The pace of modern life is undoubtedly speeding up, yet this acceleration does not seem to have made us any happier or more content. If acceleration is the problem, then the solution, argues Hartmut Rosa in this major new work, lies in “resonance.” The quality of a human life cannot be measured simply in terms of resources, options, and moments of happiness; instead, we must consider our relationship to, or resonance with, the world. Applying his theory of resonance to many domains of human activity, Rosa describes the full spectrum of ways in which we establish our relationship to the world, from the act of breathing to the adoption of culturally distinct worldviews. He then turns to the realms of concrete experience and action – family and politics, work and sports, religion and art – in which we as late modern subjects seek out resonance. This task is proving ever more difficult as modernity’s logic of escalation is both cause and consequence of a distorted relationship to the world, at individual and collective levels. As Rosa shows, all the great crises of modern society – the environmental crisis, the crisis of democracy, the psychological crisis – can also be understood and analyzed in terms of resonance and our broken relationship to the world around us. Building on his now classic work on acceleration, Rosa’s new book is a major new contribution to the theory of modernity, showing how our problematic relation to the world is at the crux of some of the most pressing issues we face today. This bold renewal of critical theory for our times will be of great interest to students and scholars across the social sciences and humanities.

How the ear came to play a central role in modern culture and rationality. Hearing has traditionally been regarded as the second sense--as somehow less rational and less modern than the first sense, sight. Reason and Resonance explodes this myth by reconstructing the process through which the ear came to play a central role in modern culture and rationality. For the past four hundred years, hearing has been understood as involving the sympathetic resonance between the vibrating air and various parts of the inner ear. But the emergence of resonance as the centerpiece of modern aurality also coincides with the triumph of a new type of epistemology in which the absence of resonance is the very condition of thought. Our mind's relationship to the world is said to rest on distance or, as the very synonym for reason suggests, reflection. Reason and Resonance traces the genealogy of this "intimate animosity" between reason and resonance through a series of interrelated case studies involving a varied cast of otologists, philosophers, physiologists, pamphleteers, and music theorists. Among them are the seventeenth-century architect-zoologist Claude Perrault, who refuted Cartesianism in a book on sound and hearing; the Sturm und Drang poet Wilhelm Heinse and his friend the anatomist Samuel S mmerring, who believed the ventricular fluid to be the interface between the soul and the auditory nerve; the renowned physiologist Johannes M ller, who invented the concept of "sense energies"; and M ller's most important student, Hermann von Helmholtz, author of the magisterial Sensations of Tone. Erlman also discusses key twentieth-century thinkers of aurality, including Ernst Mach; the communications engineer and proponent of the first nonresonant wave theory of hearing, Georg von B k sy; political activist and philosopher G nther Anders; and Martin Heidegger.

This book is about the facts of fundamental dependency between the mankind development and cosmic energies: both electromagnetic and non-electromagnetic ones. The facts are systematized in graphs.

A new, uniquely twenty-first century art genre has begun to emerge in the galleries of New York and San Francisco. Suggestivism, which gained traction by way of multi-artist exhibitions at Spoke Art Gallery, depicts vivid, otherworldly scenes in a variety of media and styles. The pieces collected here spark the viewer's creativity and beg to be placed in the context of a larger story, while any concrete narrative remains tantalisingly elusive.

Around the world, as well as close to home, much of our land is in crisis. Harmful pollutants have left plants, soil, fields and forests seriously damaged, and our future on this planet in the balance.This timely book examines a number of theories of natural energy, and presents practical techniques for diagnosing and healing plants and land, including the use of vibrations. A variety of projects conducted by Hans Andeweg have proved his methods to be remarkably successful in improving the vitality of treated areas, including forests, estates and gardens. Through progressive exercises the author demonstrates how you can start your own healing projects, even on the smallest scale.He also looks at what it means to have 'green fingers', and the remarkable influence of our own attitudes towards plants and trees.This is an important book about how we, for good or ill, affect the natural world and what we can do to repair the damage that is all too evident around us.

Shortlisted, 2021 Memory Studies Association First Book Award The Fact of Resonance returns to the colonial and technological contexts in which theories of the novel developed, seeking in sound an alternative premise for theorizing modernist narrative form. Arguing that narrative theory has been founded on an exclusion of sound, the book poses a missing counterpart to modernism’s question “who speaks?” in the hidden acoustical questions “who hears?” and “who listens?” For Napolin, the experience of reading is undergirded by the sonic. The book captures and enhances literature’s ambient sounds, sounds that are clues to heterogeneous experiences secreted within the acoustical unconscious of texts. The book invents an oblique ear, a subtle and lyrical prose style attuned to picking up sounds no longer hearable. “Resonance” opens upon a new genealogy of modernism, tracking from Joseph Conrad to his interlocutors—Sigmund Freud, Frantz Fanon, W. E. B. Du Bois, William Faulkner, and Chantal Akerman—the racialized, gendered, and colonial implications of acoustical figures that “drift” through and are transformed by narrative worlds in writing, film, and music. A major synthesis of resources gleaned from across the theoretical humanities, the book argues for “resonance” as the traversal of acoustical figures across the spaces of colonial and technological modernity, figures registering and transmitting transformations of “voice” and “sound” across languages, culture, and modalities of hearing. We have not yet sufficiently attended to relays between sound, narrative, and the unconscious that are crucial to the ideological entailments and figural strategies of transnational, transatlantic, and transpacific modernism. The breadth of the book’s engagements will make it of interest not only to students and scholars of modernist fiction and sound studies, but to anyone interested in contemporary critical theory.

Resonance gathers together forty years of anthropological study by a researcher and writer with one of the broadest fieldwork résumés in anthropology: Unni Wikan. In its twelve essays—four of which are brand new—Resonance covers encounters with transvestites in Oman, childbirth in Bhutan, poverty in Cairo, and honor killings in Scandinavia, with visits to several other locales and subjects in between. Including a comprehensive preface and introduction that brings the whole work into focus, Resonance surveys an astonishing career of anthropological inquiry that demonstrates the possibility for a common humanity, a way of knowing others on their own terms. Deploying Clifford Geertz’s concept of “experience-near” observations —and driven by an ambition to work beyond Geertz’s own limitations—Wikan strives for an anthropology that sees, describes, and understands the human condition in the models and concepts of the people being observed. She highlights the fundamentals of an explicitly comparative, person-centered, and empathic approach to fieldwork, pushing anthropology to shift from the specialist discourses of academic experts to a grasp of what the Balinese call keneh— the heart, thought, and feeling of the real people of the world. By deploying this strategy across such a range of sites and communities, she provides a powerful argument that ever-deeper insight can be attained despite our differences.

An interdisciplinary study of how conspiracy theories and stories persist and resonate among different Americans

What is artistic resonance and how can it be linked to one's life and one's art? This latest book of essays from legendary theatre director Anne Bogart, considers the creation of resonance in the artistic endeavour, with a focus on the performing arts. The word 'resonance' comes from the Latin meaning to 're-sound' or 'sound together'. From music to physics, resonance is a common thread that evokes a response and, in general, is understood as a quality that makes something personally meaningful and valuable. For Bogart, curiosity is a key personal quality to be nurtured throughout life and that very same curiosity, as an artist, thinker and human being. Creating pathways between performance theory, art history, neuroscience, music, architecture and the visual arts, and consistently forging new thought-paths, the writing draws upon Anne Bogart's own life and artistic journeys to illuminate potent philosophical ideas. Woven with personal anecdotes, stories and reflections, this is a book that will be of interest to any theatre artist and anyone who reflects on the power of the arts, of theatre-making and what it means to be engaged in the artistic process.