Unsound

Tracing the the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. For as long as recording and communications technologies have existed, operators have evoked the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. In Unsound:Undead, contributors from a variety of disciplines chart these undead zones, mapping out a nonlinear timeline populated by sonic events stretching from the 8th century BC (the song of the Sirens), to 2013 (acoustic levitation), with a speculative extension into 2057 (the emergence of holographic and holosonic phenomena). For the past seven years the AUDINT group has been researching peripheral sonic perception (unsound) and the ways in which frequencies are utilized to modulate our understanding of presence/non-presence, entertainment/torture, and ultimately life/death. Concurrently, themes of hauntology have inflected the musical zeitgeist, resonating with the notion of a general cultural malaise and a reinvestment in traces of lost futures inhabiting the present. This undead culture has already spawned a Lazarus economy in which Tupac, ODB, and Eazy-E are digitally revivified as laser-lit holograms. The obscure otherworldly dimensions of sound have also been explored in the sonic fictions produced by the likes of Drexciya, Sun Ra, and Underground Resistance, where hauntology is virtually extended: the future appears in the cracks of the present. The contributions to this volume reveal how the sonic nurtures new dimensions in which the real and the imagined (fictional, hyperstitional, speculative) bleed into one another, where actual sonic events collide with spatiotemporal anomalies and time-travelling entities, and where the unsound serves to summon the undead. Contributors Lawrence Abu Hamdan, Lendl Barcelos, Charlie Blake, Lisa Blanning, Brooker Buckingham, Al Cameron, Erik Davis, Kodwo Eshun, Matthew Fuller, Kristen Gallerneaux, Lee Gamble, Agnès Gayraud, Steve Goodman, Anna Greenspan, Olga Gurionova, S. Ayesha Hameed, Tim Hecker, Julian Henriques, Toby Heys, Eleni Ikoniadou, Amy Ireland, Nicola Masciandaro, Ramona Naddaff, Anthony Nine, The Occulture, Luciana Parisi, Alina Popa, Paul Purgas, Georgina Rochefort, Steven Shaviro, Jonathan Sterne, Jenna Sutela, Eugene Thacker, Dave Tompkins, Shelley Trower, and Souzana Zamfe.

Sound money is a form of money which has a known and predictable linkage between a financial instrument and a real world asset, it is this tethering via a payment currency, that enables trust in monetary based payments.Sound money represents the ability to achieve payment finality in the face of the multiplicity of unknowns involved in any trade based transaction. Central Bank “irredeemable fiat-money” represents an untethered form of money that floats uncontrolled until like the untethered kits crashed to the earth at which point the unsound money meets the real world. With the central banksters pandemic created headwind of "Monetized Debt" based unsound money, financial stability demands a return of sound money tethered to the real world not economic theories and pixie dust economics, the banksters call Modern Money Theory.

Robert Sonkowsky’s creative second-grade teacher, Miss Malarkey, in Appleton, Wisconsin, was his first love. She taught spelling by asking her pupils to compose stories and poems from the spelling-word-lists and to read them aloud standing before the class. As a shy young boy, and future actor and poet, he enjoyed, already then, speaking non-autobiographically, with what would one day become a Stanislavskian basis in the imagination of real life. Robert remembers two lines from the poem he wrote for Miss Malarkey about a MONSTER: “In a laboratory dim a mad scientist created him.” Now, seventy years later, he uses the phrase “mad scientist” and the implied abstraction, “mad science” (= “unsound science” – see page X) as the title and broadly inclusive theme of the present selection of his poems. These range from the childhood spookiness of that “monster” poem to allusions to real science, with a lot in between, including love and even religion; from strictly formal verse to free verse, always with high regard for oral reading. After grade school he graduated continuously through Appleton’s Mckinley School, Appleton High School, Lawrence College; the Universities of North Carolina (Chapel Hill) and of Rome (Italy); post-doctoral positions at the Universities of Texas, Missouri, Wisconsin, and finally Minnesota, where he is Professor Emeritus of Classics and Theatre. His acting career includes credits at The Attic Theater (Appleton), Lawrence College Theater, Carolina Playmakers (Chapel Hill), Durham Theater Guild, Indian Mound Theater (Berea, Kentucky), Tidewater Drama Theater (Virginia Beach, Virginia), University of Minnesota Theater, several small Minneapolis theaters, The Guthrie Theater, Theatre de la Jeune Lune, La Hoya Playhouse. For details, academic and theatrical see Wikipedia; his agent’s website http://www.wehmann.com/profile.php?id=483, his University resume http://cnes.cla.umn.edu/people/profile.php?UID=sonko001.

