Hits: Philosophy in the Jukebox is an extraordinary foray into what Apple has convinced us is the soundtrack of our lives.How does music come to inhabit us, to possess and haunt us? What does it mean that a piece of music can insert itself-Szendy's term for this, borrowed from German, is the earworm-into our ears and minds? In this book, Peter Szendy probes the ever-growing and ever more global phenomenon of the hit song. Hits is the culmination of years of singular attentiveness to the unheard, the unheard-of, and the overheard, as well as of listening as it occurs when one...
Hits: Philosophy in the Jukebox is an extraordinary foray into what Apple has convinced us is the soundtrack of our lives.How does music come...
Hits: Philosophy in the Jukebox is an extraordinary foray into what Apple has convinced us is the soundtrack of our lives.How does music come to inhabit us, to possess and haunt us? What does it mean that a piece of music can insert itself-Szendy's term for this, borrowed from German, is the earworm-into our ears and minds? In this book, Peter Szendy probes the ever-growing and ever more global phenomenon of the hit song. Hits is the culmination of years of singular attentiveness to the unheard, the unheard-of, and the overheard, as well as of listening as it occurs when one...
Hits: Philosophy in the Jukebox is an extraordinary foray into what Apple has convinced us is the soundtrack of our lives.How does music come...
A central thinker on the question of the animal in continental thought, Elisabeth de Fontenay moves in this volume from Jacques Derrida's uneasily intimate writing on animals to a passionate frontal engagement with political and ethical theory as it has been applied to animals--along with a stinging critique of the work of Peter Singer and Paola Cavalieri as well as with other "utilitarian" philosophers of animal-human relations.
Humans and animals are different from one another. To conflate them is to be intellectually sentimental. And yet, from our position of dominance, do we not...
A central thinker on the question of the animal in continental thought, Elisabeth de Fontenay moves in this volume from Jacques Derrida's uneasily ...
Apocalypse-cinema is not only the end of time that has so often been staged as spectacle in films like 2012, The Day After Tomorrow, and The Terminator. By looking at blockbusters that play with general annihilation while also paying close attention to films like Melancholia, Cloverfield, Blade Runner, and Twelve Monkeys, this book suggests that in the apocalyptic genre, film gnaws at its own limit. Apocalypse-cinema is, at the same time and with the same double blow, the end of the world and the end of the...
Apocalypse-cinema is not only the end of time that has so often been staged as spectacle in films like 2012, The Day After Tomorrow, and ...
Apocalypse-cinema is not only the end of time that has so often been staged as spectacle in films like 2012, The Day After Tomorrow, and The Terminator. By looking at blockbusters that play with general annihilation while also paying close attention to films like Melancholia, Cloverfield, Blade Runner, and Twelve Monkeys, this book suggests that in the apocalyptic genre, film gnaws at its own limit. Apocalypse-cinema is, at the same time and with the same double blow, the end of the world and the end of the...
Apocalypse-cinema is not only the end of time that has so often been staged as spectacle in films like 2012, The Day After Tomorrow, and ...
The prostheses Peter Szendy explores--those peculiar artifacts known as musical instruments--are not only technical devices but also bodies that live a strange phantom life, as uncanny as a sixth finger or a third lung. The musicological impulse to inventory those bodies that produce sound is called into question here. In Szendy's hands, its respectable corpus of scholarship is read aslant, so as to tease out what it usually prefers to hide: hybrids and grafts produced by active fictions, monsters, and chimera awaiting the opportunity to be embodied. Beyond these singular bodies that music...
The prostheses Peter Szendy explores--those peculiar artifacts known as musical instruments--are not only technical devices but also bodies that live ...
The prostheses Peter Szendy explores--those peculiar artifacts known as musical instruments--are not only technical devices but also bodies that live a strange phantom life, as uncanny as a sixth finger or a third lung. The musicological impulse to inventory those bodies that produce sound is called into question here. In Szendy's hands, its respectable corpus of scholarship is read aslant, so as to tease out what it usually prefers to hide: hybrids and grafts produced by active fictions, monsters, and chimera awaiting the opportunity to be embodied. Beyond these singular bodies that music...
The prostheses Peter Szendy explores--those peculiar artifacts known as musical instruments--are not only technical devices but also bodies that live ...
