On Noise Philosophy Art Organization

This book explores the obnoxious behavior and movements of noise. However, what is noise? What is it doing to us and to our world? How can we live and move with noise? How do we produce and distribute our own noise? These questions and many more are discussed through a philosophical investigation of noise. Starting off from the statement that ‘noise is nature’, it soon becomes clear that there is more to noise than just nature. In an attempt to deal with nature, we have started to order it and put it into boxes. One of these boxes is the container for living, the peculiarities of which harken back to the musings of Plato on his cave and catapult us into contemporary times where office cells mirror those of the monastery. Although any definite answers will be absent, there is still much to tell about noise, even if it remains in the realm of the obscure or the obscene.

This book is a reaction to the reductionist and exploitative ideas dominating the mainstream contemporary management discourse and practice, and an attempt to broaden the horizons of possibility for both managers and organization scholars. It brings together the scholarly fields of humanistic management and organizational aesthetics, where the former brings in the unshakeable focus on the human condition and concern for dignity, emancipation, and the common good, while the latter promotes reflection, openness, and appreciation for irreducible complexity of existence. It is a journey towards wholeness undertaken by a collective of management and organization theorists, philosophers, artists, and art curators. Reading this book’s contributions can help both academics and practitioners work towards building organizational practices aimed at (re)acquiring wholeness by developing aesthetic awareness allowing for more profound understandings of performativity, insights into the dynamics of power, appreciation of ambiguity and ambivalence, and a much needed grasp of complexity. The varied ways of engaging with art explored by the authors promote imaginative insights into and reflection on the beauty and vicissitudes of organizing, of management knowledge and collective expression. It will be of interest to researchers, academics, practitioners, and students in the fields of organizational theory and practice, business and management history, human resource management, and culture management.

This is a book about mirrors, philosophy, art and organization. It arises from the recognition that we are caught in the mirror. We are under its spell and enchanted by its reflections. Mirrors direct us without our awareness, largely because we do not perceive them as mirrors. This is problematic because mirrors are everywhere. This book explores a philosophy of mirrors, one that investigates the art of painting, cartoons, architecture, music, photography and film, as well as belching and boozing robots, ‘geil’ photographers, monkish cells, cesspools, hairy auditions and clauding. Throughout, the book uses, mutilates and expands the thoughts of philosophers like Heidegger, Sloterdijk, Deleuze, Serres, Baudrillard and Rancière. The philosophic journey offered here results in new insights and unique viewpoints, which open up the hidden, secretive world of mirrors and help us to engage in unexplored and exciting relations with them, offering a critical challenge to contemporary organization theory.

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.

It is the contention of the editors and contributors of this volume that the work carried out by Gilles Deleuze, where rigorously applied, has the potential to cut through much of the intellectual sedimentation that has settled in the fields of music studies. Deleuze is a vigorous critic of the Western intellectual tradition, calling for a 'philosophy of difference', and, despite its ambitions, he is convinced that Western philosophy fails to truly grasp (or think) difference as such. It is argued that longstanding methods of conceptualizing music are vulnerable to Deleuze's critique. But, as Deleuze himself stresses, more important than merely critiquing established paradigms is developing ways to overcome them, and by using Deleuze's own concepts this collection aims to explore that possibility.

The experimentalist phenomenon of 'noise' as constituting 'art' in much twentieth-century music (paradoxically) reached its zenith in Cage’s (’silent’ piece) 4’33 . But much post-1970s musical endeavour with an experimentalist telos, collectively known as 'sound art', has displayed a postmodern need to ’load’ modernism’s ’degree zero’. After contextualizing experimentalism from its inception in the early twentieth century, Dr Linda Kouvaras’s Loading the Silence: Australian Sound Art in the Post-Digital Age explores the ways in which selected sound art works demonstrate creatively how sound is embedded within local, national, gendered and historical environments. Taking Australian music as its primary - but not sole - focus, the book not only covers discussions of technological advancement, but also engages with aesthetic standpoints, through numerous interviews, theoretical developments, analysis and cultural milieux for a contemporary Australian, and wider postmodern, context. Developing new methodologies for synergies between musicology and cultural studies, the book uncovers a new post-postmodern aesthetic trajectory, which Kouvaras locates as developing over the past two decades - the altermodern. Australian sound art is here put firmly on the map of international debates about contemporary music, providing a standard reference and valuable resource for practitioners in the artform, music critics, scholars and educators.

The conversations generated by the chapters in Music's Immanent Future grapple with some of music's paradoxes: that music of the Western art canon is viewed as timeless and universal while other kinds of music are seen as transitory and ephemeral; that in order to make sense of music we need descriptive language; that to open up the new in music we need to revisit the old; that to arrive at a figuration of music itself we need to posit its starting point in noise; that in order to justify our creative compositional works as research, we need to find critical languages and theoretical frameworks with which to discuss them; or that despite being an auditory system, we are compelled to resort to the visual metaphor as a way of thinking about musical sounds. Drawn to musical sound as a powerful form of non-verbal communication, the authors include musicologists, philosophers, music theorists, ethnomusicologists and composers. The chapters in this volume investigate and ask fundamental questions about how we think, converse, write about, compose, listen to and analyse music. The work is informed by the philosophy primarily of Gilles Deleuze and Felix Guattari, and secondarily of Michel Foucault, Julia Kristeva and Jean-Luc Nancy. The chapters cover a wide range of topics focused on twentieth and twenty-first century musics, covering popular musics, art music, acousmatic music and electro-acoustic musics, and including music analysis, music's ontology, the noise/music dichotomy, intertextuality and music, listening, ethnography and the current state of music studies. The authors discuss their philosophical perspectives and methodologies of practice-led research, including their own creative work as a form of research. Music's Immanent Future brings together empirical, cultural, philosophical and creative approaches that will be of interest to musicologists, composers, music analysts and music philosophers.

