A fresh, bold study of the emerging field of Sound Art, informed by the ideas of Adorno, Merleau-Ponty and others.

This book investigates the notion of silence as both an oppressing instrument and a powerful tool of resistance under the lenses and practices of cultural production. Taking a transdisciplinary and transcultural approach to the study of creative and cultural practices, the chapters ask how cultural production is dealing with surges of oppressive regimes, censorship, and fake news, and which cultural processes are implied in silencing as well in giving voice to, in erasing, and in producing small and grand narratives. The book reaches beyond dominant instrumental views of contemporary cultural practice to understand culture not only as an expedient to conduct social policy but also as a diagnostic tool and a vernacular space of giving voice to the many small narratives that make the world we live in. Offering an introduction to an underrepresented area of cultural studies, this truly interdisciplinary volume will be of interest to scholars of cultural studies, cultural history, media studies, politics, visual studies, communication studies, history, and literature.

From the Introduction, by Jesus: “What I have come to teach now is that you can embody love, as I did. You can become Christ within this human life and learn to embody all that is good within you. I came to show you the beauty of your own soul and what is possible as a human. I came to show you that it is possible to be both human and divine, to be love incarnate. You are equally both. You walk with one foot in the world of form and another in the Formless. This mysterious duality within your being is what this book is about.” "The consciousness that is within me is also within you. You are the son as equally as I am. You are the ‘I am’ I spoke about. You and I are one. You and everyone else are one. Many are ready for the Christ within to come forward and manifest in the world more fully. The birthing of this Christ—of Christ Consciousness—is the true second coming. ‘Christ Consciousness,’ as I am using it, points to the divinity within everyone and the potential for that divinity to become a living reality, to become what lives you. I was an example of that possibility in my lifetime two thousand years ago.” This book was given to Gina Lake by Jesus. It is part of a series of books, including A Heroic Life and The Jesus Trilogy. You will learn: • How to embody the divine self in the world • How to tell when you are identified with the ego • How to spot the ego in your thoughts and conversations • What kind of thoughts are in the thought-stream • How to disidentify from the ego • How to be in your body and senses • How to move into Presence and stay there • How to be present while speaking and acting in the world • Spiritual practices that support Presence • What embodiment, enlightenment, self-realization, and awakening are • Pitfalls on the spiritual path • How to be with emotions • How to be with and heal energetic blocks in the body • How to overcome bad habits and addictions

The texts presented in Proportion Harmonies and Identities (PHI) - INTELLIGENCE, CREATIVITY AND FANTASY were compiled with the intent to establish a multidisciplinary platform for the presentation, interaction and dissemination of research. The aim is also to foster the awareness and discussion on the topics of Harmony and Proportion with a focus on different visions relevant to Architecture, Arts and Humanities, Design, Engineering, Social and Natural Sciences, and their importance and benefits for the sense of both individual and community identity. The idea of modernity has been a significant motor for development since the Western Early Modern Age. Its theoretical and practical foundations have become the working tools of scientists, philosophers, and artists, who seek strategies and policies to accelerate the development process in different contexts.

This book brings together leading international scholars with the aim of exploring ritual perspectives in the study of contemporary religions. It combines significant theoretical and methodological reflections and applies it to four main fields relevant to the study of contemporary religions: indigeneity; new spiritualities and ecology; lived religion (with Islam and Africa as case studies); and finally, religion and embodiment. The structure and content of the book takes its point of departure from the research topics and collegial network of the internationally acclaimed scholar of ritual studies, Professor Anne-Christine Hornborg. The book is dedicated to her.

Noise has become a model of cultural and theoretical thinking over the last two decades. Following Hegarty's influential 2007 book, Noise/Music, Annihilating Noise discusses in sixteen essays how noise offers a way of thinking about critical resistance, disruptive creativity and a complex yet enticing way of understanding the unexpected, the dissonant, the unfamiliar. It presents noise as a negativity with no fixed identity that can only be defined in connection and opposition to meaning and order. This book reaches beyond experimental music and considers noise as an idea and practice within a wide range of frameworks including social, ecological, and philosophical perspectives. It introduces the ways in which the disruptive implications of noise impact our ways of thinking, acting, and organizing in the world, and applies it to 21st-century concerns and today's technological ecology.

This edited collection examines the more-than-representational registers of sound. It asks how sound comes to be a meaningful ingredient in the microgeographies of place-making through the workings of affect, emotion, and atmosphere, how sound contributes to shaping a variety of embodied and spatially situated experiences, and how such aspects can be harnessed methodologically. These topics contribute to broader debates on the relations between representation and the non- or more-than-representational that are taking place across the social sciences and humanities in the wake of the cultural turn. More specifically, the book contributes to the fertile theoretical intersections of sound, affect, emotion, and atmosphere.

This edited collection examines time and its relationship to and impact upon media industries, studying how the media industry views time and makes business and economic decisions based on considerations of time. Contributions from an international set of authors analyze time constraints and competition between different media; the quantity and quality of time spent in media consumption, audience and readership time valuation/costing/pricing; and the emergence of new media businesses around individual time management. Specific topics examined in the volume include: * a philosophical look at the concept of time and its application to media markets; * temporal aspects of media distribution for the media industries, and how time affects their activities; * the impact of increasing media industry consolidation and convergence on managerial effectiveness; * approaches to time by CNN and its various cache of news channels, in a managerial context; * the application of niche theory as a framework to examine competition between the Internet and television; * Internet access in the United Kingdom and Europe, examining the cost of time for online access; * the exchange of time and money in the television market for advertising; and * a summary of research and an agenda for future research on the topic of time's role in the media industry and markets. With its origins in the third World Media Economics conference, held in 2000, Time and Media Markets is a distinctive and important collection appropriate for scholars and advanced students in media management and economics.

Theatre and Aural Attention investigates what it is to attend theatre by means of listening. Focusing on four core aural phenomena in theatre – noise, designed sound, silence, and immersion - George Home-Cook concludes that theatrical listening involves paying attention to atmospheres.

Mics, Cameras, Symbolic Action: Audio-Visual Rhetoric for Writing Teachers begins by placing audio-visual writing within established theoretical frames in rhetoric and composition and moves through a variety of applied pedagogical concerns with the aim of helping writing teachers use audio-visual writing assignments to realize a wide variety of learning goals in their writing classes.