FROM JAPANESE RITUAL TO POLISH HISTORY to Canadian soundscape composition, this collection maps the fascinating relationship between environmental sound and cultural imagination. Over twenty-five years ago, renowned Canadian composer R. Murray Schafer pioneered the study of sound in the environment through his World Soundscape Project. Today, acoustic ecologists are active globally; their concerns range from noise pollution to the preservation of unique sound environments. In Sonic Geography Imagined and Remembered, sound artists, designers, and scholars from eight countries offer a wide range of perspectives on the place of sound in our world and on how our place in the world is articulated through sound.
Sonic Geography Imagined and Remembered explores a world of sound experiences drawn from everyday life. These evocative essays reflect the passionate concern that acoustic ecologists have for the rich diversity of sonic environments. Featuring essays by Helmi Järviluoma, Brígido Galván, Nigel Frayne, Keiko Torigoe, Doug Harvey, Bart Plantenga, Lidia Zielinska, John Wynne, Gayle Young, and Hildegard Westerkamp.

Book (144 pages).

#C134; € 32 / dkk 240,-

This book is the first major anthology of Australian sound sculpture, and lays the groundwork not only for a comprehensive understanding of the particular aspects of sound culture in Australia, but for a more thorough consideration of what is at stake in sound sculpture as an art form. Includes documentation of works by many artists, including Chris Mann, Alan Lamb, Nigel Helyer, Sam Mallet, Jonathan Lawrence, Paul Carter, Derek Kreckler, and Michael Graeve. With an accompanying CD with recordings from many of the projects.

Book ( hardcover, 192 pages) with CD.

#C120; € 40/ dkk 300,-

Art making and criticism have focused mainly on the visual media. This book, which originally appeared as a special issue of TDR/The Drama Review, explores the myriad aesthetic, cultural, and experimental possibilities of radiophony and sound art. Taking the approach that there is no single entity that constitutes "radio," but rather a multitude of radios, the essays explore various aspects of its apparatus, practice, forms, and utopias. The approaches include historical, political, popular cultural, archeological, semiotic, and feminist. Topics include the formal properties of radiophony, the disembodiment of the radiophonic voice, aesthetic implications of psychopathology, gender differences in broadcast musical voices and in narrative radio, erotic fantasy, and radio as an electronic memento mori. The book includes a new piece by Allen Weiss on the origins of sound recording.
Contributors also include:
John Corbett, Tony Dove, Ren Farabet, Richard Foreman, Rev. Dwight Frizzell, Mary Louise Hill, G. X. Jupitter-Larsen, Douglas Kahn, Terri Kapsalis, Alexandra L. M. Keller, Brandon LaBelle, Lou Mallozzi, Jay Mandeville, Christof Migone, Joe Milutis, Kaye Mortley, Mark S. Roberts, Susan Stone, Allen S. Weiss, Gregory Whitehead, David Williams, Ellen Zweig.

Book (160 pages).

#C119; € 26/ dkk 195,-

The Audible Past explores the cultural origins of sound reproduction. It describes a distinctive sound culture that gave birth to the sound recording and transmission devices so ubiquitous in modern life. With an ear for the unexpected, scholar and musician Jonathan Sterne uses the technological and cultural precursors of telephony, phonography, and radio as an entry point into a history of sound in its own right. Sterne studies the constantly shifting boundary between phenomena organized as "sound" and "not sound." In The Audible Past, this history crisscrosses the liminal regions between bodies and machines, originals and copies, nature and culture, and life and death.
Blending cultural studies and the history of communication technology, Sterne follows modern sound technologies back through a historical labyrinth. Along the way, he encounters capitalists and inventors, musicians and philosophers, embalmers and grave-robbers, doctors and patients, Deaf children and their teachers, professionals and hobbyists, folklorists and tribal singers. The Audible Past tracks the connections between the history of sound and the defining features of modernity: from developments in medicine, physics, and philosophy to the tumultuous shifts of industrial capitalism, colonialism, urbanization, modern technology, and the rise of a new middle class.
A provocative history of sound, The Audible Past challenges theoretical commonplaces such as the philosophical privilege of the speaking subject, the visual bias in theories of modernity, and static descriptions of nature.