A study of the internal tensions of British imperial rule told through murder and insanity trials Unsound Empire is a history of criminal responsibility in the nineteenth‑century British Empire told through detailed accounts of homicide cases across three continents. If a defendant in a murder trial was going to hang, he or she had to deserve it. Establishing the mental element of guilt—criminal responsibility—transformed state violence into law. And yet, to the consternation of officials in Britain and beyond, experts in new scientific fields posited that insanity was widespread and growing, and evolutionary theories suggested that wide swaths of humanity lacked the self‑control and understanding that common law demanded. Could it be fair to punish mentally ill or allegedly “uncivilized” people? Could British civilization survive if killers avoided the noose?

Tracing the the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. For as long as recording and communications technologies have existed, operators have evoked the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. In Unsound:Undead, contributors from a variety of disciplines chart these undead zones, mapping out a nonlinear timeline populated by sonic events stretching from the 8th century BC (the song of the Sirens), to 2013 (acoustic levitation), with a speculative extension into 2057 (the emergence of holographic and holosonic phenomena). For the past seven years the AUDINT group has been researching peripheral sonic perception (unsound) and the ways in which frequencies are utilized to modulate our understanding of presence/non-presence, entertainment/torture, and ultimately life/death. Concurrently, themes of hauntology have inflected the musical zeitgeist, resonating with the notion of a general cultural malaise and a reinvestment in traces of lost futures inhabiting the present. This undead culture has already spawned a Lazarus economy in which Tupac, ODB, and Eazy-E are digitally revivified as laser-lit holograms. The obscure otherworldly dimensions of sound have also been explored in the sonic fictions produced by the likes of Drexciya, Sun Ra, and Underground Resistance, where hauntology is virtually extended: the future appears in the cracks of the present. The contributions to this volume reveal how the sonic nurtures new dimensions in which the real and the imagined (fictional, hyperstitional, speculative) bleed into one another, where actual sonic events collide with spatiotemporal anomalies and time-travelling entities, and where the unsound serves to summon the undead. Contributors Lawrence Abu Hamdan, Lendl Barcelos, Charlie Blake, Lisa Blanning, Brooker Buckingham, Al Cameron, Erik Davis, Kodwo Eshun, Matthew Fuller, Kristen Gallerneaux, Lee Gamble, Agnès Gayraud, Steve Goodman, Anna Greenspan, Olga Gurionova, S. Ayesha Hameed, Tim Hecker, Julian Henriques, Toby Heys, Eleni Ikoniadou, Amy Ireland, Nicola Masciandaro, Ramona Naddaff, Anthony Nine, The Occulture, Luciana Parisi, Alina Popa, Paul Purgas, Georgina Rochefort, Steven Shaviro, Jonathan Sterne, Jenna Sutela, Eugene Thacker, Dave Tompkins, Shelley Trower, and Souzana Zamfe.

Eisner Award-nominated writer Cullen Bunn (Harrow County, The Empty Man) is joined by brilliant newcomer artist Jack T. Cole to present a surreal psychological horror series that will have you questioning what it is to truly be crazy... Ever since she was little, all Ashli wanted was to help people. It’s why she went to nursing school, and it’s why she signed up for the vacant position at Saint Cascia, despite the psychiatric hospital’s less-than-sterling reputation. But when strange occurrences begin in the midst of her very first day on the job, Ashli is forced to escape through the labyrinthine bowels of the asylum to not only help her fellow nurses, but to save herself.

H.R. 14026, a bill to prohibit insured banks from issuing negotiable interest-bearing or discounted notes, certificates of deposit, or other evidences of indebtedness.