Remediating Sound

Remediating Sound studies the phenomena of remixing, mashup and recomposition: forms of reuse and sampling that have come to characterise much of YouTube's audiovisual content. Through collaborative composition, collage and cover songs to reaction videos and political activism , users from diverse backgrounds have embraced the democratised space of YouTube to open up new and innovative forms of sonic creativity and push the boundaries of audiovisual possibilities. Observing the reciprocal flow of influence that runs between various online platforms, 12 chapters position YouTube as a central hub for the exploration of digital sound, music and the moving image. With special focus on aspects of networked creativity that remain overlooked in contemporary scholarship, including library music, memetic media, artificial intelligence, the sonic arts and music fandom, this volume offers interdisciplinary insight into contemporary audiovisual culture.

Remediating Sound studies the phenomena of remixing, mashup and recomposition: forms of reuse and sampling that have come to characterise much of YouTube's audiovisual content. Through collaborative composition, collage and cover songs to reaction videos and political activism , users from diverse backgrounds have embraced the democratised space of YouTube to open up new and innovative forms of sonic creativity and push the boundaries of audiovisual possibilities. Observing the reciprocal flow of influence that runs between various online platforms, 12 chapters position YouTube as a central hub for the exploration of digital sound, music and the moving image. With special focus on aspects of networked creativity that remain overlooked in contemporary scholarship, including library music, memetic media, artificial intelligence, the sonic arts and music fandom, this volume offers interdisciplinary insight into contemporary audiovisual culture.

What is sound design? What is its function in the early 21st century and into the future? Sound Works examines these questions in four parts: Part 1, "Why This Sound?", presents an overview of the modern history of sound design. Part 2 is highly visual and provides a glance onto a sound designer's workbench and the current state of "Sonic Labor." Part 3 uses cultural analysis to explore our contemporary "Living with Sounds." The final and fourth part then proposes a series of anthropological and political interpretations of how “Sound Works” today. This book is not a manual on sound design; it instead argues for a cultural theory of sound design for sound designers and sound artists, for clients who commission a sound design and for researchers in the fields of sound studies, design research, and cultural studies

This book brings together an international group of scholars who chart and analyze the ways in which comic book history and new forms of graphic narrative have negotiated the aesthetic, social, political, economic, and cultural interactions that reach across national borders in an increasingly interconnected and globalizing world. Exploring the tendencies of graphic narratives - from popular comic book serials and graphic novels to manga - to cross national and cultural boundaries, Transnational Perspectives on Graphic Narratives addresses a previously marginalized area in comics studies. By placing graphic narratives in the global flow of cultural production and reception, the book investigates controversial representations of transnational politics, examines transnational adaptations of superhero characters, and maps many of the translations and transformations that have come to shape contemporary comics culture on a global scale.

Bridging the Multimodal Gap addresses multimodality scholarship and its use in the composition classroom. Despite scholars’ interest in their students’ multiple literacies, multimodal composition is far from the norm in most writing classes. Essays explore how multimodality can be implemented in courses and narrow the gap between those who regularly engage in this instruction and those who are still considering its scholarly and pedagogical value. After an introductory section reviewing the theory literature, chapters present research on implementing multimodal composition in diverse contexts. Contributors address starter subjects like using comics, blogs, or multimodal journals; more ambitious topics such as multimodal assignments in online instruction or digital story telling; and complex issues like assessment, transfer, and rhetorical awareness. Bridging the Multimodal Gap translates theory into practice and will encourage teachers, including WPAs, TAs, and contingent faculty, to experiment with multiple modes of communication in their projects. Contributors: Sara P. Alvarez, Steven Alvarez, Michael Baumann, Joel Bloch, Aaron Block, Jessie C. Borgman, Andrew Bourelle, Tiffany Bourelle, Kara Mae Brown, Jennifer J. Buckner, Angela Clark-Oates, Michelle Day, Susan DeRosa, Dànielle Nicole DeVoss, Stephen Ferruci, Layne M. P. Gordon, Bruce Horner, Matthew Irwin, Elizabeth Kleinfeld, Ashanka Kumari, Laura Sceniak Matravers, Jessica S. B. Newman, Mark Pedretti, Adam Perzynski, Breanne Potter, Caitlin E. Ray, Areti Sakellaris, Khirsten L. Scott, Rebecca Thorndike-Breeze, Jon Udelson, Shane A. Wood, Rick Wysocki, Kathleen Blake Yancey

The turn of the millennium has heralded an outgrowth of culture that demonstrates an awareness of the ephemeral nature of history and the complexity underpinning the relationship between location and the past. This has been especially apparent in the shifting relationship between landscape, memory and sound in film, television and other media. The result is growing interest in soundtracks, as part of audiovisual culture, as well as an interest in the spectral aspects of culture more generally. This collection of essays focuses on audiovisual forms that foreground landscape, sound and memory. The scope of inquiry emphasises the ghostly qualities of a certain body of soundtracks, extending beyond merely the idea of 'scary films' or 'haunted houses.' Rather, the notion of sonic haunting is tied to ideas of trauma, anxiety or nostalgia associated with spatial and temporal dislocation in contemporary society. Touchstones for the approach are the concepts of psychogeography and hauntology, pervasive and established critical strategies that are interrogated and refined in relation to the reification of the spectral within the soundtracks under consideration here.

Sound, music and storytelling are important tools of resistance, resilience and reconciliation in creative practice from protracted conflict to post-conflict contexts. When they are used in a socially engaged participatory capacity, they can create counter-narratives to conflict. Based on original research in three continents, this book advances an interdisciplinary, comparative approach to exploring the role of sonic and creative practices in addressing the effects of conflict. Each case study illustrates how participatory arts genres are variously employed by musicians, arts facilitators, theatre practitioners, community activists and other stakeholders as a means of 'strategic creativity' to transform trauma and promote empowerment. This research further highlights the complex dynamics of delivering and managing creativity among those who have experienced violence, as they seek opportunities to generate alternative arenas for engagement, healing and transformation.