The Routledge Companion to Sounding Art presents an overview of the issues, methods, and approaches crucial for the study of sound in artistic practice. Thirty-six essays cover a variety of interdisciplinary approaches to studying sounding art from the fields of musicology, cultural studies, sound design, auditory culture, art history, and philosophy. The companion website hosts sound examples and links to further resources. The collection is organized around six main themes: Sounding Art: The notion of sounding art, its relation to sound studies, and its evolution and possibilities. Acoustic Knowledge and Communication: How we approach, study, and analyze sound and the challenges of writing about sound. Listening and Memory: Listening from different perspectives, from the psychology of listening to embodied and technologically mediated listening. Acoustic Spaces, Identities and Communities: How humans arrange their sonic environments, how this relates to sonic identity, how music contributes to our environment, and the ethical and political implications of sound. Sonic Histories: How studying sounding art can contribute methodologically and epistemologically to historiography. Sound Technologies and Media: The impact of sonic technologies on contemporary culture, electroacoustic innovation, and how the way we make and access music has changed. With contributions from leading scholars and cutting-edge researchers, The Routledge Companion to Sounding Art is an essential resource for anyone studying the intersection of sound and art.

Within this edition, five new sections have been added: on interpretation, objectivity, gardening, horror and morality and many of the introductions have been updated. The book should appeal to students of art history, literature, and cultural studies as well as philosophy.

Art Therapy Practices for Resilient Youth highlights the paradigm shift to treating children and adolescents as "at-promise" rather than "at-risk." By utilizing a strength-based model that moves in opposition to pathology, this volume presents a client-allied modality wherein youth are given the opportunity to express emotions that can be difficult to convey using words. Working internationally with diverse groups of young people grappling with various forms of trauma, 30 contributing therapists share their processes, informed by current understandings of neurobiology, attachment theory, and developmental psychology. In addition to guiding principles and real-world examples, also included are practical directives, strategies, and applications. Together, this compilation highlights the promise of healing through the creative arts in the face of oppression.

Part of a growing group of works that addresses the burgeoning field of sound studies, this book attends not only to theoretical and empirical examinations, but also to methodological and philosophical considerations at the intersection of sound and education. Gershon theoretically advances the rapidly expanding field of sound studies and simultaneously deepens conceptualizations and educational understandings across the fields of curriculum studies and foundations of education. A feature of this work is the novel use of audio files aligned with the arguments within the book as well as the discussion and application of cutting-edge qualitative research methods.

In this text Bruns investigates the recent phenomenon of philosophers taking an interest in literature and literary theory.

The Routledge Companion to Philosophy and Music is an outstanding guide and reference source to the key topics, subjects, thinkers and debates in philosophy and music. Essential reading for anyone interested in philosophy, music and musicology.

Contemporary electronic music has splintered into numerous genres and subgenres, all of which share a concern with whether sound, in itself, bears meaning. Listening through the Noise considers how the experience of listening to electronic music constitutes a departure from the expectations that have long governed music listening in the West.

The visual constitutes an increasingly significant element of contemporary organization, as post-industrial societies move towards economies founded on creative and knowledge-intensive industries. The visual has thereby entered into almost every aspect of corporate strategy, operations, and communication; reconfiguring basic notions of management practice and introducing new challenges in the study of organizations. This volume provides a comprehensive insight into the ways in which organizations and their members visualize their identities and practices and how they are viewed by those who are external to organizations, including researchers. With contributions from leading academics across the world, The Routledge Companion to Visual Organization is a valuable reference source for students and academics interested in disciplines such as film studies, entrepreneurship, marketing, sociology and most importantly, organizational behaviour.

Everyone knows what noise is. Or do they? Can we in fact say that one man's noise is another teenager's music? Is noise in fact only an auditory phenomenon or does it extend far beyond this realm? If our common definitions of noise are necessarily subjective and noise is not just unpleasant sound, then it merits a closer look (or listen). Greg Hainge sets out to define noise in this way, to find within it a series of operations common across its multiple manifestations that allow us to apprehend it as something other than a highly subjective term that tells us very little. Examining a wide range of texts, including Sartre's novel Nausea and David Lynch's iconic films Eraserhead and Inland Empire, Hainge investigates some of the Twentieth Century's most infamous noisemongers to suggest that they're not that noisy after all; and it finds true noise in some surprising places. The result is a thrilling and illuminating study of sound and culture.

The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century. Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitutionalization around the making of sound. Within the areas of musicology, art history, and, later, sound studies, Sound Art has evolved at least since the 1980s into a turbulant field of academic critique and aesthetic analysis. Summoning artists, researchers, curators, and critics, this volume takes note of and reflects the most recent shifts and drifts in Sound Art--rooted in sonic histories and implying future trajectories.