In Soundworks Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958–1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially. Soundwork is Reed’s term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes’s collaboration with Charles Mingus, Amiri Baraka’s work with the New York Art Quartet, Jayne Cortez’s albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes.

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

The first systematic, comprehensive and critical English-language study of radio in China, this book documents a historical understanding of Chinese radio from the early twentieth century to the present. Covering both public matters and private lives, Radio and Social Transformation in China analyses a range of themes from healthcare, migration and education, to intimacy, family and friendship. Through a concentrated and thorough scrutiny of a variety of new genres and radio practices in post-Mao China, it also investigates the interaction between radio and social change, particularly in the era of economic reform. Building on the core theoretical concept of ‘compressed modernity’, each of the radio genres explored is shown to embody China’s efforts to achieve modernity, while simultaneously exemplifying radio’s capacity to manage the challenges that have arisen from the country’s distinctive and perhaps unique process of modernization. Written in an engaging style, this book makes an important contribution to radio history internationally. As such, it will be of great interest to students and scholars of broadcast media, radio and Communication Studies, as well as Chinese culture and society.