Includes bibliographical references and index.

Series Foreword; Leonardo/International Society for the Arts, Sciences, and Technology (ISAST); Acknowledgments; 1 Introduction: Voice, Voicetracks, New Materialism; Ahem ... clearing the throat; Finding the write voice; Tracking voices; Affects, emotions, and feelings...; Listening to human voice; Listening beyond human(ist) voices: new materialities, new subjectivities; New materialism; Enchanted listening; Listening through 'pataphysics; Returning to breathing, coughing, and materiality-clearing the throat, once more; Situated and carnal knowledge; Voicetracks

Voice, sound and new materialism, once moreAnd to follow ...; The write voice, one more time; 2 Animal Tracks: Affect, Aesthetics, Ethics; Kathy's cat: Kitty and kitty assembled in the face of death; Becoming-animal and attunement; Attunement, empathy, and sympathy; Ethics and politics; Gut, ventre, ventriloquism; AKKKKK-the birds-noisy voices we learn to hear; The birds and the bees-humming, vibrating, morphing; Moving (with) animals; How to talk to a parrot and listen to a mussels' singalong; Enchanted terrains ... to follow; 3 Ears to the Ground: Voicing Place; Vibration and transperception

Things vibrating (in) placeRemembering place; When a house speaks for itself; Waiting; Wondering and wandering through riceworks; Stemning-voicing atmospheres; Ears to the ground; Voice, breath, and place; Fragile ground; Spanning environments; And to follow; 4 Technology and Machines Speak (for) Themselves; A transitional piece; Loudspeakers, loud speakers; Speakers ... again and again and again ...; Sonification; Code and data speak differently; Opaque voices; Vociferous robotic assemblages; Robots softly spoken; Static movement ... voicing the static; Dirty voices: toying with technologies

Ratatattating tattoosRepetition and memory; Speaking of documentation encounters; When videotapes silently speak their memories; When a fridge became a cow; 5 Unvoice in Media and the Arts: Voice Going off the Rails; Off the rails and off the beaten track: medianatures, minor aesthetics, ekphrasis; The best thing about animation; Unvoicing machinima; Lip sync; Inhabiting voicetracks; Unvoicing portraits; Performing reperforming; Subtitles and remixes; Accidental unvoices; Rethinking animal voices with Henri; Rethinking animal voices-bear life; Artaud again ...; .. -- And again

The uncertainties of unvoicing6 Tracking Back; Conversations, once again; Ahhh, ahem, cough ... from Talking about the Weather to Coalface; Back at the coalface; Silences and the hauntings of voice; Silence and shadows; The write voice for the final word; Notes; Chapter 1; Chapter 2; Chapter 3; Chapter 4; Chapter 5; Chapter 6; References; Index

Restricted to subscribers or individual electronic text purchasers.

Moved by the Aboriginal understandings of songlines or dreaming tracks, Norie Neumark's Voicetracks seeks to deepen an understanding of voice through listening to a variety of voicing/sound/voice projects from Australia, Europe and the United States. Not content with the often dry tone of academic writing, the author engages a "wayfaring" process that brings together theories of sound, animal, and posthumanist studies in order to change the ways we think about and act with the assemblages of living creatures, things, places, and histories around us. Neumark evokes both the literal - the actual voices within the works she examines - and the metaphorical -- in a new materialist exploration of voice encompassing human, animal, thing, and assemblages. She engages with artists working with animal sounds and voices; voices of place, placed voices in installation works; voices of technology; and "unvoicing," disturbances in the image/voice relationship and in the idea of what voice is. She writes about remixes, the Barbie Liberation Organisation, and breath in Beijing, about cat videos, speaking fences in Australia, and an artist who reads (to) the birds. Finally, she considers ethics and politics, and describes how her own work has shaped her understandings and apprehensions of voice.

Also available in print.

Mode of access: World Wide Web

Print version record.