the time of death becomes increasingly more difficult when the body begins to putrefy.Human Body Decomposition compiles a chronological account of research into the estimation of the time since death in human bodies found decomposed in order that researchers in the subject field can concentrate their thoughts and build on what has been achieved in the past. - Provides concise details of research, over the last 200 years, of estimating the time of death in decomposed bodies. - Covers methods of research into human decomposition in the stages of body cooling to ambient temperature and the later stages of autolysis, putrefaction and skeletonisation. - Includes a detailed account of recent research and future concepts. - Concludes with an account of the difficulties which future research into human decomposition will encounter.
Death, Decomposition, and Detector Dogs: From Science to Scene is designed to help police investigators and Human Remains Detection K9 handlers understand the basics of forensic taphonomy (decomposition) and how to most effectively use a human remains detection (HRD) K9 as a locating tool. The book covers basic anatomy and the physiology of canine
Originally published in 1986. The ghastly fate of a drowned man brought to a lake's surface in Wordsworth's "Prelude" typifies a fundamental pattern in Romantic writing, argues Cynthia Chase. Disfiguration involves not only a departure from representation but a disruption of the logic of figure or form, a decomposition of the figures composing the text. Ultimately it manifests the conflict between a work's meaning and its mode of performance. By means of an intense engagement with texts in the romantic tradition, Decomposing Figures rearticulates and recasts crucial concepts in recent literary theory, including the notion of the self-referential or self-reflexive nature of the literary work. Chase's readings show that, far from implying a privileged status, the work's self-reflexive structure entails its opacity, its inability to read itself, and the necessity of its decomposition.