Anthropologist Georgina Born presents one of the first ethnographies of a powerful western cultural organization, the renowned Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) in Paris. As a year-long participant-observer, Born studied the social and cultural economy of an institution for research and production of avant-garde and computer music. She gives a unique portrait of IRCAM's composers, computer scientists, technicians, and secretaries, interrogating the effects of the cultural philosophy of the controversial avant-garde composer, Pierre Boulez, who directed the institute until 1992. Born depicts a major artistic institution trying to maintain its status and legitimacy in an era increasingly dominated by market forces, and in a volatile political and cultural climate. She illuminates the erosion of the legitimacy of art and science in the face of growing commercial and political pressures. By tracing how IRCAM has tried to accomodate these pressures while preserving its autonomy, Born reveals the contradictory effects of institutionalizing an avant-garde. Contrary to those who see postmodernism representing an accord between high and popular culture, Born stresses the continuities between modernism and postmodernism and how postmodernism itself embodies an implicit antagonism toward popular culture.

As a year-long participant-observer, Born studied the social and cultural economy of an institution for research and production of avant-garde and computer music. She gives a unique portrait of IRCAM's composers, computer scientists, technicians, and secretaries, interrogating the effects of the cultural philosophy of the controversial avant-garde composer, Pierre Boulez, who directed the institute until 1992.

Anthropologist Georgina Born presents one of the first ethnographies of a powerful western cultural organization, the renowned Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) in Paris. As a year-long participant-observer, Born studied the social and cultural economy of an institution for research and production of avant-garde and computer music. She gives a unique portrait of IRCAM's composers, computer scientists, technicians, and secretaries, interrogating the effects of the cultural philosophy of the controversial avant-garde composer, Pierre Boulez, who directed the institute until 1992. Born depicts a major artistic institution trying to maintain its status and legitimacy in an era increasingly dominated by market forces, and in a volatile political and cultural climate. She illuminates the erosion of the legitimacy of art and science in the face of growing commercial and political pressures. By tracing how IRCAM has tried to accomodate these pressures while preserving its autonomy, Born reveals the contradictory effects of institutionalizing an avant-garde. Contrary to those who see postmodernism representing an accord between high and popular culture, Born stresses the continuities between modernism and postmodernism and how postmodernism itself embodies an implicit antagonism toward popular culture.

In The Allure of Order, Mehta recounts a century of attempts at revitalizing public education, and puts forward a truly new agenda to reach this elusive goal. Over and over again, outsiders have been fascinated by the promise of scientific management and have attempted to apply principles of rational administration from above. What we want, Mehta argues, is the opposite approach which characterizes top-performing educational nations: attract strong candidates into teaching, develop relevant and usable knowledge, train teachers extensively in that knowledge, and support these efforts through a strong welfare state.

Ever since their arrival in North America, European colonists and their descendants have struggled to explain the epidemics that decimated native populations. Century after century, they tried to understand the causes of epidemics, the vulnerability of American Indians, and the persistence of health disparities. They confronted their own responsibility for the epidemics, accepted the obligation to intervene, and imposed social and medical reforms to improve conditions. In Rationalizing Epidemics, David Jones examines crucial episodes in this history: Puritan responses to Indian depopulation in the seventeenth century; attempts to spread or prevent smallpox on the Western frontier in the eighteenth and nineteenth centuries; tuberculosis campaigns on the Sioux reservations from 1870 until 1910; and programs to test new antibiotics and implement modern medicine on the Navajo reservation in the 1950s. These encounters were always complex. Colonists, traders, physicians, and bureaucrats often saw epidemics as markers of social injustice and worked to improve Indians' health. At the same time, they exploited epidemics to obtain land, fur, and research subjects, and used health disparities as grounds for "civilizing" American Indians. Revealing the economic and political patterns that link these cases, Jones provides insight into the dilemmas of modern health policy in which desire and action stand alongside indifference and inaction. Table of Contents: List of Figures Acknowledgments Introduction 1. Expecting Providence 2. Meanings of Depopulation 3. Frontiers of Smallpox 4. Using Smallpox 5. Race to Extinction 6. Impossible Responsibilities 7. Pursuit of Efficacy 8. Experiments at Many Farms Epilogue and Conclusions Notes Index Rationalizing Epidemics is a superb work of scholarship. By contextualizing his deep and thorough research in original documents within the larger literature on the history and nature of epidemics, Jones has produced a profound account of how epidemics are social and cultural phenomena, not just biological. This book will be of great interest to scholars of American Indian history and the history of medicine, and with its engaging and accessible writing style, it promises to be a book that students and the general public will appreciate as well. --Nancy Shoemaker, University of Connecticut An imaginative and insightful approach to health and disease among American Indians, Rationalizing Epidemics represents a remarkable accomplishment. The breadth of reading and depth of research, the subtlety used in explaining each case, and the original approach to the material are altogether impressive. Jones's book undoubtedly will be a major contribution to American history. --Daniel H. Usner, Jr., Vanderbilt University

The Sound Studies Reader blends recent work that self-consciously describes itself as ‘sound studies’ along with earlier and lesser-known scholarship on sound from across the humanities and social sciences. The Sound Studies Reader touches on key themes like noise and silence; architecture, acoustics and space; media and reproducibility; listening, voices and disability; culture, community, power and difference; and shifts in the form and meaning of sound across cultures, contexts and centuries. Writers reflect on crucial historical moments, difficult definitions, and competing accounts of the role of sound in culture and everyday life. Across the essays, readers will gain a sense of the range and history of key debates and discussions in sound studies. The collection begins with an introduction to welcome novice readers to the field and acquaint them the main issues in sound studies. Individual section introductions give readers further background on the essays and an extensive up to date bibliography for further reading in sound studies make this an original and accessible guide to the field. Contributors: Rick Altman, Jacques Attali, Roland Barthes, Jody Berland, Karin Bijsterveld, Barry Blesser, Georgina Born, Michael Bull, Adriana Cavarero, Michel Chion, Kate Crawford, Richard Cullen Rath, Jacques Derrida, Mladen Dolar, John Durham Peters, Kodwo Eshun, Frantz Fanon, Lisa Gitelman, Gerard Goggin, Steve Goodman, Stefan Helmreich, Michelle Hilmes, Charles Hirschkind, Shuhei Hosokawa, Don Ihde, Douglas Kahn, Friedrich Kittler, Brandon LaBelle, James Lastra, Richard Leppert, Michèle Martin, Louise Meintjes, Mara Mills, John Mowitt, R. Murray Schafer, Ana María Ochoa Gautier, John Picker, Benjamin Piekut, Trevor Pinch, Tara Rodgers, Linda-Ruth Salter, Jacob Smith, Jason Stanyek, Jonathan Sterne, Emily Thompson, Frank Trocco, Michael Veal, Alexander Weheliye

This book looks at the historic and contemporary links between music's connection to emotions and men's supposed discomfort with their own emotional experience. Looking at music tastes and distaste, it demonstrates how a sociological analysis of music and gender can actually lead us to think about emotions and gender inequalities in different ways.