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The original edition of Beyond and Before extends an understanding
of “progressive rock” by providing a fuller definition of what
progressive rock is, was and can be. Called by Record Collector
“the most accomplished critical overview yet” of progressive
rock and one of their 2011 books of the year, Beyond and Before
moves away from the limited consensus that prog rock is exclusively
English in origin and that it was destroyed by the advent of punk
in 1976. Instead, by tracing its multiple origins and complex
transitions, it argues for the integration of jazz and folk into
progressive rock and the extension of prog in Kate Bush, Radiohead,
Porcupine Tree and many more. This 10-year anniversary revised
edition continues to further unpack definitions of progressive rock
and includes a brand new chapter focusing on post-conceptual trends
in the 2010s through to the contemporary moment. The new edition
discusses the complex creativity of progressive metal and folk in
greater depth, as well as new fusions of genre that move across
global cultures and that rework the extended form and mission of
progressive rock, including in recent pop concept albums. All
chapters are revised to keep the process of rethinking progressive
rock alive and vibrant as a hybrid, open form.
Noise has become a model of cultural and theoretical thinking over
the last two decades. Following Hegarty's influential 2007 book,
Noise/Music, Annihilating Noise discusses in sixteen essays how
noise offers a way of thinking about critical resistance,
disruptive creativity and a complex yet enticing way of
understanding the unexpected, the dissonant, the unfamiliar. It
presents noise as a negativity with no fixed identity that can only
be defined in connection and opposition to meaning and order. This
book reaches beyond experimental music and considers noise as an
idea and practice within a wide range of frameworks including
social, ecological, and philosophical perspectives. It introduces
the ways in which the disruptive implications of noise impact our
ways of thinking, acting, and organizing in the world, and applies
it to 21st-century concerns and today’s technological ecology.
The original edition of Beyond and Before extends an understanding
of “progressive rock” by providing a fuller definition of what
progressive rock is, was and can be. Called by Record Collector
“the most accomplished critical overview yet” of progressive
rock and one of their 2011 books of the year, Beyond and Before
moves away from the limited consensus that prog rock is exclusively
English in origin and that it was destroyed by the advent of punk
in 1976. Instead, by tracing its multiple origins and complex
transitions, it argues for the integration of jazz and folk into
progressive rock and the extension of prog in Kate Bush, Radiohead,
Porcupine Tree and many more. This 10-year anniversary revised
edition continues to further unpack definitions of progressive rock
and includes a brand new chapter focusing on post-conceptual trends
in the 2010s through to the contemporary moment. The new edition
discusses the complex creativity of progressive metal and folk in
greater depth, as well as new fusions of genre that move across
global cultures and that rework the extended form and mission of
progressive rock, including in recent pop concept albums. All
chapters are revised to keep the process of rethinking progressive
rock alive and vibrant as a hybrid, open form.
This is a book about video art, and about sound art. The thesis is
that sound first entered the gallery via the video art of the 1960s
and in so doing, created an unexpected noise. The early part of the
book looks at this formative period and the key figures within it -
then jumps to the mid-1990s, when video art has become such a major
part of contemporary art production, it no longer seems an
autonomous form. Paul Hegarty considers the work of a range of
artists (including Steve McQueen, Christian Marclay, Ryan
Trecartin, and Jane and Louise Wilson), proposing different
theories according to the particular strategy of the artist under
discussion. Connecting them all are the twinned ideas of intermedia
and synaesthesia. Hegarty offers close readings of video works, as
influenced by their sound, while also considering the institutional
and material contexts. Applying contemporary sound theory to the
world of video art, Paul Hegarty offers an entirely fresh
perspective on the interactions between sound, sound art, and the
visual.
Noise permeates our highly mediated and globalised cultures. Noise
as art, music, cultural or digital practice is a way of intervening
so that it can be harnessed for an aesthetic expression not caught
within mainstream styles or distribution.
This wide-ranging book examines the concept and practices of noise,
treating noise not merely as a sonic phenomenon but as an essential
component of all communication and information systems. The book
opens with ideas of what noise is, and then works through ideas of
how noise works in contemporary media, to conclude by showing
potentials within noise for a continuing cultural renovation
through experimentation. Considered in this way, noise is seen as
an essential yet excluded element of contemporary culture that
demands a rigorous engagement. Reverberations brings together a
range of perspectives, case studies, critiques and suggestions as
to how noise can mobilize thought and cultural activity through a
heightening of critical creativity.Written by a strong,
international line-up of scholars and artists, Reverberations looks
to energize this field of study and initiate debates for years to
come.
This is a brilliant new survey of progressive rock, from its roots
through to more contemporary artists who share similar traits
including Sonic Youth and Radiohead. A sleeping new study, "Beyond
and Before" considers the high period of the early to mid-1970s,
where there was widespread acceptance of the 'progressive' approach
of detailed instrumentation, extended tracks and conceptual linkage
and development across albums. Hegarty and Halliwell assess the
roots of progressive rock, arguing convincingly that a fusion of
styles, approaches and genres defined the 1970s period, and the
authors develop tools to assess other, later progressive musics.
