In The Blink Of An Ear

An ear-opening reassessment of sonic art from World War II to the present Marcel Duchamp famously championed a "non-retinal" visual art, rejecting judgments of taste and beauty. In the Blink of an Ear is the first book to ask why the sonic arts did not experience a parallel turn toward a non-cochlear sonic art, imagined as both a response and a complement to Duchamp's conceptualism. Rather than treat sound art as an artistic practice unto itself-or as the unwanted child of music-artist and theorist Seth Kim-Cohen relates the post-War sonic arts to contemporaneous movements in the gallery arts. Applying key ideas from poststructuralism, deconstruction, and art history, In the Blink of an Ear suggests that the sonic arts have been subject to the same cultural pressures that have shaped minimalism, conceptualism, appropriation, and relational aesthetics. Sonic practice and theory have downplayed - or, in many cases, completely rejected - the de-formalization of the artwork and its simultaneous animation in the conceptual realm. Starting in 1948, the simultaneous examples of John Cage and Pierre Schaeffer initiated a sonic theory-in-practice, fusing clement Greenberg's media-specificity with a phenomenological emphasis on perception. Subsequently, the "sound-in-itself" tendency has become the dominant paradigm for the production and reception of sound art. Engaged with critical texts by Jacques Derrida, Rosalind Krauss, Friedrich Kittler, Jean François Lyotard, and Jacques Attali, among others, Seth Kim-Cohen convincingly argues for a reassessment of the short history of sound art, rejecting sound-in-itself in favor of a reading of sound's expanded situation and its uncontainable textuality. At the same time, this important book establishes the principles for a nascent non-cochlear sonic practice, embracing the inevitable interaction of sound with the social, the linguistic, the philosophical, the political, and the technological. Artists discussed include: George Brecht John Cage Janet Cardiff Marcel Duchamp Bob Dylan Valie Export Luc Ferrari Jarrod Fowler Jacob Kirkegaard Alvin Lucier Robert Morris Muddy Waters John Oswald Marina Rosenfeld Pierre Schaeffer Stephen Vitiello La Monte Young

This title traces the interactions and mutual influences of art and music over the past 60 years.

In Listening in the Afterlife of Data, David Cecchetto theorizes sound, communication, and data by analyzing them in the contexts of the practical workings of specific technologies, situations, and artworks. In a time he calls the afterlife of data—the cultural context in which data’s hegemony persists even in the absence of any belief in its validity—Cecchetto shows how data is repositioned as the latest in a long line of concepts that are at once constitutive of communication and suggestive of its limits. Cecchetto points to the failures and excesses of communication by focusing on the power of listening—whether through wearable technology, internet-based artwork, or the ways in which computers process sound—to pragmatically comprehend the representational excesses that data produces. Writing at a cultural moment in which data has never been more ubiquitous or less convincing, Cecchetto elucidates the paradoxes that are constitutive of computation and communication more broadly, demonstrating that data is never quite what it seems.

National Book Award Finalist: “This man’s ideas may be the most influential, not to say controversial, of the second half of the twentieth century.”—Columbus Dispatch At the heart of this classic, seminal book is Julian Jaynes's still-controversial thesis that human consciousness did not begin far back in animal evolution but instead is a learned process that came about only three thousand years ago and is still developing. The implications of this revolutionary scientific paradigm extend into virtually every aspect of our psychology, our history and culture, our religion—and indeed our future. “Don’t be put off by the academic title of Julian Jaynes’s The Origin of Consciousness in the Breakdown of the Bicameral Mind. Its prose is always lucid and often lyrical…he unfolds his case with the utmost intellectual rigor.”—The New York Times “When Julian Jaynes . . . speculates that until late in the twentieth millennium BC men had no consciousness but were automatically obeying the voices of the gods, we are astounded but compelled to follow this remarkable thesis.”—John Updike, The New Yorker “He is as startling as Freud was in The Interpretation of Dreams, and Jaynes is equally as adept at forcing a new view of known human behavior.”—American Journal of Psychiatry

New York Times bestselling author of Vince Flynn's Mitch Rapp novels Kyle Mills rewrites the rules for thrillers with Fade -- a novel ripped from today's headlines Welcome to the new war on terror. A secret wing of Homeland Security is recruiting agents to work undercover in the Middle East, and the director wants his second-in-command, Matt Egan, to bring aboard an old friend, Salam Al Fayed—better known as Fade. He's perfect: An ex-Navy Seal and the son of immigrants, he speaks flawless Arabic. Trouble is, he's "retired"; he was wounded in the line of duty, and the government refused to pay for the risky surgery that could have helped him. Now he's walking around with a bullet lodged near his spine, and he's not too fond of anyone in the government -- least of all, his ex-best friend Matt Egan, whom he blames for his present condition. Against Egan's wishes, the director tries to "persuade" Fade to join the team. But Fade is prepared to fight back at any cost. The chase is on -- will Matt be able to find his friend-turned-fugitive before Fade can take the ultimate revenge? Fade is a remarkable, take-no-prisoners program from an unparalleled writer at the height of his talents.

Composed as a long text message, this poem asks what happens to a modern, queer indigenous person a few generations after his ancestors were alienated from their language, their religion, and their history.

From debut author Cameron Kelly Rosenblum comes a stunning teen novel that tackles love, grief, and mental health as one girl must process her friend’s death and ultimately learn how to stand in her own light. Perfect for fans of All the Bright Places and We Were Liars. It’s the summer before senior year. Reid is in the thick of Scofield High’s in-crowd thanks to her best friend, Hattie, who has been her social oxygen since middle school. But summer is when Hattie goes to her family’s Maine island home. Instead of sitting inside for eight weeks, waiting for her to return, Reid and their friend, Sam, enter into a pact—to live it up, one party at a time. But days before Hattie is due home, Reid finds out the shocking news that Hattie has died by suicide. Driven by a desperate need to understand what went wrong, Reid searches for answers. In doing so, she uncovers painful secrets about the person she thought she knew better than herself. And the truth will force Reid to reexamine everything.