Spatial Composition
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Postcomposition
Leading a burgeoning self-critical moment in composition studies and writing program administration, Postcomposition is a fundamental reconsideration of the field that attempts to shift the focus away from pedagogy and writing subjects and toward writing itself. In this forceful and reasoned critique of many of the primary tenets and widely accepted institutional structures of composition studies, Sidney I. Dobrin delivers a series of shocks to the system meant to disrupt the pedagogical imperative and move beyond the existing limits of the discipline. Dobrin evaluates the current state of composition studies, underscoring the difference between composition and writing and arguing that the field's focus on the administration of writing students and its historically imposed prohibition on theory greatly limit what can be understood about writing. Instead he envisions a more significant approach to writing, one that questions the field's conservative allegiance to subject and administration and reconsiders writing as spatial and ecological. Using concepts from ecocomposition, spatial theory, network theory, complexity theory, and systems theory, Postcomposition lays the groundwork for a networked theory of writing, and advocates the abandonment of administration as a useful part of the field. He also challenges the usefulness of rhetoric in writing studies, showing how writing exceeds rhetoric. Postcomposition is a detailed consideration of how posthumanism affects the field's understanding of subjectivity. It also tears at the seams of the "contingent labor problem." As he articulates his own frustrations with the conservatism of composition studies and builds on previous critiques of the discipline, Dobrin stages a courageous-and inevitably polemical-intellectual challenge to the entrenched ideas and assumptions that have defined composition studies.
Chinese Spatial Strategies
Chinese Spatial Strategies presents a study of social spaces of the capital of Ming Qing China (1420-1911). Focusing on early Ming and early and middle Qing, it explores architectural, urban and geographical space of Beijing, in relation to issues of history, geopolitics, urban social structure, imperial rule and authority, symbolism, and aesthetic and existential experience. At once historical and theoretical, the work argues that there is a Chinese approach to spatial disposition which is strategic and holistic.
Kompositionen für hörbaren Raum / Compositions for Audible Space
The integration of audible space is a central aspect of electroacoustic music. Ever since the earliest analogue days of electroacoustic music, pioneers of the genre – including Pierre Schaeffer, Iannis Xenakis, Karlheinz Stockhausen, and Luigi Nono – used special devices and methods for their compositions and refined the possibilities of integrating the sound of space into music. In this anthology, analytical portraits of compositions and groups of compositions show the wide spectrum of spatial practices in early electroacoustic music. Additionally, retrospective views on the use of spatial composition in earlier epochs and in instrumental music of the 20th century portray the practice of spatial composition in different eras and genres, as well as the universality of spatial music as a topic. In this way the book contributes to a more differentiated understanding of the term »spatial music«. Die Integration des hörbaren Raums ist ein zentraler Aspekt der elektroakustischen Musik. Schon auf Basis der Analogtechnik entstanden spezielle Geräte und Verfahren, die Pioniere des Genres wie Pierre Schaeffer, Iannis Xenakis, Karlheinz Stockhausen oder Luigi Nono für ihre Vorstellungen von Raummusik heranzogen und weiter entwickelten. In diesem Band, der englisch- und deutschsprachige Beiträge gleichermaßen versammelt, zeigen analytische Portraits einzelner Kompositionen oder Kompositionsgruppen das breite Spektrum spatialer Praktiken in der frühen elektroakustischen Musik. Geschichtliche Rückblicke auf spatiale Kompositionsweisen früherer Epochen bis hin zur instrumentalen Musik des 20. Jahrhunderts stellen den epochen- und genrespezifischen Umgang mit Raum dar und belegen nicht nur die Universalität des Themas Raummusik, sondern leisten auch einen Beitrag zu deren begrifflicher Differenzierung.