Book (450 pages).

#C118; € 29 / dkk 220,-

Exhibition catalogue from a retrospective shown at Los Angeles Contemporary Exhibition, 2002. Containing articles by Irene Tsatsos, Barry Schwabsky, Peter Clothier, and an interview with the artist by Brandon LaBelle. In addition, the catalogue contains a signed CD of works by the artist. A wonderful insight into this LA-based artist whose sound art precedes much work of today.

Book (50 pages) with CD.

#C046; € 19 / dkk 143,-

Until recently, radio has been a relatively unexplored aspect of artistic practices; this book asks why. From philosophical, historical and cultural analyses to poetic writings by artists, this unique reference explores radio culture and the unusual range of activity possible when contemporary artists use radio as their medium. Radio will never sound the same again. With essays and contributions by Dan Lander, Jody Berland, Hank Bull, Patric Ready, Friedrich Kittler, Hildegard Westerkamp, Douglas Kahn, Christof Migone, Heidi Grundmann, Rober Racine, Gregory Whitehead, Paul Levine, Frances Dyson, Tim Westbury, Kim Sawchuk, Coco Fusco, Guillermo Gómez-Pena, Carol Laing, Paul Wong, Richard Kriesche, Tetsuo Kogawa, Rob Kozinuk, and Margaretta D'Arcy. Essential reading.

Book (335 pages).

#C094; € 22 / dkk 165,-

This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it--to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries. Focusing on Europe in the first half of the century and the United States in the postwar years, Douglas Kahn explores aural activities in literature, music, visual arts, theater, and film. Placing aurality at the center of the history of the arts, he revisits key artistic questions, listening to the sounds that drown out the politics and poetics that generated them. Artists discussed include Antonin Artaud, George Brecht, William Burroughs, John Cage, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.

Book (358 page).

#C089; € 29 / dkk 220,-

Wireless Imagination addresses perhaps the most conspicuous silence in contemporary theory and art criticism, the silence that surrounds the polyphonous histories of audio art. Composed of both original essays and several newly translated documents, this book provides a close audition to some of the most telling and soundful moments in the "deaf century," conceived and performed by such artists as Raymond Roussel, Antonin Artaud, Marcel Duchamp, Andre Breton, John Cage, Hugo Ball, Kurt Weill, and William Burroughs. Articles by Douglas Kahn, Charles Grivel, Craig Adcock, Christopher Schiff, Mel Gordon, Gregory Whitehead, Allen S. Weiss, Mark E. Cory, Frances Dyson, Robin Lydenberg, with original works by Antonin Artaud, Alberto Savinio, F. T. Marinetti, and others.

Book (450 pages).

#C090; € 29 / dkk 220,-

With this book, Martin brings together two widely different and seemingly incompatible fields, introducing developments in contemporary architectural and musical circles. The author focuses on the work of composer John Cage, with whom she corresponded at length, and her study brings together ten projects by musicians and architects that explore the language, philosophy and character of both disciplines. Contains analytical drawings, diagrams, and models of the translation of minimalist music theory into built form. Case studies include buildings by architects Bernhard Leitner, Ellen Fullman, Maryanne Amacher, Neil Denari, Steven Holl, and Mangurian + Ray. Most of the architects mentioned are sound-space artists. The experience of hearing not only enables us to experience the space around us, it can also make it possible to experience physical space as an "inner" space. In other part of the book Martin details the Vitruvius Program, a five week experimental workshop for school children in which they will explore spatial ideas of sound, noise, acoustics, melody, and harmony, and construction techniques found in the design of musical instruments. With this program they use an animation software that conveys the information about pitch, timing, and instrumentation in traditional musical notation in a way that can be grasped without musical training.

