Uncurating Sound performs, across five chapters, a deliberation between art, politics, knowledge and normativity. It foregrounds the perfidy of norms and engages in the curatorial as a colonial knowledge project, whose economy of exploitation draws a straight line from Enlightenment's desire for objectivity, through sugar, cotton and tobacco, via lives lost and money made to the violence of contemporary art. It takes from curation the notion of care and thinks it through purposeful inefficiency as resistance: going sideways and another way. Thus it moves curation through the double negative of not not to "uncuration": untethering knowledge from the expectations of reference and a canonical frame, and reconsidering art as political not in its message or aim, but by the way it confronts the institution. Looking at Kara Walker's work, the book invites the performance of the curatorial via indivisible connections and processes. Reading Kathy Acker and Adrian Piper it speculates on how the body brings us to knowledge beyond the ordinary. Playing Kate Carr and Ellen Fullman it re-examines Modernism's colonial ideology, and materialises the vibrational presence of a plural sense. Listening to Marguerite Humeau and Manon de Boer it avoids theory but agitates a direct knowing from voice and hands, and feet and ears that disorder hegemonic knowledge strands in favour of local, tacit, feminist and contingent knowledges that demand like Zanele Muholi's photographs, an ethical engagement with the work/world.

This is a fresh, bold study of the emerging field of Sound Art, informed by the ideas of Adorno, Merleau Ponty and others. "Listening to Noise and Silence" engages with the emerging practice of sound art and the concurrent development of a discourse and theory of sound. In this original and challenging work, Salome Voegelin immerses the reader in concepts of listening to sound artwork and the everyday acoustic environment, establishing an aesthetics and philosophy of sound and promoting the notion of a sonic sensibility. A multitude of sound works are discussed, by lesser known contemporary artists and composers (for example Curgenven, Gasson and Federer), historical figures in the field (Artaud, Feldman and Cage), and that of contemporary canonic artists such as Janet Cardiff, Bill Fontana, Bernard Parmegiani, and Merzbow. Informed by the ideas of Adorno, Merleau-Ponty and others, the book aims to come to a critique of sound art from its soundings rather than in relation to abstracted themes and pre-existing categories. "Listening to Noise and Silence" broadens the discussion surrounding sound art and opens up the field for others to follow.

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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.

From its use in literary theory, film criticism and the discourse of games design, Salomé Voegelin expands ‘possible world theory’ to think the worlding of sound in music, in art and in the everyday. The modal logic of possible worlds, articulated principally via David K. Lewis and developed through Maurice Merleau-Ponty’s phenomenological life-worlds, creates a view on the invisible slices of the world and reflects on how to make them count, politically and aesthetically. How to make them thinkable and accessible as the possibility of the everyday and of art: to reach a new materialist understanding from the invisible and to develop an ear for the as yet inaudible. This revised edition continues Voegelin’s exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to work by �ine O’Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds’ radical power to rethink normative constructions and to fabulate a different body from its sound: Hearing the Continuum Between Plural Bodies; between humans, humanoid aliens, monsters, vampires, plants, things and anything we have no name for yet but which a sonic philosophy might start to hear and call.

Eric Voegelin, one of today's leading political theorists and author of the contemporary classic "The New Science of Politics," here contends that certain modern movements, including Positivism, Hegelianism, Marxism and the "God is Dead" movement, are variants of the Gnostic tradition of antiquity. He attempts to resolve the intellectual confusion that has resulted from the dominance of gnostic thought by clarifying the distinction between political gnosticism and the philosophy of politics. Highly provocative, this book is essential reading for students of modern politics, philosophy, and religion.

Build confidence for the written and oral assessments with hours of essential grammar practice activities and opportunities to develop writing skills. - Ensure structured language practice through comprehensive coverage of all IB grammar points and in-depth practice of core reading and writing skills based around the main text types. - Provide revision opportunities alongside material for ab initio students in the Transition section. - Effectively teach students at two levels with differentiated activities at Standard and Higher level.

