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English
Routledge
20 February 2025
This book examines the intersections of silence with immersive arts and experiences. Silence and immersion may seem antithetical: while immersion is supposedly induced by acoustic and other stimuli, silence is commonly understood as the absence or opposite of sound. Since the eighteenth century, however, silence has been established as a multifarious and polyvalent cultural concept. Immersion, in turn, though often used as a simple ""all-inclusive"" term, has old and complex ontological and epistemological roots.

Organized into three parts, this book brings critical, historical, and theoretical debates on silence into dialogue with different notions of immersion. The 16 theoretical articles and case studies engage in discovering and questioning the continued prominence of both concepts in aesthetics, culture, and media. Covering music, film, digital, visual and performance art, theater, video games, and theme parks, the chapters discuss both highly canonical and rarely examined artifacts. Written by scholars from Germany, Austria, France, and Switzerland, the interdisciplinary collection includes perspectives from musicology, film studies, cultural and media studies, gender studies, art history, and philosophy.

Silence, Sounds, Music addresses both an academic and a wider audience. It will be of interest to anyone interested in music, sound, immersive experiences, the so-called experience economy, and contemporary art and culture.
Edited by:   , , , ,
Imprint:   Routledge
Country of Publication:   United Kingdom
Dimensions:   Height: 234mm,  Width: 156mm, 
Weight:   760g
ISBN:   9781032112602
ISBN 10:   1032112603
Series:   Ambiances, Atmospheres and Sensory Experiences of Spaces
Pages:   304
Publication Date:  
Audience:   College/higher education ,  Primary
Format:   Hardback
Publisher's Status:   Active
List of Figures List of Contributors Acknowledgments Introduction: On the Aesthetics, Politics, and Intersections of Silence, Sound, and Immersion Florian Freitag, Laura Katharina Mücke, Peter Niedermüller Part I: Producing Silence Dominic Zerhoch 1. Beyond Words: Auditive and Discursive Non-Normativity in Films of Urszula Antoniak Tullio Richter-Hansen 2. Musical Immersion and Its Place of Silence Fabian Kurze 3. Digital Movieloops Anita Hafner 4. The Paradox of Musical Silence Ioana Geanta 5. Silence as a Performative Means in Marina Abramović’s The Artist Is Present (New York, MoMA, 2010) Karolina Zgraja 6. The Residence Within: Silence, Immersion, and Contemplative Play in Videogames Damien Schlarb Part II: On the Cusp between Sound and Silence Helena Rapp, Elisabeth Sommerlad 7. The Shock of Silence: An Apporach to Philosophical Immersion in Media Sebastian R. Richter 8. Moments of Silence in Life is Strange: Flow, Immersion, and Involvement as as Result of Lack of Gameplay Michael Mosel 9. In the Eye of the Hurricane: How Silent Moments in The Big Short (2015) and Money Monster (2016) Configure Empathetic and Immersive Processes of Film Reception Dieter Merlin 10. Broken Times of Silence: Choreographing Time in Once Upon a Time in the West Saori Kanemaki 11. The Birth of the Talkies out of the Spirit of Silence: Alan Crossland’s The Jazz Singer (1927) Heinz Hiebler Part III: Reception, Context, Space Helena Rapp, Elisabeth Sommerlad 12. The Silenced Reception Spaces of Theater and Cinema, Or: About the Politics of Silence as Immersive Experience Laura Katharina Mücke, Patric Blaser 13. The Delightful Paradox: Towards an Aesthetics of Silence in Early Sound Films Daniel Wiegand 14. Empty Times: Melodic Hardcore Punk and the Problem of Immersion Clemens Spahr 15. The Depth of the Sea, the Depth of Listening, and the Figure of Isolde as Avatar Gabriela Lendle 16. The Sounds of Magic: Silence, Sounds, and Immersion in Theme Parks Florian Freitag

Florian Freitag has been a professor of American Studies at the University of Duisburg-Essen (Germany) since 2019. He received his PhD in American Studies from the University of Konstanz (Germany) in 2011 and worked as an assistant professor of American Studies at Johannes Gutenberg University Mainz (Germany) from 2011 to 2019. Freitag’s publications on theme parks include articles in The Journal of Popular Culture and Continuum; book chapters in A Reader in Themed and Immersive Spaces (ed. Scott Lukas; 2016), and Popular New Orleans: The Crescent City in Periodicals, Theme Parks, and Opera, 1875-2015 (Freitag 2021), as well as the edited collections Time and Temporality in Theme Parks (2017) and Key Concepts in Theme Park Studies (2023). Laura Katharina Mücke is a research assistant in the area “Everyday Media and Digital Cultures” at the Department for Film, Theater, Media and Cultural Studies at the University of Mainz. Her PhD project, based in Mainz, Vienna, and Groningen, focuses on the discursivity of seemingly omnipotent concepts of media experience. From 2019 to 2022, she was an assistant for “Theory of Film” at the University of Vienna. She is co-editor of the journal Montage AV and co-founder of the junior research group “ID*A (Initiative Doktorand*innen-Austausch).” Recent publications are the journal issue on “Messy Images” (together with Chris Tedjasukmana and Olga Moskatova, 2022) and the translation from French of “Kommunikationsräume: Einführung in die Semiopragmatik” by Roger Odin (with Guido Kirsten, Magali Trautmann, and Philipp Blum, 2019) as well as the article “Towards a Term of Political Immersion as Co-Immersion” (together with Tom Poljanšek) in: Jacopo Bodini, Alessandro De Cesaris: Immersivity: Philosophical Perspectives on Technologically Mediated Experience (2002). Peter Niedermüller has been an interim professor at Johannes Gutenberg University Mainz (Germany) and at the University of Music and Performing Arts in Mannheim (Germany). He was also a visiting fellow at the German Historical Institute in Rome (Italy). Currently Niedermüller is a senior lecturer for musicology at JGU Mainz, in 2019 he was also appointed as a professor there. His research interests include the history of concert life and musical interpretation as well as film music. Since 2002, he has been a consultant editor of Ad Parnassum: A Journal of Eigteenth- and Nineteenth-Century Instrumental Music. Since 2016, he has also co-edited Kieler Beiträge zur Filmmusikforschung. Among his latest publications are Klangkunst und musikalische Interpretation (2018) and two chapters in Geschichte der musikalischen Interpretation im 19. und 20. Jahrhundert (2020).

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