Böcker i Palgrave Studies in Sound-serien

This book interrogates the meeting point between Afrofuturism and Black Sound Studies. The sounds of Afrofuturism are deeply embedded in the speculative - demonstrated in mythmaking - in frameworks for songs and compositions, in the personas of the artists, and in how the sounds are produced.

This book is an interdisciplinary project that brings together ideas from aesthetics, philosophy, psychology, and music sociology as an expansion of German philosopher Hans-Georg Gadamer's theory on the aesthetics of play.

This book explores the nature and importance of sound in virtual reality (VR). This book if for those with an interest in sound and VR, who wish to learn more about the great complexities of the subject and discover the contemporary issues from which future VR will surely advance.

This book is about the tiny sounds of the world, and listening to them, the minute signals that are clues to who and where we are. A very small sound, given the context of its history, becomes hugely significant, and even an imagined sound in a picture becomes almost a voice.

In this poetic exploration of the auditory imagination, the third in his series on sonic aesthetics, Sean 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.

What makes a body of sound appear as an aesthetic object as well as a method for knowledge? In Sounding Bodies Sounding Worlds, Mickey Vallee argues that we must impose our sonic imagination onto the non-sonic, and embrace how we sound to ourselves, sound with our animal companions, and sound in very earth itself.

This book aims to provide an account of both what and how onomatopoeia communicate by applying ideas from the relevance theoretic framework of utterance interpretation.

Audio Drama and Modernism traces the development of political and modernist sound drama during the first 40 years of the 20th Century.

This book presents the first book-length study of ambient sound as a key issue in sound studies and sonic philosophy. Taking a broad, media-philosophical approach, it explores ambient sound as a basic dimension of the sonic environment, sonic technologies, sonic arts and the material staging of listening.Through analyses of key concepts such as surroundability, mediatization, immanence, synthetization and continuous variation, the book elucidates how ambient aspects of sound influence our conceptions of what sound is and how it affects us by exposing sound¿s relation to basic categories such as space, time, environment, medium and materiality. It also illuminates how the strategic production of ambient sound constitutes a leading aesthetic paradigm that has been a decisive factor in the shaping of the modern sonic environment ¿ from key developments in experimental and popular music, sound art and cinematic sound design to the architectural-technological construction of listening spaces in concert halls and theaters and in current streaming infrastructures, digital surround sound and the everyday aesthetics of headphone listening.

This book addresses a major gap in sound art scholarship: the role of audience participation. It offers a survey of participatory sound art from its origins in the historical avant-gardes to the non-institutionalized forms of sonic creativity in contemporary digital culture. In doing so, it proposes an innovative theoretical framework for analysing such phenomena, rooted in Pragmatist aesthetics, affordance theory and postcritique. Combining artwork analyses with qualitative studies, it focuses on three principal aspects of participatory sound art: the ways the materialities of the artworks facilitate and structure the participatory processes; the interplay of the creative agencies of the artists and the participants; and the postcritical approach to sound art¿s politics, unfolding through the participants¿ affective gestures. In considering these multiple dimensions, this book contributes to the growing fields of sound studies and participation studies, as well as to curatorial practice regarding sound art and participatory art.

This book is a phenomenological approach to film sound and film as a whole, bringing all sensory impressions together within the body as a sense of movement. This includes embodied listening, felt sound and the audiovisual chord as a dynamic knot of visual and auditory movements. From this perspective, auditory spaces in film can be used as a pivot between an inner and an external world.