The groundbreaking mix CD that accompanies this book features Nam Jun Paik, the Dada Movement, John Cage, Sonic Youth, and many other examples of avant-garde music. Most of the CD's content comes from the archives of Sub Rosa, a legendary record label that has been the benchmark for archival sounds since the beginnings of electronic music. (For a complete list of audio credits, see below.)
If Rhythm Science was about the flow of things, Sound Unbound is about the remix—how music, art, and literature have blurred the lines between what an artist can do and what a composer can create. In Sound Unbound, Rhythm Science author Paul Miller aka DJ Spooky that Subliminal Kid asks artists to describe their work and compositional strategies in their own words. These are reports from the front lines on the role of sound and digital media in an information-based society. The topics are as diverse as the contributors: composer Steve Reich offers a memoir of his life with technology, from tape loops to video opera; Miller himself considers sampling and civilization; novelist Jonathan Lethem writes about appropriation and plagiarism; science fiction writer Bruce Sterling looks at dead media; Ron Eglash examines racial signifiers in electrical engineering; media activist Naeem Mohaiemen explores the influence of Islam on hip hop; rapper Chuck D contributes "Three Pieces"; musician Brian Eno explores the sound and history of bells; Hans Ulrich Obrist and Philippe Parreno interview composer-conductor Pierre Boulez; and much more. "Press 'play,'" Miller writes, "and this anthology says 'here goes.'"
Contributors : David Allenby, Pierre Boulez, Catherine Corman, Chuck D, Erik Davis, Scott De Lahunta, Manuel DeLanda, Cory Doctorow, Eveline Domnitch, Frances Dyson, Ron Eglash, Brian Eno, Dmitry Gelfand, Dick Hebdige, Lee Hirsch, Vijay Iyer, Ken Jordan, Douglas Kahn, Daphne Keller, Beryl Korot, Jaron Lanier, Joseph Lanza, Jonathan Lethem, Carlo McCormick, Paul D. Miller aka DJ Spooky that Subliminal Kid, Moby, Naeem Mohaiemen, Alondra Nelson, Keith and Mendi Obadike, Hans Ulrich Obrist, Pauline Oliveros, Philippe Parreno, Ibrahim Quraishi, Steve Reich, Simon Reynolds, Scanner aka Robin Rimbaud, Nadine Robinson, Daniel Bernard Roumain (DBR), Alex Steinweiss, Bruce Sterling, Lucy Walker, Saul Williams, Jeff E. Winner.
On the CD :
