An inspired application of Possible World theory to approach and interpret the acoustic environment, music and sound art.

From its use in literary theory, film criticism and the discourse of games design, Salomé Voegelin expands 'possible world theory' to think the worlding of sound in music, in art and in the everyday. The modal logic of possible worlds, articulated principally via David K. Lewis and developed through Maurice Merleau-Ponty's phenomenological life-worlds, creates a view on the invisible slices of the world and reflects on how to make them count, politically and aesthetically. How to make them thinkable and accessible as the possibility of the everyday and of art: to reach a new materialist understanding from the invisible and to develop an ear for the as yet inaudible. This revised edition continues Voegelin's exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to work by Áine O'Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds' radical power to rethink normative constructions and to fabulate a different body from its sound: Hearing the Continuum Between Plural Bodies; between humans, humanoid aliens, monsters, vampires, plants, things and anything we have no name for yet but which a sonic philosophy might start to hear and call.

From its use in literary theory, film criticism and the discourse of games design, Salomé Voegelin expands 'possible world theory' to think the worlding of sound in music, in art and in the everyday. The modal logic of possible worlds, articulated principally via David K. Lewis and developed through Maurice Merleau-Ponty's phenomenological life-worlds, creates a view on the invisible slices of the world and reflects on how to make them count, politically and aesthetically. How to make them thinkable and accessible as the possibility of the everyday and of art: to reach a new materialist understanding from the invisible and to develop an ear for the as yet inaudible. This revised edition continues Voegelin's exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to work by Áine O'Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds' radical power to rethink normative constructions and to fabulate a different body from its sound: Hearing the Continuum Between Plural Bodies; between humans, humanoid aliens, monsters, vampires, plants, things and anything we have no name for yet but which a sonic philosophy might start to hear and call.

Virtual reality (VR) has become a revolutionary technology allowing users to experience nearly unlimited computer-generated realities--exercising a strong hold on the popular imagination, attracting hundreds of researchers, and spawning a booming industry. "Possible Worlds" provides a sociological and historical account of the genesis of VR and how it has shaped social life. The book also relates VR to more general issues in the study and effects of the new communications media, advanced research and development, the education and entertainment industries, and finally to youth culture and cultural expression.

Paul Steenhuisen, in conversation with composers, offers readers insight into the creative process, and ways of listening and entering into works of new music. Steenhuisen, himself a composer of merit, talks one on one with thirty-two of his contemporaries--twenty-six of whom are Canadian--with a colleague's candour, sympathy, and expertise.

Using classical violin music as her principal laboratory, the author examines how a performance incorporates distinctive features, not only of the work but of the performer as well - and how the listener goes about interpreting the performers and listener's identity as well.

Bringing together an international collection of experts, this work explores various philosophical issues surrounding modern music recordings. With perspectives from practicing musicians, musicologists, sound artists, and recordings engineers, this reference asks how theoretical issues related to their work relate to the context of making and using recordings. Additional questions asked by this study include "What kind of spatiality is generated through recordings, and by what means? What is the nature of recorded space ? Do recordings reflect musical reality or create one?" and "What are the philosophical bases of an ethics of recording?""