Each set of connections are justified and grounded by close textual
readings of musical works, a consideration of their material
presentation, and an examination of performance and cultural
contexts. Through close analysis, the authors show that something
'progressive' underpins many subgenres of rock. Featuring
discussions not just of the obvious subjects and albums, but also
of music by artists as diverse as Kate Bush, Talk Talk, Mars Volta,
Tortoise, Joanna Newsom, Sonic Youth and Radiohead, "Beyond and
Before" is ideal reading for anyone who's interested in exploring
the history and meaning of progressive rock in all its forms.
Jean Baudrillard's work on how contemporary society is dominated by
the mass media has become extraordinarily influential. He is
notorious for arguing that there is no real world, only simulations
which have altered what events mean, and that only violent symbolic
exchange can prevent the world becoming a total simulation. An
ideal introduction to this most singular cultural critic and
philosopher, Jean Baudrillard: live theory offers a comprehensive,
critical account of Baudrillard's unsettling, visionary and often
prescient work. Baudrillard's relation to a range of theorists as
diverse as Nietzsche, Marx, McLuhan, Foucault and Lyotard is
explained, and the impact of his thought on contemporary politics,
popular culture and art is analyzed. Finally, in the new interview
included here, Baudrillard outlines his own position and responds
to his critics.
Noise has become a model of cultural and theoretical thinking over
the last two decades. Following Hegarty's influential 2007 book,
Noise/Music, Annihilating Noise discusses in sixteen essays how
noise offers a way of thinking about critical resistance,
disruptive creativity and a complex yet enticing way of
understanding the unexpected, the dissonant, the unfamiliar. It
presents noise as a negativity with no fixed identity that can only
be defined in connection and opposition to meaning and order. This
book reaches beyond experimental music and considers noise as an
idea and practice within a wide range of frameworks including
social, ecological, and philosophical perspectives. It introduces
the ways in which the disruptive implications of noise impact our
ways of thinking, acting, and organizing in the world, and applies
it to 21st-century concerns and today’s technological ecology.
"Noise/Music" looks at the phenomenon of noise in music, from
experimental music of the early 20th century to the Japanese noise
music and glitch electronica of today. It situates different musics
in their cultural and historical context, and analyses them in
terms of cultural aesthetics. Paul Hegarty argues that noise is a
judgement about sound, that what was noise can become acceptable as
music, and that in many ways the idea of noise is similar to the
idea of the avant-garde. While it provides an excellent historical
overview, the book's main concern is in the noise music that has
emerged since the mid 1970s, whether through industrial music,
punk, free jazz, or the purer noise of someone like Merzbow. The
book progresses seamlessly from discussions of John Cage, Erik
Satie, and Pauline Oliveros through to bands like Throbbing Gristle
and the Boredoms. Sharp and erudite, and underpinned throughout by
the ideas of thinkers like Adorno and Deleuze, "Noise/Music" is the
perfect primer for anyone interested in the louder side of
experimental music.
This is a book about video art, and about sound art. The thesis is
that sound first entered the gallery via the video art of the 1960s
and in so doing, created an unexpected noise. The early part of the
book looks at this formative period and the key figures within it -
then jumps to the mid-1990s, when video art has become such a major
part of contemporary art production, it no longer seems an
autonomous form. Paul Hegarty considers the work of a range of
artists (including Steve McQueen, Christian Marclay, Ryan
Trecartin, and Jane and Louise Wilson), proposing different
theories according to the particular strategy of the artist under
discussion. Connecting them all are the twinned ideas of intermedia
and synaesthesia. Hegarty offers close readings of video works, as
influenced by their sound, while also considering the institutional
and material contexts. Applying contemporary sound theory to the
world of video art, Paul Hegarty offers an entirely fresh
perspective on the interactions between sound, sound art, and the
visual.
The paper in this volume challenge the concept of form and aim to
set out, explore and develop different theories and examples of
'the formless'. In so doing, they raise questions of form, and
notions of formlessness (as distinct from something called 'the
formless'). The starting point for many of the contributors is
Georges Bataille's highly influential article entitled 'informe'
('formless'). Here, in a context where art, philosophy and
anthropology were merging, Bataille tried to question the idea of
formlessness as simply applying to things without form. This book,
through a diversity of articles in various domains, asks how and
why 'the formless' is such a dominant idea from the nineteenth
century onwards and it asks the question: 'what is formless?'
Noise permeates our highly mediated and globalised cultures. Noise
as art, music, cultural or digital practice is a way of intervening
so that it can be harnessed for an aesthetic expression not caught
within mainstream styles or distribution. This wide-ranging book
examines the concept and practices of noise, treating noise not
merely as a sonic phenomenon but as an essential component of all
communication and information systems. The book opens with ideas of
what noise is, and then works through ideas of how noise works in
contemporary media, to conclude by showing potentials within noise
for a continuing cultural renovation through experimentation.
Considered in this way, noise is seen as an essential yet excluded
element of contemporary culture that demands a rigorous engagement.
Reverberations brings together a range of perspectives, case
studies, critiques and suggestions as to how noise can mobilize
thought and cultural activity through a heightening of critical
creativity. Written by a strong, international line-up of scholars
and artists, Reverberations looks to energize this field of study
and initiate debates for years to come.
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