Silent In The Age Of Noise
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Silence
What is silence? Where can it be found? Why is it now more important than ever? In 1993, Norwegian explorer Erling Kagge spent fifty days walking solo across Antarctica, becoming the first person to reach the South Pole alone, accompanied only by a radio whose batteries he had removed before setting out. In this book. an astonishing and transformative meditation, Kagge explores the silence around us, the silence within us, and the silence we must create. By recounting his own experiences and discussing the observations of poets, artists, and explorers, Kagge shows us why silence is essential to sanity and happiness—and how it can open doors to wonder and gratitude. (With full-color photographs throughout.)
Walking
A lyrical account of an activity that is essential for our sanity, equilibrium, and well-being, from the author of Silence ("A book to be handled and savored." —The Wall Street Journal) Placing one foot in front of the other, embarking on the journey of discovery, and experiencing the joy of exploration—these activities are intrinsic to our nature. Our ancestors traveled long distances on foot, gaining new experiences and learning from them. But as universal as walking is, each of us will experience it differently. For Erling Kagge, it is the gateway to the questions that fascinate him—Why do we walk? Where do we walk from? What is our destination?—and in this book he invites us to investigate them along with him. Language reflects the idea that life is one single walk; the word "journey" comes from the distance we travel in the course of a day. Walking for Kagge is a natural accompaniment to creativity: the occasion for the unspoken dialogue of thinking. Walking is also the antidote to the speed at which we conduct our lives, to our insistence on rushing, on doing everything in a precipitous manner—walking is among the most radical things we can do.
Loading the Silence: Australian Sound Art in the Post-Digital Age
The experimentalist phenomenon of 'noise' as constituting 'art' in much twentieth-century music (paradoxically) reached its zenith in Cage’s (’silent’ piece) 4’33 . But much post-1970s musical endeavour with an experimentalist telos, collectively known as 'sound art', has displayed a postmodern need to ’load’ modernism’s ’degree zero’. After contextualizing experimentalism from its inception in the early twentieth century, Dr Linda Kouvaras’s Loading the Silence: Australian Sound Art in the Post-Digital Age explores the ways in which selected sound art works demonstrate creatively how sound is embedded within local, national, gendered and historical environments. Taking Australian music as its primary - but not sole - focus, the book not only covers discussions of technological advancement, but also engages with aesthetic standpoints, through numerous interviews, theoretical developments, analysis and cultural milieux for a contemporary Australian, and wider postmodern, context. Developing new methodologies for synergies between musicology and cultural studies, the book uncovers a new post-postmodern aesthetic trajectory, which Kouvaras locates as developing over the past two decades - the altermodern. Australian sound art is here put firmly on the map of international debates about contemporary music, providing a standard reference and valuable resource for practitioners in the artform, music critics, scholars and educators.