Many accounts of human communication suggest that we are limited to communicating through words, visual images, the mass media and by digital means. This perspective underestimates the multisensory qualities of much of our human interconnecting and the multiple sounds, touches, sights and material objects which humans use so creatively to interconnect both nearby and across space and time. Ruth Finnegan brings together research from linguistic and sensory anthropology, alternative approaches to 'material culture' and 'the body', non-verbal communication, cultural studies, computer-mediated communication, and illuminating work on animal communication. Examples from both western and non-western cultures together with plentiful illustrations enrich and deepen the analysis. The book uncovers the amazing array of sounds, sights, smells, gestures, looks, movements, touches and material objects which humans use so creatively to interconnect both nearby and across space and time - resources consistently underestimated in those western ideologies that prioritise 'rationality' and referential language. Focussing on embodied and material processes, and on practice rather than text, this comparative analysis challenges the underlying cognitive and word-centred model common to many approaches to communication. The second edition of Communicating includes a new introduction, updates to take account of recent work, an additional chapter covering ethereal non-verbal non-bodily communicating such as telepathy and dreams, fresh illustrations, a new conclusion and updated bibliography. This authoritative but accessible book is an essential transdisciplinary overview for researchers and advanced students in language and communication, anthropology and cultural studies.

Annotation Focusing on embodied and material processes rather than cognitive or mentalist models, and on practice rather than text, this book reveals why a limited view of human communication is unsatisfactory.

"This book delineates a territory of investigation for sound art and its various manifestations through historical, theoretical, polemical and critical analyses of artistic, musical and literary works. In doing so, Migone gives radical definition to an auditory study that includes the complexity of silence and mutism, identity and abjecthood, and language and its stutterances. The recurring site of these stagings is the somatic under all its forms: embodied and disembodied, fragmented and amplified, vocal and mute. Concrete sites that are investigated include: Antonin Artaud's writings, Alvin Lucier's recording I am sitting in a room, Erik Satie's composition Vexations, Marina Abramovic's performance Rhythm 0, Adrian Piper's Untitled Performance for Max's Kansas City, Melville's short story Bartleby, the Scrivener, Bob Connolly and Robin Anderson's documentary film First Contact, and John Cage's composition 4'3''." -- Back cover.

Male-centered theology, a dearth of men in the pews, and an overrepresentation of queer males in music ministry: these elements coexist within the spaces of historically black Protestant churches, creating an atmosphere where simultaneous heteropatriarchy and "real" masculinity anxieties, archetypes of the "alpha-male preacher", the "effeminate choir director" and homo-antagonism, are all in play. The "flamboyant" male vocalists formed in the black Pentecostal music ministry tradition, through their vocal styles, gestures, and attire in church services, display a spectrum of gender performances - from "hyper-masculine" to feminine masculine - to their fellow worshippers, subtly protesting and critiquing the otherwise heteronormative theology in which the service is entrenched. And while the performativity of these men is characterized by cynics as "flaming," a similar musicalized "fire" - that of the Holy Spirit - moves through the bodies of Pentecostal worshippers, endowing them religio-culturally, physically, and spiritually like "fire shut up in their bones". Using the lenses of ethnomusicology, musicology, anthropology, men's studies, queer studies, and theology, Flaming?: The Peculiar Theo-Politics of Fire and Desire in Black Male Gospel Performance observes how male vocalists traverse their tightly-knit social networks and negotiate their identities through and beyond the worship experience. Author Alisha Jones ultimately addresses the ways in which gospel music and performance can afford African American men not only greater visibility, but also an affirmation of their fitness to minister through speech and song.

3D Audio offers a detailed perspective of this rapidly developing arena. Written by many of the world’s leading researchers and practitioners, it draws from science, technologies, and creative practice to provide insight into cutting-edge research in 3D audio. Through exploring the intersection of these fields, the reader will gain insight into a number of research areas and professional practice in 3D sonic space. As such, the book acts both as a primer that enables readers to gain an understanding of various aspects of 3D audio, and can inform students and audio enthusiasts, but its deep treatment of a diverse range of topics will also inform professional practitioners and academics beyond their core specialisms. The chapters cover areas such as an Ambisonics, binaural technologies and approaches, psychoacoustics, 3D audio recording, composition for 3D space, 3D audio in live sound, broadcast, and movies – and more. Overall, this book offers a definitive insight into an emerging sound world that is increasingly becoming part of our everyday lives.

