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Acoustic Justice engages issues of recognition and misrecognition by mobilizing an acoustic framework. From the vibrational intensities of common life to the rhythm of bodies in movement, and drawing from his ongoing work on sound and agency, Brandon LaBelle positions acoustics, and the broader experience of listening, as a dynamic means for fostering responsiveness, understanding, dispute, and the work of reorientation. As such, acoustic justice emerges as a compelling platform for engaging struggles over the right to speak and to be heard that extends toward a broader materialist and planetary view. This entails critically addressing questions of space, borders, community, and the acoustic norms defining capacities of listening, leading to what LaBelle terms “poetic ecologies of resonance.” Acoustic Justice works at issues of recognition and resistance, place and displacement, by moving across a range of pertinent references and topics, from social practices and sound art to the performativity of skin and the poetics of Deaf voice. Through such transversality, LaBelle captures acoustics as the basis for strategies of refusal and repair.
Taking its vantage point from the popular assemblies in Athens, 'Solidarity Poiesis: I Will Come and Steal You' discusses the multifaceted ideas and prospects of this grassroots movement such as prefiguration, self-governance and abolition democracy. The notion of ?solidarity poiesis? arises from an argument for a poetics that will transform social justice through new sustainable self-organized infrastructures. 0A book of essays and interviews by and with Tom Engels, Bryana Fritz, Christos Giovanopoulos, Avery F. Gordon, Valeria Graziano, Christina Papadopoulos, Christos Sideris, Alberto Toscano and Robin Vanbesien (editor, introduction). The book is a follow-up to Under These Words (Solidarity Athens 2016), a film by Robin Vanbesien (2017).0Edited by Robin Vanbesien.
This book is a comprehensive introductory approach to what liberation theology has to say about ethics and morals. Dussel begins by making a fundamental distinction between two types of ethical systems: community ethics and social morality. The first grows out of a central concern with community; the second out of isolated individualism. Dussel first poses ten questions basic to a discussion of ethics (on good and evil; personal and social sin; relative morals and absolute ethics, and others). Next, he examines ten contemporary issues requiring an ethical stance, among them: labor and the work ethic; capitalism and socialism; the arms race; and Third World debt and dependency. Rigorous in design and scholarship, yet clear and accessibly written, Ethics and Community offers the first single, systematic treatment of an ethics rooted, as liberation theology is rooted, in the concerns of the poor of Latin America--and the world.
In this book, one of Italy's most important and original contemporary philosophers considers the status of art in the modern era. He probes the meaning and historical consequences of the indefinite continuation of art in what Hegel called a "self-annulling" mode, in the process offering an imaginative reinterpretation of the history of aesthetics from Kant to Heidegger.
Building on the ideas Harney and Moten developed in The Undercommons, All Incomplete extends the critical investigation of logistics, individuation and sovereignty. It reflects their chances to travel, listen and deepen their commitment to and claim upon partiality. All Incomplete studies the history of a preference for the force and ground and underground of social existence. Engaging a vibrant constellation of thought that includes the work of Amilcar Cabral, Erica Edwards, Denise Ferreira da Silva, Cedric Robinson, Walter Rodney, Hortense Spillers and many others, Harney and Moten seek to share and understand that preference. In so doing, Moten and Harney hope to have forged what Manolo Callahan, echoing Ivan Illich, calls a convivial tool that - despite the temptation to improve and demand, develop and govern, separate and grasp - helps us renew our habits of assembly. All Incomplete features the work of award winning photographer Zun Lee, exploring and celebrating the everyday spaces of Black sociality, intimacy, belonging, and insurgency, and a preface by Denise Ferreira da Silva.
Offering a new theory of poetic constraint, this book analyses contributions of bound people to the history of the lyric.
With nearly 400 scores to his credit, Ennio Morricone is one of the most prolific and influential film composers working today. He has collaborated with many significant directors, and his scores for such films as The Good, the Bad, and the Ugly; Once Upon a Time in America; Days of Heaven; The Mission; The Untouchables; Malèna; and Cinema Paradiso leave moviegoers with the conviction that something special was achieved—a conviction shared by composers, scholars, and fans alike. In Composing for the Cinema: The Theory and Praxis of Music in Film, Morricone and musicologist Sergio Miceli present a series of lectures on the composition and analysis of film music. Adapted from several lectures and seminars, these lessons show how sound design can be analyzed and offer a variety of musical solutions to many different kinds of film. Though aimed at composers, Morricone’s expositions are easy to understand and fascinating even to those without any musical training. Drawing upon scores by himself and others, the composer also provides insight into his relationships with many of the directors with whom he has collaborated, including Sergio Leone, Giuseppe Tornatore, Franco Zeffirelli, Warren Beatty, Ridley Scott, Roland Joffé, the Taviani Brothers, and others. Translated and edited by Gillian B. Anderson, an orchestral conductor and musicologist, these lessons reveal Morricone’s passion about musical expression. Delivered in a conversational mode that is both comprehensible and interesting, this groundbreaking work intertwines analysis with practical details of film music composition. Aimed at a wide audience of composers, musicians, film historians, and fans, Composing for the Cinema contains a treasure trove of practical information and observations from a distinguished musicologist and one of the most accomplished composers on the international film scene.
The essays in this volume explore the ways in which traditional philosophical problems about self-knowledge, self-identity, and value have migrated into literature since the Romantic and Idealist periods. How do so-called literary works take up these problems in a new way? What conception of the subject is involved in this literary practice? How are the lines of demarcation between philosophy and literature problematized. The contributors examine these issues with reference both to Romantic and Idealist writers and to some of their subsequent literary and philosophical inheritors and revisers. Their essays offer a philosophical understanding of the roots and nature of contemporary literary and philosophical practice, and elaborate powerful and influential, but rarely decisively articulated, conceptions of the human subject and of value.
In essays covering everything from art and common sense to charisma and constructions of the self, the eminent cultural anthropologist and author of The Interpretation of Cultures deepens our understanding of human societies through the intimacies of "local knowledge." A companion volume to The Interpretation of Cultures, this book continues Geertz’s exploration of the meaning of culture and the importance of shared cultural symbolism. With a new introduction by the author.
The main affirmation of artistic practice must today happen through thinking about the conditions and the status of the artist's work. Only then can it be revealed that what is a part of the speculations of capital is not art itself, but mostly artistic life. Artist at Work examines the recent changes in the labour of an artist and addresses them from the perspective of performance.