Pierre-Auguste Renoir's "La Loge" (The Theatre Box), 1874, is one of the masterpieces of Impressionism and a major highlight of The Courtauld Gallery's collection. Its depiction of an elegant couple on display in a loge, or box at the theatre, epitomises the Impressionists' interest in the spectacle of modern life. At the heart of the painting is the complex play of gazes enacted by these two figures seated in a theatre box. In turning away from the performance, Renoir focused instead upon the theatre as a social stage where status and relationships were on public display.This book accompanies an exhibition in celebration of The Courtauld Institute of Art's 75th anniversary which unites "La Loge" for the first time with Renoir's other treatments of the subject and with loge paintings by contemporaries, including Mary Cassatt and Edgar Degas. Concentrating on the early years of Impressionism during the 1870s, the book explores how these artists used the loge to capture the excitement and changing nature of fashionable Parisian society. Lavishly produced contemporary journals such as "La Mode Illustree" included fine hand-coloured engravings showing the latest fashions modelled by elegant ladies in theatre boxes. A rich selection of this little-known graphic material from contemporary Parisian journals, as well as caricatures from the popular press, will also be examined.

Between 1933 and 1938, Eric Voegelin published four books that brought him into increasingly open opposition to the Hitler regime in Germany. As a result, he was forced to leave Austria in 1938, narrowly escaping arrest by the Gestapo as he fled to Switzerland and later to the United States. Twenty years later, he was invited to return to Germany as director of the new Institute of Political Science at Ludwig-Maximilian University in Munich.

In 1964, Voegelin gave a series of memorable lectures on what he considered "the central German experiential problem" of his time: Adolf Hitler's rise to power, the reasons for it, and its consequences for post-Nazi Germany. For Voegelin, these issues demanded a scrutiny of the mentality of individual Germans and of the order of German society during and after the Nazi period. "Hitler and the Germans" offers Voegelin's most extensive and detailed critique of the Hitler era.

While most of the lectures deal with what Voegelin called Germany's "descent into the depths" of the moral and spiritual abyss of Nazism and its aftermath, they also point toward a restoration of order. His lecture "The Greatness of Max Weber" shows how Weber, while affected by the culture within which Hitler came to power, had already gone beyond it through his anguished recovery of the experience of transcendence.

"Hitler and the Germans" provides a profound alternative approach to the topic of the individual German's entanglement in the Hitler regime and its continuing implications. This comprehensive critique of the Nazi period has yet to be matched.

The essay is the perfect format for a crisis. Its porous and contingent nature forgives a lack of formality, while its neglect of perfection and virtuosity releases the potential for the incomplete and the unrealizable. These seven essays on The Political Possibility of Sound present a perfectly incomplete form for a discussion on the possibility of the political that includes creativity and invention, and articulates a politics that imagines transformation and the desire to embrace a connected and collaborative world. The themes of these essays emerge from and deepen discussions started in Voegelin's previous books, Listening to Noise and Silence and Sonic Possible Worlds. Continuing the methodological juxtaposition of phenomenology and logic and writing from close sonic encounters each represents a fragment of listening to a variety of sound works, to music, the acoustic environment and to poetry, to hear their possibilities and develop words for what appears impossible. As fragments of writing they respond to ideas on geography and migration, bring into play formless subjectivities and trans-objective identities, and practice collectivity and a sonic cosmopolitanism through the hearing of shared volumes. They involve the unheard and the in-between to contribute to current discussions on new materialism, and perform vertical readings to reach the depth of sound.

In 2012, Thomas Gardner and Salome Voegelin hosted a colloquium, entitled "Music - Sound Art: Historical Continuum and Mimetic Fissures", at the London College of Communication, University of the Arts London. This colloquium dealt with the current fervent debate concerning the relationship between sound art and music. This book proposes the opening of the colloquium to a wider readership through the publication of a decisive range of the material that defined the event.

Philosopher C.S. Morrissey adapts Hesiod's two great works, "Theogony" and "Works and Days," taking into account the poet's essential meditative insights that paved the way for the subsequent achievements of Greek philosophy, most notably of Plato, and thereby gave a distinctive shape to all of Western philosophy. "Theogony" recounts the genesis of the first generations of the Greek gods and recollects how Zeus used both force and persuasion to establish his cosmic reign of justice. "Works and Days" tells the story of the origin and ordination of human beings within this cosmos and their perennial struggle to win order from disorder in a world overwhelmed by harsh sorrows and injustice.