RadioMentale and Matthew Herbert, "Cool Noises" Martyn Bates/Allen Ginsberg, "Once Loved/A Footnote to 'Howl' (DJ Spooky Remix)" Jean Cocteau, "Le buste (DJ Spooky Remix)" Sun Ra, "Imagination" Mikhail/Gertrude Stein, "Untitled in CoF Minor/A Valentine to Sherwood Anderson (DJ Spooky Remix)" DJ Spooky vs. Rob Swift, "Scratch Battle" Marcel Duchamp/The Master Musicians of Joujouka/RadioMentale, "The Creative Act/Interview with George Heard Hamilton/Boujeloud (Solo Drums)/I Could Never Make That Music Again" Raymond Scott, "The Paperwork Explosion" Alter Echo/Pamela Z, "Perpetual Next/Pop Titles 'You'"* Liam Gillick/ RadioMentale and Aphex Twin, "Sarah (Los Angeles Soundtrack)/I Could Never Make That Music Again" James Joyce/Erik Satie, "Eolian Episode/Gnossiene (DJ Spooky Dub Version)" Steve Reich, "Reed Phase" Shukar/RadioMentale/Raoul Hausmann, "Cika-Laka/Cool Noises/Bbb" Augustos de Campos/Bill Laswell/To Rococo Rot, "Dias Dias Dias (Spoken by Caetano Veloso)/Above the Earth/Contacte" John Cage, "Rozart Mix" Antonin Artaud, "Pour Finir avec le Jugement de Dieu (To Have Done with God's Judgment) (DJ Spooky Remix)" DJ Spooky, "One Laptop Theme" Susan Deyhim, "The Spilled Cup (DJ Spooky Remix)" Raymond Scott, "General Motors: Futurama (Interstitial)" Marcel Duchamp/George Lewis and Aki Takase, "Erratum Musical (Score for Three Voices)/Voyage for Three" Bill Laswell/René Magritte, "Ghost Dub/Le Surréalisme et les Questions" Anthony Braxton and Evan Parker/Pauline Oliveros, "The First Set— Area 4 (Solo)/A Little Noise in the System (Moog System)" Bora Yoon, "// (DJ Spooky Remix)" Pierre Schaeffer, "Cinqétudes de bruits: Étude violette" Daniel Bernard Roumain and Ryuichi Sakamoto, "The Need to Be"** Phillip Glass, "Music in Fifths" Edgard Varèse, "Poème électronique" Iannis Xenakis, "Concret PH" Ryoji Ikeda, "One Minute" Sonic Youth, "Audience (DJ Spooky Remix)" Alter Echo/Ge-te Do-pe, "Aftermath of Creations Dub (in Three Parts)/Dong Lim" Terry Riley/Alter Echo, "Dorian Reeds/Aftermath of Creations Dub (in Three Parts)" Luigi Russolo/DJ Spooky, "Corale/FTP > Bundle/Conduit 23" Fanfare Savale/Vladimir Mayakovsky, "Rumba Lu Georgel/I Know the Power of Words" Droma/Trilok Gurtu and Bill Laswell, "Pilgrim's Song (Trala Shepa)/Kala" Nam Jun Paik, "Hommage à John Cage" Morton Subotnick/DJ Spooky, "Mandolin/Acid Bassline" The Master Musicians of Joujouka/Hans Arp, "Mali Mal Hal M'Halmaz/Boujeloud (Solo Drums)/Dada-Sprüche" Sub Swara/Kurt Schwitters, "Koli Stance/Anna Blume" Walter Ruttmann/Troupe from Taschingang, "Week End/Ache Lhamo" Raymond Scott, "Bendix 1: The Tomorrow People" Martyn Bates/Trinlem, "I Can't Look for You/The Palaces of Gesar's Family (DJ Spooky Remix)" Otto Luening and Vladimir Ussachevsky, "Incantation for Tape" Carsten Nicolai, "Time ... Dot(3)" William S. Burroughs and Iggy Pop with Techno Animal, "The Western Land"
*From Pamela Z's A Delay Is Better CD released by Starkland (www.starkland.com).
