Noise Noise Noise
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Advanced Aircraft Flight Performance
Author: Antonio Filippone
language: en
Publisher: Cambridge University Press
Release Date: 2012-12-17
This unique book deals with the aeroplane at several levels and aims to simulate its flight performance using computer software.
Noise Thinks the Anthropocene
In an increasingly technologized and connected world, it seems as if noise must be increasing. Noise, however, is a complicated term with a complicated history. Noise can be traced through structures of power, theories of knowledge, communication, and scientific practice, as well as through questions of art, sound, and music. Thus, rather than assume that it must be increasing, this work has focused on better understanding the various ways that noise is defined, what that noise can do, and how we can use noise as a strategically political tactic. Noise Thinks the Anthropocene is a textual experiment in noise poetics that uses the growing body of research into noise as source material. It is an experiment in that it results from indeterminate means, alternative grammar, and experimental thinking. The outcome was not predetermined. It uses noise to explain, elucidate, and evoke (akin to other poetic forms) within the textual milieu in a manner that seeks to be less determinate and more improvisational than conventional writing. Noise Thinks the Anthropocene argues that noise poetics is a necessary form for addressing political inequality, coexistence with the (nonhuman) other, the ecological crisis, and sustainability because it approaches these issues as a system of interconnected fragments and excesses and thus has the potential to reach or envision solutions in novel ways.
Theatre Noise
Author: Lynne Kendrick
language: en
Publisher: Cambridge Scholars Publishing
Release Date: 2012-01-24
This book is a timely contribution to the emerging field of the aurality of theatre and looks in particular at the interrogation and problematisation of theatre sound(s). Both approaches are represented in the idea of ‘noise’ which we understand both as a concrete sonic entity and a metaphor or theoretical (sometimes even ideological) thrust. Theatre provides a unique habitat for noise. It is a place where friction can be thematised, explored playfully, even indulged in: friction between signal and receiver, between sound and meaning, between eye and ear, between silence and utterance, between hearing and listening. In an aesthetic world dominated by aesthetic redundancy and ‘aerodynamic’ signs, theatre noise recalls the aesthetic and political power of the grain of performance. ‘Theatre noise’ is a new term which captures a contemporary, agitatory acoustic aesthetic. It expresses the innate theatricality of sound design and performance, articulates the reach of auditory spaces, the art of vocality, the complexity of acts of audience, the political in produced noises. Indeed, one of the key contentions of this book is that noise, in most cases, is to be understood as a plural, as a composite of different noises, as layers or waves of noises. Facing a plethora of possible noises in performance and theatre we sought to collocate a wide range of notions of and approaches to ‘noise’ in this book – by no means an exhaustive list of possible readings and understandings, but a starting point from which scholarship, like sound, could travel in many directions.