Sound Affects: A User’s Guide PDF
Sound Affects: A User’s Guide is a collection of sonically-charged concepts ranging from those felt , ‘heard’ and repeated (silence, the oriental riff, shuffle), to the vocal (whispers, sing, the disembodied voice), to sounds at the threshold (tin/ny, thump, buzz) to sounds beyond the limits of audibility (inaudible tremors, distortion, sub-bass). Sound Affects invites the reader to reflect on the ways that sounds produce affects and the ways that affects can operate as sound.
Each of the entries develops a particular perspective on sound and affect through a close analysis of audiovisual and/or sonic objects. The objects chosen not only illustrate the concept in question but also demonstrate how the object encourages us to rethink the relationships between sounds and affects. Influenced by the sound theory of Eugenie Brinkema (2011), the concepts of Sound Affects plot the shift in volume from silence that opens up a space to be heard to the audibly near, from the audibly near to sounds beyond the limits of audibility. Sound Affects is an intellectual adventure for those who theorize and listen. The book can also be enjoyed as a narrative of sounds, its absences and its shifting intensities.
Table of Contents
List of Illustrations
Acknowledgements
The Clatter and Clang of Sound Affects
Sharon Jane Mee (University of New South Wales, Australia) and Luke Robinson (University of New South Wales, Australia)
Part 1: Start, Stop, Repeat
- Chapter 1. Silence
Sandra Kazlauskaite (University of Lincoln, UK) - Chapter 2. Shuffle
Jim Drobnick (OCAD University, Canada) and Jennifer Fisher (York University, Canada) - Chapter 3. Oriental Riff
Runchao Liu (University of Denver, USA) - Part 2: Voices and Vocals
- Chapter 4. aa ee ii oo uuuuu
Rachel Shearer (Te Wananga Aronui o Tamaki Makau Rau/Auckland University of Technology, Aotearoa New Zealand) - Chapter 5. Sympathetic Response
Charlotte Eubanks (Pennsylvania State University, USA) - Chapter 6. Whispers
Christian de Mouilpied Sancto (University of Rochester, USA) - Chapter 7. Sing
Katherine Nolan (Technological University Dublin, Ireland) - Chapter 8. The Disembodied Voice
Julius Greve (University of Oldenburg, Germany) - Part 3: Threshold Sounds
- Chapter 9. Tin/ny
Rob Garbutt (Southern Cross University, Australia) - Chapter 10. Vroom
Andrija Filipovic (Singidunum University, Serbia) - Chapter 11. Thump
Andrea Avidad (New York University, USA) - Chapter 12: Buzz
Sharon Jane Mee (University of New South Wales, Australia) - Part 4: Beyond Audibility
- Chapter 13: Inaudible Tremors
Luke Robinson (University of New South Wales, Australia) - Chapter 14: Distortion
Greg Hainge (University of Queensland, Australia) - Chapter 15. Feedback
Manuel ‘Mandel’ CabreraJr. (Yonsei University, South Korea) - Chapter 16. Sub-bass
Aidan Delaney (Middlesex University, UK) - Chapter 17. Squish, Squelch, Shlshlshlurpppp
Norie Neumark (Victorian College of the Arts, University of Melbourne and La Trobe University, Australia)
