Wild sound : Maryanne Amacher and the tenses of audible life /

Publication Type:



Cimini, Amy,


Oxford University Press,, New York, NY, United States, p.xvii, 315 pages : (2022)

Call Number:



(OCoLC)fst00907363, (OCoLC)fst01127006, aat, Electronic music, Electronic music., fast, History and criticism., Installations sonores (Art), Sound installations (Art), sound installations.


Includes bibliographical references (pages 283-301) and index."I want to make a music...." Introduction ; Tenses and moods of the audible ; Book overview and selected works ; Amacher among the musicologies and other studies ; Life in a sound and its figurations ; Life in an eartone and its figurations ; The archive and the title ; "Dear Parents" : desires and plans -- Adjacencies and its negations. Introduction ; A tape and untaken pictures: learning Adjacencies ; Negative notation: how to wish for sound ; The Space notebook : an analysis in the subjunctive ; Life in a frequency spectrum and its figurations ; Here (-ish) : another tape and City-links, WBFO Buffalo, 1967 ; "A page from a musical composition" : In city, 1967 ; Conclusion : Adjacencies and the phone block -- Scenes from a long distance music, 1970-1976. Introduction ; How to glow in the dark : 1970s textual experiments ; Dirty water and the microphone at Pier 6 ; Tone-of-place and three long distance musics on tape : Incoming night, Blum at Pier 6, May 1975 ; Long distance music at the center for advanced visual studies : "Anywhere city" (1974) ; Telephones, telepaths, and other linkless listenings : Presence (1975) ; Leased lines and direct distance dialing : obsolescing City-links ; Televisions and mirrors : No more miles-an acoustic twin (1974) ; Conclusion -- Eartones and third ears. Introduction ; Stereoscopic cochlea and "live space" on paper ; Intervals and interchanges in "Head rhythm 1" and "Plaything 2" (1999) ; Coils and doublings in Labyrinthitis (2008) ; Life in a third ear and its figurations ; "A phantasm coming from my head!" and other interaural genealogies ; "Observe : potential" : inside the tone scans ; Conclusion : The Levi-Montalcini variations (1992) -- Amacher's house for strange life. Introduction ; A walk into Living sound (Patent pending) ; The tribute at 223 Grotto Street ; Clue I : "Mid range" microbes and other creative recyclers ; Enchanted cablecasts and structure-borne sound : 1974-1979 ; Clue II : Orchestral metabolisms and unheard microbial music ; Clue III : Diamond v. Chakrabarty among the Third Men ; Acoustical research as dramatic form in Amacher's other laboratories -- Afterword : Notes with ears."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"--