Sound affects : a user's guide

Sound Affects: A User’s Guide is a collection of sonically-charged concepts ranging from the vocal (whispers, sing, disembodied voice), to sounds at the threshold (knocking, thump, buzz), to sounds beyond the limits of audibility (tremors, distortion, sub-bass). Taking Yve-Alain Bois and Rosalind E. Krauss’s Formless: A User’s Guide (1997) as a model, 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 essays develops a particular perspective on sound and affect through a close analysis of audio-visual 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. "Sound Affects: A User's Guide is a collection of sonically charged concepts ranging from the vocal (whispers, sing, disembodied voice), to sounds at the threshold (knocking, thump, buzz), to sounds beyond the limits of audibility (tremors, distortion, sub-bass). Taking Yve-Alain Bois and Rosalind E. Krauss's Formless: A User's Guide (1997) as a model, 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 essays develop a particular perspective on sound and affect through a close analysis of audio-visual 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."-- Provided by publisher 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. Half Title 2 Series Page 3 Title Page 4 Copyright Page 5 Contents 6 Illustrations 8 Contributors 10 Acknowledgements 15 The clatter and clang of sound affects 20 Part I: Start, stop, repeat 36 Chapter 1: Silence 38 Chapter 2: Shuffle 50 Chapter 3: The oriental riff 60 Part II: Voices and vocals 72 Chapter 4: aa ee ii oo uuuuu 74 Chapter 5: Sympathetic response 86 Chapter 6: Whispers 100 Chapter 7: Sing 110 Chapter 8: The disembodied voice 123 Part III: Threshold sounds 136 Chapter 9: Tin/ny 138 Chapter 10: Vroom 151 Chapter 11: Thump 162 Chapter 12: Buzz 175 Part IV: Beyond audibility 190 Chapter 13: Inaudible tremors 192 Chapter 14: Distortion 205 Chapter 15: Feedback 218 Chapter 16: Sub-bass 230 Chapter 17: Squish, squelch, shlshlshlurpppp 243 Bibliography 256 Mediography 275 Index 278 "A philosophical analysis of sonically charged concepts to map a theory of "sound affects.""-- Provided by publisher