Acoustic Entanglements Sound and Aesthetic Practice

Cover -- Titel -- Imprint -- Table of Contents -- Table of Figures -- Acknowledgements -- 1 Introduction: Sound that Moves -- 2 Spirited Media, Aural Excesses: Emily Dickinson and the Phonograph -- 2.1 Remembering and Recording in the Nineteenth Century -- 2.1.1 Dickinson's Phonographic Logic -- 2.1.2 Composition as Intermedial Gesture -- 2.1.3 Dickinson's Aural Excess -- 2.1.4 Bolts of Melody: Dickinson's Poetry -- 2.2 Speaking Machines, Media Archives -- 2.3 Spiritualism and Techniques of Hearing -- 2.3.1 Transnationalism: Voices at a Distance -- 2.3.2 Dictation: Discourses of Hearing in the Nineteenth Century -- 2.4 Poetic Transfers -- 2.5 Detached Voices -- 3 (Re)Mixing Histories: Lillian Allen and the Routes of Dub Poetry -- 3.1 Performing Memory -- 3.2 Transnational Politics -- 3.3 The Changing Same: Remix Poetics in the Diaspora -- 3.4 Canadian Routes and Roots in the Caribbean -- 3.5 Transgressive Sounds -- 4 Subjects of Hearing, Subject to History: The Sound Works of Janet Cardiff and George Bures Miller -- 4.1 Disciplining Hearing -- 4.2 Hearing Divided among the Senses -- 4.3 Sound and Spatiality: The Audio Walks of Cardiff and Miller -- 4.3.1 Imagining History without Us: "Walk Münster" (1997 -- 4.3.2 Canada and the Audio Walks -- 4.3.3 Canadian Subjects and the Spectacle of Modernity -- 4.3.4 From Oakville to Louisiana: Beyond Site-Specificity -- 4.4 "Murder of Crows" (2008) and the Politics of Affect -- 4.5 Practices of Looking in "Eyes of Laura" (2005 -- 4.6 Calling to Attention -- 5 Stratified Sound: Rebecca Belmore and William Forsythe -- 5.1 Transnational Trajectories -- 5.2 "Ayum-ee-aawach Oomama-mowan": The Sound of Protest -- 5.3 Articulating Indigenous Modernity -- 5.4 Writing Histories, Reading Systems in William Forsythe -- 6 Conclusion: Confinement and Liberation -- Bibliography -- Index -- Backcover