A sweeping history of Ethiopian musicians during and following the 1974 Ethiopian revolution. Sing and Sing On is the first study of the forced migration of musicians out of the Horn of Africa dating from the 1974 Ethiopian revolution, a political event that overthrew one of the world’s oldest monarchies and installed a brutal military regime. Musicians were among the first to depart the region, their lives shattered by revolutionary violence, curfews, and civil war. Reconstructing the memories of forced migration, Sing and Sing On traces the challenges musicians faced amidst revolutionary violence and the critical role they played in building communities abroad. Drawing on the recollections of dozens of musicians, Sing and Sing On details personal, cultural, and economic hardships experienced by musicians who have resettled in new locales abroad. Kay Kaufman Shelemay highlights their many artistic and social initiatives and the ways they have offered inspiration and leadership within and beyond a rapidly growing Ethiopian American diaspora. While musicians held this role as sentinels in Ethiopian culture long before the revolution began, it has taken on new meanings and contours in the Ethiopian diaspora. The book details the ongoing creativity of these musicians while exploring the attraction of return to their Ethiopian homeland over the course of decades abroad. Ultimately, Shelemay shows that musicians are uniquely positioned to serve this sentinel role as both guardians and challengers of cultural heritage.

What is the role of sound in human like?and of music? What do we use it for and ow does it vary across the world? Where does it come from and above all why should we - as we do - care about it? This series of reflections by the celebrated anthropologist Ruth Finnegan tackles these questions and more in her inimitable friendly and accessible style. An Informative and inspiring book, unique.

A stunning account of how things that seem just part of everyday life, are in fact extraordinary once we notice them. As anthropologists do when they stop to listen. As poets do when they see the world in a grain of sand. When we see how things that are not normally defined as special, perhaps because studied or practised by 'amateurs' rather than 'specialists', are often truly special. How as we go through our daily round our lives are surrounded by splendour. After you read this then world will never look the same.

Lexicon of the Mouth surveys the oral cavity as the central channel by which self and surrounding are brought into relation. Questions of embodiment and agency, attachment and loss, incorporation and hunger, locution and the non-sensical are critically examined. In doing so, LaBelle emphasizes the mouth as a vital conduit for negotiating "the foundational narrative of proper speech." Lexicon of the Mouth aims for a viscous, poetic and resonant discourse of subjectivity, detailed through the "micro-oralities" of laughing and whispering, stuttering and reciting, eating and kissing, among others. The oral cavity is posed as an impressionable arena, susceptible to all types of material input, contamination and intervention, while also enabling powerful forms of resistance, attachment and conversation, as well as radical imagination. Lexicon of the Mouth argues for the revolutionary promise of the laugh, the spirited mythologies of the whisper, the schizophonics of self-talk, and the primal noise of gibberish, suggesting that the significance of voicing is fundamentally bound to the exertions of the mouth. Subsequently, assumptions around voice and vocality are unsettled in favor of an epistemology of the oral, highlighting the acts of the tongue, the lips and the throat as primary mediations between interior and exterior, social structures and embodied expressions. LaBelle makes a significant contribution to currents in sound and voice studies by reminding that to hear the voice, and to consider a politics of speech, is first and foremost to assume the mouth.

Out of Time? has many different meanings, amongst them outmoded, out of step, under time pressure, no time left, or simply delayed. In the disability context, it may also refer to resistant attitudes of living in “crip time” that contradict time as a linear process with a more or less predictable future. According to Alison Kafer, “crip time bends the clock to meet disabled bodies and minds.” What does this mean in the disability arts? What new concepts of accessibility, crip futures, and crip resistance can be staged or created by disability performance? And how does the notion of “out of time” connect crip time with pandemic time in disability performance? The collective volume seeks to respond to these questions by exploring crip time in disability performance as both a concept and a phenomenon. The book tackles the topic from two angles: on the one hand from a theoretical point of view that connects performance analysis with crip and performance theory, on the other hand from a practice-based perspective of disability artists who develop new concepts and dramaturgies of crip time based on their own lived experiences and observations in the field of the performing and disability arts. The book gathers different types of text genres, forms, and styles that mirror the diversity of their authors. Besides theoretical and academic chapters on disability performance, the book also includes essays, poems, dramatic texts, and choreographic concepts that ref lect upon the alternative knowledge in the disability arts.