Book (78 pages).

#C091; € 16,20 / dkk 122,-

The Soundscape widens the sense of what music can be, including acoustic design as well as activism to protect the fragile soundscapes of our increasingly noisy Earth. The single most essential volume in this field. Schafer contends that we suffer from an overabundance of acoustic information and explores ways to restore our ability to hear the nuances of sounds around us. The book that introduced the concept of the soundscape. In it, Shafer traces the changing nature of our human soundscapes, listening to ancient myths, the sounds of animals, and the ever more dominant sounds of humanity. Brief auditory "glances" in the many directions build on one another to gradually construct a new and far more awareness of the ways we hear and express oursleves sonically. Schafer has long been the leading voice for a more conscious approach to the relationships between human actions and the soundscapes we live within; this book is the best introduction to his thinking of this sonic visionary.

Book (300 pages).

#C092; € 17,60 / dkk 132,-

Aural history, and the field of auditory studies, is a developing field. This collection of articles from an array of authors and fields, offers an interesting cross-section on the topic of audible history. Chapters with titles such as Soundscapes and Earwitnesses, Hearing Renaissance England, Listening to Souther Slavery, Sound and the Self, and American Noise, 190-1930 impart its approach and subject matter. As one author notes, the acclamation "God save the queen Elisabeth" directed to the English Queen Elisabeth I by groups of petitioners waiting to see her signified her as the "chief soundmark" indicting the structure and procedures of the court. As expected, music sheds much light on particular historical eras; but less expected, so do audience reactions at plays and other public activities, sounds of battle, and street noise. A few of the chapters deal with technical matters such as recordings preserving the aural record of a time, or its history as oral history in the case of some aboriginal groups. Insightful articles by some of the leading figures in auditory studies, including Steven Connor, Douglas Kahn, Emiy Thompson, Jacques Attali, Alain Corbin, R. Murray Schafer, Hillel Schwartz, and Jonathan Sterne, among others.

Book (413 pages).

#C093; € 29 / dkk 220,-

Accompanying publication for the Six Sites of Sound project in London, summer 2005. Organized by Dosensos, Six Sites presented installations at three galleries in the east end of London, by Michael J. Schumacher, Jem Finer and Keiko Uenishi, along with a performance event at Tate Britain. To create a further space, this publication was designed as both catalogue and extended dialogue on issues pertaining to sound art. Including articles by Brandon LaBelle, Mathias Gmachl (farmersmanual), Elisabeth Penker, Thibaut de Ruyter, John Wynne, and Daniela Cascella, and a CD with works by Douglas Henderson, Michael J. Schumacher, farmersmanual, o.blaat, CM von Hausswolff, and Brandon LaBelle.

Book (80 pages) with CD.

#C117; € 9 / dkk 68,-

This second edition is an ethnographic study of sound as a cultural system, that is, a system of symbols, among the Kaluli people of Papua new Guinea. It shows how an analysis of modes and codes of sound communication leads to an understanding of life in Kaluli society. By analyzing the form and performance of weeping, poetics, and song in relation to the Kaluli natural and spiritual world, Feld reveals Kaluli sound expressions as embodiments of deeply felt sentiments.

Book (296 pages).

#C115; € 29 / dkk 220,-

Behind the familiar surfaces of the telephone, radio, and television lies a sophisticated and intriguing body of knowledge known as information theory. This is the theory that has permitted the rapid development of all sorts of communication, from color television to the clear transmission of photographs from the vicinity of Jupiter. Second (1980) edition of the original 1961 version. Covers encoding and binary digits, entropy, language and meaning, efficient encoding and the noisy channel, and explores ways in which information theory relates to physics, cybernetics, psychology and art.

Book (305 pages).

#C116; € 24 / dkk 180,-