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Twenty-six letters account for the approximately 43 elementary sounds in the English language, which contains close to 500,000 words. Compiled and designed by Timothy Donaldson, "Shapes for Sounds" comprises illustrated charts that track the history and development of the written alphabet and its connection to oral traditions. Donaldson's text also elucidates the connections between speech and written language through his chapters that touch on the organs of speech, the physics of articulation, the naming of letters and the shaping of letters. An established typeface designer, Donaldson taught typography at Stafford College, England, and is a Research Fellow at the University of Lincoln, UK.
A vivid and essential memoir of deafness, disability and identity by Australian writer Fiona Murphy
A vivid and essential memoir of deafness, disability and identity by Australian writer Fiona Murphy
A fresh, bold study of the emerging field of Sound Art, informed by the ideas of Adorno, Merleau-Ponty and others.
In twenty essays on subjects such as noise, acoustics, music, and silence, Keywords in Sound presents a definitive resource for sound studies, and a compelling argument for why studying sound matters. Each contributor details their keyword's intellectual history, outlines its role in cultural, social and political discourses, and suggests possibilities for further research. Keywords in Sound charts the philosophical debates and core problems in defining, classifying and conceptualizing sound, and sets new challenges for the development of sound studies. Contributors. Andrew Eisenberg, Veit Erlmann, Patrick Feaster, Steven Feld, Daniel Fisher, Stefan Helmreich, Charles Hirschkind, Deborah Kapchan, Mara Mills, John Mowitt, David Novak, Ana Maria Ochoa Gautier, Thomas Porcello, Tom Rice, Tara Rodgers, Matt Sakakeeny, David Samuels, Mark M. Smith, Benjamin Steege, Jonathan Sterne, Amanda Weidman
This study of the subtlety, complexity, and variety of modes of hearing maps out a “sonorous archipelago”—a heterogeneous set of shifting sonic territories shaped by the vicissitudes of desire and discourse. Profoundly intimate yet immediately giving onto distant spaces, both an “organ of fear” and an echo chamber of anticipated pleasures, an uncontrollable flow subject to unconscious selection and augmentation, the subtlety, complexity, and variety of modes of hearing has meant that sound has rarely received the same philosophical attention as the visual. In The Order of Sounds, François J. Bonnet makes a compelling case for the irreducible heterogeneity of “sound,” navigating between the physical models constructed by psychophysics and refined through recording technologies, and the synthetic production of what is heard. From primitive vigilance and sonic mythologies to digital sampling and sound installations, he examines the ways in which we make sound speak to us, in an analysis of listening as a plurivocal phenomenon drawing on Foucault, Deleuze and Guattari, Barthes, Nancy, Adorno, and de Certeau, and experimental pioneers such as Tesla, Bell, and Raudive. Stringent critiques of the “soundscape” and “reduced listening” demonstrate that univocal ontologies of sound are always partial and politicized; for listening is always a selective fetishism, a hallucination of sound filtered by desire and convention, territorialized by discourse and its authorities. Bonnet proposes neither a disciplined listening that targets sound “itself,” nor an “ocean of sound” in which we might lose ourselves, but instead maps out a sonorous archipelago—a heterogeneous set of shifting sonic territories shaped and aggregated by the vicissitudes of desire and discourse.
Goku's life is hanging by a thread. Gohan and Kuririn must use the seven Dragon Balls of Namek to summon the mighty Dragon Lord.
In a world ever more congested and polluted with both toxins and noise, award-winning photographer Pete McBride takes readers on a once-in-a-lifetime escape to find places of peace and quiet—a pole-to-pole, continent-by-continent quest for the soul. We tend to think of silence as the absence of sound, but it is actually the void where we can hear the sublime notes of nature. In this National Outdoor Book Award winning work, photographer Pete McBride reveals the wonders of these hushed places in spectacular imagery—from the thin-air flanks of Mount Everest to the depths of the Grand Canyon, from the high-altitude vistas of the Atacama to the African savannah, and from the Antarctic Peninsula to the flowing waters of the Ganges and Nile. These places remind us of the magic of being “truly away” and how such places are vanishing. Often showing beauty from vantages where no other photographer has ever stood, this is a seven-continent visual tour of global quietude—and the power in nature’s own sounds—that will both inspire and calm.
The journal whose very name promises more to come delivers two issues this season. There aren't too many places to find intelligent, passionate, and witty writing about the past, present, and future of visual culture. Dot Dot Dot, the brilliant journal edited by Stuart Bailey and Peter Bilak, is one of the few we've found, and we're happy to be able to present it in our catalog. Issue 8 contains articles by Ryan Gander, Paul Elliman, Stuart Bailey, Diedrich Diederichsen, Anna Gwendoline Jackson, Momus, Brian McMullen, Antonin Kosik, David Reinfurt, Graham Meyer, Katherine Gillieson, Karel Martens, and Peter Bilak, among others. Articles range from "Why Are All These BooksOrange?" to "A Coming of Age Reading Checklist" to "City Turned Upside Down" and concluding with "About Nothing, Really."
In this poetic exploration of the auditory imagination, the third in his series on sonic aesthetics, Seán Street peoples silence with sound, travelling through time and space to the distant past, the infinite future and the shadow lands of the inner psyche. Our mind is a canvas on which the colours of the sound world leave permanent impressions. It is the root of all listening.