Inspired by its use in literary theory, film criticism and the
discourse of games design, Salome Voegelin's illuminating new book
adapts and develops possible world theory in relation to sound.
David K Lewis' Possible World is juxtaposed with Maurice
Merleau-Ponty's life-world, to produce a meeting of the semantic
and the phenomenological at the place of listening. The central
tenet of this book is that at present traditional musical
compositions and contemporary sonic outputs are approached and
investigated through separate and distinct critical languages and
histories. As a consequence, no continuous and comparative study of
the field is possible. In Sonic Possible Worlds, Voegelin proposes
a new analytical framework that can access and investigate works
across genres and times, enabling a comparative engagement where
composers such as Henry Purcell and Nadia Boulanger encounter sound
art works by Shilpa Gupta and Christina Kubisch and where the
soundscape compositions of Chris Watson and Francisco Lopez resound
in the visual worlds of Louise Bourgeois.
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