The Impossibility of Silence' is a book for artists, designers and photographers interested in approaching writing about their vocation and culture. Drawing upon decades of experience as a writer, designer, artist and teacher, Ian Lynam offers up a plethora of inspirational and concrete approaches to writing about creative fields.

An examination of the role of sound in twentieth-century arts. This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it—to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries. Focusing on Europe in the first half of the century and the United States in the postwar years, Douglas Kahn explores aural activities in literature, music, visual arts, theater, and film. Placing aurality at the center of the history of the arts, he revisits key artistic questions, listening to the sounds that drown out the politics and poetics that generated them. Artists discussed include Antonin Artaud, George Brecht, William Burroughs, John Cage, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.

Mainstream philosophy of religion has primarily focused on the truth and justification of religious beliefs even though belief is only one small facet of religious life. This collection remedies this by taking practice and embodied action seriously as fundamental elements of any philosophy of religion. Emerging and established voices across different philosophical traditions come together to consider religious actions, including public worship, from perspectives such as trauma and social ontology, sound and silence, and knowledge and hope. Embodied religious practice is viewed through the lens of liturgy, intrinsically connecting religious rituals to human existence to show clearly that, no matter where one finds oneself in terms of the so-called 'analytic-continental' divide, philosophy of religion must be concerned with more than just beliefs if it is to adequately deal with the subject matter of 'religion.' The purpose of these studies is not to reject what has gone before but to expand the focus of philosophy of religion. This approach lays the groundwork for investigations into how beliefs are situated in our theological, moral, and social frameworks. For any philosophy of religion student or scholar interested in how thinking and living well are intimately related, this is a go-to resource. It takes seriously the importance of historical religious traditions and communities, opening the space for cross-cultural and interdisciplinary debates.

How to write about your work--an expert's guide to the craft Ian Lynam's The Impossibility of Silence is a book for artists, photographers and designers interested in approaching writing about their vocation and culture. Drawing upon decades of experience as a writer, designer, artist and teacher, Lynam offers up a plethora of inspirational and concrete approaches to writing about creative fields. Called "the Hunter S. Thompson of design writing," Lynam uses his industry knowledge to convey his philosophy on writing specifically in a professional creative setting. Ian Lynam (born 1972) is faculty and former co-chair at Vermont College of Fine Arts in the MFA Graphic Design program. He writes for Idea, Slanted and Modes of Criticism, is a cofounder of the online journal Néojaponisme and the associated print journal NJP, runs Wordshape, a hybrid type foundry, and is one-half of Corinthians, a Tokyo-based art and design curatorial practice.

The contributions in this volume focus on the ways in which silence and music relate, contemplate each other and provide new avenues for addressing and gaining understanding of various realms of human endeavour. The book maps out this little-explored aspect of the sonic arena with the intention of defining the breadth of scope and to introduce interdisciplinary paths of exploration as a way forward for future discourse. Topics addressed include the idea of 'silent music' in the work of English philosopher Peter Sterry and Spanish Jesuit St John of the Cross; the apparently paradoxical contemplation of silence through the medium of music by Messiaen and the relationship between silence and faith; the aesthetics of Susan Sontag applied to Cage's idea of silence; silence as a different means of understanding musical texture; ways of thinking about silences in music produced during therapy sessions as a form of communication; music and silence in film, including the idea that music can function as silence; and the function of silence in early chant. Perhaps the most all-pervasive theme of the book is that of silence and nothingness, music and spirituality: a theme that has appeared in writings on John Cage but not, in a broader sense, in scholarly writing. The book reveals that unexpected concepts and ways of thinking emerge from looking at sound in relation to its antithesis, encompassing not just Western art traditions, but the relationship between music, silence, the human psyche and sociological trends - ultimately, providing deeper understanding of the elemental places both music and silence hold within world philosophies and fundamental states of being. Silence, Music, Silent Music will appeal to those working in the fields of musicology, psychology of religion, gender studies, aesthetics and philosophy.

In twenty essays on subjects such as noise, acoustics, music, and silence, Keywords in Sound presents a definitive resource for sound studies, and a compelling argument for why studying sound matters. Each contributor details their keyword's intellectual history, outlines its role in cultural, social and political discourses, and suggests possibilities for further research. Keywords in Sound charts the philosophical debates and core problems in defining, classifying and conceptualizing sound, and sets new challenges for the development of sound studies. Contributors. Andrew Eisenberg, Veit Erlmann, Patrick Feaster, Steven Feld, Daniel Fisher, Stefan Helmreich, Charles Hirschkind, Deborah Kapchan, Mara Mills, John Mowitt, David Novak, Ana Maria Ochoa Gautier, Thomas Porcello, Tom Rice, Tara Rodgers, Matt Sakakeeny, David Samuels, Mark M. Smith, Benjamin Steege, Jonathan Sterne, Amanda Weidman

In the first decade of the twentieth-century, many composers rejected the principles of tonality and regular beat. This signaled a dramatic challenge to the rationalist and linear conceptions of music that had existed in the West since the Renaissance. The ‘break with tonality’, Neo-Classicism, serialism, chance, minimalism and the return of the ‘sacred’ in music, are explored in this book for what they tell us about the condition of modernity. Modernity is here treated as a complex social and cultural formation, in which mythology, narrative, and the desire for ‘re-enchantment’ have not completely disappeared. Through an analysis of Schoenberg, Stravinsky, Boulez and Cage, 'the author shows that the twentieth century composer often adopted an artistic personality akin to Max Weber’s religious types of the prophet and priest, ascetic and mystic. Twentieth Century Music and the Question of Modernity advances a cultural sociology of modernity and shows that twentieth century musical culture often involved the adoption of ‘apocalyptic’ temporal narratives, a commitment to ‘musical revolution’, a desire to explore the limits of noise and sound, and, finally, redemption through the rediscovery of tonality. This book is essential reading for those interested in cultural sociology, sociological theory, music history, and modernity/modernism studies.