For those interested in the concept of mediation in Sound Studies, a new book is due to appear in hardback with Cambridge Scholars Publishing:
Sonic Mediations: Body, Sound, Technology
Editors: Carolyn Birdsall and Anthony Enns
Price: UK: £39.99, US: $79.99 (discount on demand)
About the book:
Sonic Mediations: Body, Sound, Technology is a collection of original essays that represents an invaluable contribution to the burgeoning field of sound studies. While sound is often posited as having a bridging function, as a passive in-between, this volume invites readers to rethink the concept of mediation by examining the relationships between the body, sound and technology. The chapters provide a series of focused case studies involving sound and music technologies, performances and installations, which address key issues for sound scholars: How are audio performances mediated by sound technologies as well as the performer’s body? In which ways is the immediacy of live performance influenced by sound technologies? How do bodies and technologies mediate the experience of auditory perception? What is the role of the listener in audio-based performances? How does sound mediate the experience of viewing optical media and how does this complicate vision-oriented theories of spectatorship? By incorporating a range of interdisciplinary responses to these questions, Sonic Mediations provides a model for the future of sound studies.
Table of contents:
Introduction by Carolyn Birdsall and Anthony Enns
Part I: Mediating Perception
The Phonographic Body: Phreno-Mesmerism, Brain Mapping and Embodied Recording, by Anthony Enns
Audio Virology: On the Sonic Mnemonics of Preemptive Power, by Steve Goodman
“Quick and Dirty”: Sonic Mediations and Affect, by Bruce Johnson
Touched by Music: The Sonic Strokes of Sur Incises, by Vincent Meelberg
Part II: Mediating Performance
Delegating the Live: Musicians, Machines and the Practice of Looping, by Jeremy Wade Morris
“Oh Baby, I Like It Raw”: Engineering Truth, by Jan Hein Hoogstad
Voice or Ear? The Female Voice and the Listener’s Position in Paul Lansky’s as it grew dark, by Hannah Bosma
The Pianist’s Body at Work: Mediating Sound and Meaning in Frederic Rzewski’s Winnsboro Cotton Mill Blues, by Kathryn Woodard
Part III: Mediating Space
Producing Microscopic Embodied Spaces: The Flautist’s Mouth,Reverberation Effects and Kaija Saariaho’s Lichtbogen, by Taina Riikonen
Atmospherics by Steven Connor
Another Interactivity in Pneumatic Sound Field: On Interactive Sound Art and Digital Audio Technology, by Ruth Benschop
Hearing History: Storytelling and Collective Subjectivity in Cardiff and Miller’s Pandemonium, by Adair Rounthwaite
Part IV: Mediating Audiovision
Towards Intensive Audiovisual Encounters: Interactions of Opera and Cinema, by Milla Tiainen
Do You Want to Be Absorbed? The Knotty Acts of Mediation in Rosa: A Horse Drama, by Tereza Havelková
Auditory Imagination and Narrativisation in Béla Bartók’s Bluebeard’s Castle, by Pieter Verstraete
Sound Bites! Dissonant Audiovisions as Historiophony in Hitler’s Hit Parade, by Carolyn Birdsall
More information and sample pdf (including introduction and sample chapter):
http://www.c-s-p.org/Flyers/Sonic-Mediations--Body--Sound--Technology1-84718-839-7.htm
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