A missed phone call. A misheard word. An indiscernible noise. All these can make the difference between life and death. Failures to listen are frequently at the root of the marginalization and exclusion of certain forms of life. Audibility decides livability. Shattering Biopolitics elaborates for the first time the intimate and complex relation between life and sound in recent European philosophy, as well as the political stakes of this entanglement. Nowhere is aurality more pivotal than in the dialogue between biopolitical theory and deconstruction about the power over and of life. Closer inspection of these debates reveals that the main points of contention coalesce around figures of sound and listening: inarticulate voices, meaningless sounds, resonant echoes, syncopated rhythms, animal cries, bells, and telephone rings. Shattering Biopolitics stages a series of “over-hearings” between Jacques Derrida and Giorgio Agamben who often mishear or completely miss hearing in trying to hear too much. Notions of power and life are further diffracted as Hélène Cixous, Catherine Malabou, and Jean-Luc Nancy join in this high-stakes game of telephone. This self-destructive character of aurality is akin to the chanciness and risk of death that makes life all the more alive for its incalculability. Punctuating the book are a series of excurses on sound-art projects that interrogate aurality’s subordination and resistance to biopower from racialized chokeholds and anti-migrant forensic voice analysis to politicized speech acts and activist practices of listening. Shattering Biopolitics advances the burgeoning field of sound studies with a new, theoretically sophisticated analysis of the political imbrications of its object of inquiry. Above all, it is sound’s capacity to shatter sovereignty, as if it were a glass made to vibrate at its natural frequency, that allows it to amplify and disseminate a power of life that refuses to be mastered.

If the September 11 terror attacks opened up an era of crises and exceptions of which we are yet to see the end, it is perhaps not surprising that care has emerged in the early twenty-first century as a key political issue. This book approaches contemporary narratives of care through the lens of a growing body of theoretical writings on biopolitics. Through close-readings of J.M. Coetzee's Slow Man, Kazuo Ishiguro's Never Let Me Go, Paul Auster's The Book of Illusions, and Tom McCarthy's Remainder, it seeks to reframe debates about realism in the novel ranging from Ian Watt to Zadie Smith as engagements with the novel's biopolitical origins: its relation to pastoral care, the camps, and the welfare state. Within such an understanding of the novel, what possibilities for a critical aesthetics of existence does the contemporary novel include?

"We haven't even made it to breakfast!" Composer Maryanne Amacher (1938-2009) often used this phrase to shorthand her critical and partial approach to knowledge production across the vast artistic, technical and scientific discourses with which she worked. The same could be said about her own musical thought, which encompassed original presentational formats in existing and speculative media and approaches to sound and listening that conjoined real and imagined social worlds. In these conjunctions, this book discerns meeting points between frameworks for life that emerged from Amacher's multidisciplinary study of sound and listening: within acoustical spectra, inside human bodies and ears, across cities and edgleands, hypothetical creatures and virtual, fictive or distanciated environments. These figurations guide interpretative study of six signal projects: Adjacencies (1965/1966); City-Links (1967-1988); Additional Tones (1976 / 1988), Music for Sound-Joined Rooms (1980), Mini Sound Series (1985) and Intelligent Life (1980s) and countless sketches, notes and unrealized projects. The book explores Amacher's working methods with an interpretive style that emphasizes technical study, conceptual juxtaposition, intertextual play and narrative transport. This book also takes up Amacher's work as a guiding thread across shifting social discourses on life in the late 20th century U.S. Her projects convoked figurations of life and technoscience that could be partially and ironically accessed or conceptualized via complex auditory thresholds. This nascent feminist epistemology rooted in feminist science and technology studies centers biopolitical questions about difference and power in artistic and critical work that counts Amacher among its precedents"--

"The Oxford Handbook of Community Singing shows in abundant detail that singing with others is thriving. Using an array of interdisciplinary methods, chapter authors prioritize participation rather than performance and provide finely grained accounts of group singing in community, music therapy, religious, and music education settings. Themes associated with protest, incarceration, nation, hymnody, group bonding, identity, and inclusivity infuse the 47 chapters. Written almost wholly during the 2020-21 COVID-19 pandemic, the Handbook features a section dedicated to collective singing facilitated by audiovisual or communications media (mediated singing), some of it quarantine-mandated. The last of eight substantial sections is a repository of new theories about how group singing practices work. Throughout, the authors problematize the limitations inherited from the western European choral music tradition and report on workable new remedies to counter those constraints"--

The field of Sound Studies has changed and developed dramatically over the last two decades involving a vast and dizzying array of work produced by those working in the arts, social sciences and sciences. The study of sound is inherently interdisciplinary and is undertaken both by those who specialize in sound and by others who wish to include sound as an intrinsic and indispensable element in their research. This is the first resource to provide a wide ranging, cross-cultural and interdisciplinary investigation and analysis of the ways in which researchers use a broad range of methodologies in order to pursue their sonic investigations. It brings together 49 specially commissioned chapters that ask a wide range of questions including; how can sound be used in current academic disciplines? Is sound as a methodological tool indispensable for Sound Studies and what can sound artists contribute to the discourse on methodology in Sound Studies? The editors also present 3 original chapters that work as provocative 'sonic methodological interventions' prefacing the 3 sections of the book.

The term "radical formalism" refers to strategies aimed at defamiliarising and revitalising conventional modes of formalistic reading and theorising form. These strategies disrupt and unsettle established norms while incorporating a metadiscursive awareness of their broader political implications. This volume presents a radical reconceptualisation of literary works from Greek and Roman antiquity. Engaging in an ongoing dialogue with critical theory and postcritique, as well as drawing inspiration from traditions rooted in Black art, poetry and philosophy-both directly and indirectly connected to the classical tradition-the essays in this collection explore subversions of canonical norms and resistances to the hegemony of textual order. This collection not only provides new, provocative insights into a corpus of texts that has exerted a lasting impact on modern literature and philosophy, but also challenges current interpretive methods, recasting the very practice of reading in relation to form, poetics, language, sound, temporalities and textuality.