In the wake of personal adversity and suffering, Hesiod was inspired by the Muses to sing out against the untruth of society and to disclose the truth about justice in the cosmos. "Theogony," which won him his laurels in a poetic competition, begins by telling of how the Muses chose him as an individual vessel of inspiration, to be a rival to Homer and the old myths with a newer vision of the struggle for justice among the gods. In "Works and Days," Hesiod includes these autobiographical details within a reflection on the two-fold role of competition in life: "the bad strife" is visible everywhere in the manifold forms of universal disorder, although "the good strife" is part of the struggle to maintain order in the wake of chaos and the primeval void.

These new translations are contextualized with a foreword by distinguished philosopher Roger Scruton and text by the late philosopher and historian Eric Voegelin, who argues the magnitude of Hesiod's influence on Greek philosophy and Western history, and how his sublime contribution to literature has formed a signal bridge between myth and metaphysics.

"Thirty-five years ago few could have predicted that "The New Science of Politics" would be a best-seller by political theory standards. Compressed within the Draconian economy of the six Walgreen lectures is a complete theory of man, society, and history, presented at the most profound and intellectual level. . . . Voegelin's work] stands out in bold relief from much of what has passed under the name of political science in recent decades. . . . The New Science is aptly titled, for Voegelin makes clear at the outset that a 'return to the specific content' of premodern political theory is out of the question. . . . The subtitle of the book, An Introduction, clearly indicates that The New Science of Politics is an invitation to join the search for the recovery of our full humanity."--From the new Foreword by Dante Germino
"This book must be considered one of the most enlightening essays on the character of European politics that has appeared in half a century. . . . This is a book powerful and vivid enough to make agreement or disagreement with even its main thesis relatively unimportant."--"Times Literary Supplement "
"Voegelin . . . is one of the most distinguished interpreters to Americans of the non-liberal streams of European thought. . . . He brings a remarkable breadth of knowledge, and a historical imagination that ranges frequently into brilliant insights and generalizations."--Francis G. Wilson, "American Political Science Review "
"This book is beautifully constructed . . . his erudition constantly brings a startling illumination."--Martin Wright, "International Affairs "
"A ledestar to thinking men who seek a restoration of political science on the classic and Christian basis . . . a significant accomplishment in the retheorization of our age."--Anthony Harrigan, "Christian Century "

The essay is the perfect format for a crisis. Its porous and contingent nature forgives a lack of formality, while its neglect of perfection and virtuosity releases the potential for the incomplete and the unrealizable. These seven essays on The Political Possibility of Sound present a perfectly incomplete form for a discussion on the possibility of the political that includes creativity and invention, and articulates a politics that imagines transformation and the desire to embrace a connected and collaborative world. The themes of these essays emerge from and deepen discussions started in Voegelin's previous books, Listening to Noise and Silence and Sonic Possible Worlds. Continuing the methodological juxtaposition of phenomenology and logic and writing from close sonic encounters each represents a fragment of listening to a variety of sound works, to music, the acoustic environment and to poetry, to hear their possibilities and develop words for what appears impossible. As fragments of writing they respond to ideas on geography and migration, bring into play formless subjectivities and trans-objective identities, and practice collectivity and a sonic cosmopolitanism through the hearing of shared volumes. They involve the unheard and the in-between to contribute to current discussions on new materialism, and perform vertical readings to reach the depth of sound.

Over the course of his varied and distinguished academic life, Eric Voegelin was often called upon by review editors of scholarly journals as well as by editors in the popular press to examine, summarize, and critically assess the work of other scholars, of statesmen, and of men of affairs. The contents of the books Voegelin reviewed mirror his changing interests over the years, including questions of method, points of legal philosophy and jurisprudence, and issues of race, war, and the aftermath of war. Of course, he was frequently called upon as well to review standard texts and new editions and monographs across the full range of political science.

This collection of Voegelin's reviews amounts to a reflection in miniature of many of the problems Voegelin tackled in his essays, articles, and books from the 1920s until the 1950s, when, owing to the press of other business, he began to decline requests to review the work of others. Some of his reviews are little more than clinical summaries; others are analytic essays. A few are extended engagements with a text or a set of problems. Occasionally, particularly among the later reviews originally written in English, one finds flashes of Voegelin's legendary wit and a restrained impatience with the inadequate approaches or sheer incompetence of others. These book reviews will be of interest to all students and scholars of Eric Voegelin's work.

International Journal Of American Linguistics, V3, No. 1, January, 1957, Part 2.

Indiana University Research Center In Anthropology, Folklore, And Linguistics, No. 12.

Prehistory Research Series V1, No. 5, June, 1938.