**"The Need to Be" is from DBR's album etudes4violin&electronix released on Thirsty Ear Recordings.
Special thanks for Editorial Assistance to Roy Christopher.
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《Sound Unbound》这本书,就像一位经验丰富的向导,带领我踏上了一段发掘声音潜力的非凡旅程。我一直对声音充满好奇,但这本书将我的好奇心引向了更深、更广的领域。我特别着迷于书中关于声音的“情感语言”的论述,它不仅仅是描述声音的物理属性,更深入地探讨了声音如何直接触及我们的情绪,如何唤醒我们内心深处的记忆,以及如何在不知不觉中影响我们的决策。例如,书中对特定频率声音如何引发焦虑感,或者特定音调的音乐如何带来平静感的科学解释,让我对日常生活中接触到的各种声音有了全新的认识。作者的叙事风格非常吸引人,他能够将枯燥的科学概念,通过生动的故事和鲜活的案例巧妙地串联起来,让我在阅读过程中仿佛置身于一个声音的万花筒之中,不断发现新的惊喜。我印象深刻的是,书中对声音在不同文化中的象征意义和应用方式的比较,这让我看到了声音作为一种普世语言,其丰富的文化内涵。这本书的阅读体验是多维度的,它不仅增长了我的知识,更重要的是,它改变了我聆听世界的方式,让我更加敏锐地捕捉声音的细微之处,并从中获得更深刻的体悟。
评分这本书简直是打开了我对声音理解的大门!在读《Sound Unbound》之前,我对声音的认知仅限于“听到”,最多也就是形容一下它的响度或者音色。但这本书,它让我意识到声音远不止于此。作者以一种极其引人入胜的方式,从物理学的基本原理出发,逐步深入到声音的感知、情绪的影响,甚至是它在艺术创作中的强大力量。我特别喜欢其中关于声学幻象的部分,那些通过巧妙设计就能欺骗我们耳朵的例子,简直让我惊叹不已。它不仅仅是枯燥的科学知识堆砌,而是用生动形象的语言和丰富的案例,将复杂的概念变得通俗易懂。例如,书中对巴洛克时期音乐如何利用建筑声学来营造沉浸式体验的分析,让我第一次真正理解了教堂管风琴的宏伟与圣洁感并非仅仅来自音符本身,而是与空间的回响紧密相连。再比如,关于声音在电影中的运用,如何通过背景音效、配乐来引导观众的情绪,甚至塑造角色的性格,这些细节以前我完全没有在意过。这本书让我开始留意生活中每一个细微的声音,并思考它们背后蕴含的意义。它让我重新审视那些曾经被我忽略的声景,仿佛整个世界都因为这本书而变得更加立体、更加丰富。读完这本书,我感觉自己不再是被动地接收声音,而是能够主动地去聆听、去感受、去解读。
评分《Sound Unbound》这本书,与其说是一本书,不如说是一场关于声音的沉浸式体验。它不仅仅传递知识,更重要的是它激发了我对于声音的无限好奇心。我发现自己开始有意无意地去捕捉生活中的声音细节,那些曾经被我视为背景噪音的东西,现在在我耳中仿佛有了生命。例如,书中对不同材质反射声音特性的描述,让我走在路上,会下意识地去感受不同建筑墙壁给我的听觉带来的细微差别。对声音在心理学上的影响,特别是它如何唤起我们的记忆和情感,这部分内容让我恍然大悟,为什么某些旋律能轻易触动我内心深处的情感,又为什么某些特定的环境声音能立刻将我带回某个时刻。作者的笔触时而严谨,时而又充满诗意,将科学与艺术完美地融合在一起。我尤其喜欢书中关于声音作为叙事工具的讨论,无论是戏剧、电影还是文学作品,声音如何被用来构建氛围、揭示人物内心,这些都让我看到了声音在艺术创作中不可替代的价值。这本书不是那种读完就丢在一边的书,它更像是一个种子,在我心中种下了对声音的持续探索和思考。它让我开始质疑那些习以为常的听觉经验,并渴望去发现声音的更多可能性。
评分读完《Sound Unbound》,我才真正明白,声音的世界有多么浩瀚和迷人。我一直以为自己对声音已经有了相当的了解,毕竟每天都要通过听来获取大量信息。但这本书彻底颠覆了我的认知。它从一个非常宏观的视角,讲述了声音在自然界、在人类社会、在科学技术以及在艺术文化中的全方位渗透。我尤其惊叹于书中关于动物如何利用声音进行交流和生存的章节,那些关于蝙蝠的超声波定位、鲸鱼复杂的歌声,让我看到了生命多样性中最令人惊叹的一面。同时,书中对声音在音乐创作中的技术层面,如混响、均衡器等原理的解释,也让我对日常听到的音乐有了更深的理解。那些曾经令我困惑的音乐制作细节,现在似乎都有了清晰的答案。作者的叙述方式非常独特,他能够将极其复杂的声音原理,用非常直观的例子和通俗易懂的语言表达出来,让即使是对声学没有基础的读者也能轻松理解。这本书的深度和广度都令人印象深刻,它让我意识到,声音不仅仅是耳朵接收到的信号,更是连接我们与世界,甚至连接我们与自身情感的一条看不见的纽带。
评分说实话,一开始拿起《Sound Unbound》的时候,我抱着一种看热闹的心态,以为不过是又一本关于“如何听更清楚”或者“声音如何影响心情”的科普读物。然而,这本书带给我的惊喜远超预期。它不是那种浅尝辄止的介绍,而是像一位博学的向导,带领我踏上了一场探索声音奥秘的漫长旅程。我尤其被书中关于声音在人类进化过程中所扮演角色的论述所吸引。作者从早期人类如何利用声音进行交流、警告危险,到后来声音如何发展成为一种复杂的社会连接工具,这个宏大的视角让我对“听”的本质有了全新的认识。书中提到的关于声音传播的物理特性,比如共振、衍射,那些我曾在物理课上似懂非懂的理论,在这里被赋予了鲜活的生命。作者用非常接地气的方式解释了为什么某些声音能引起我们的不适,而另一些则能让我们感到愉悦。我印象特别深刻的是,书中对“寂静”的探讨,它不是简单的“没有声音”,而是声音缺席时所产生的特殊听觉体验,以及它在音乐和冥想中的重要作用。这本书让我开始意识到,我们生活在一个被声音塑造的世界里,而我们却常常对它视而不见,或者说,听而不闻。它促使我去反思自己与声音的关系,也让我对未来的声音设计和体验有了更深的期待。
评分六七十年代的实验时期。
评分六七十年代的实验时期。
评分六七十年代的实验时期。
评分六七十年代的实验时期。
评分六七十年代的实验时期。
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