Steve Goodman

Noise weapons, sound to produce discomfort, acoustic force, new aesthetic experiences and new ways of mobilizing bodies in rhythm.

Sound, Affect, and the Ecology of Fear

Sonic Warfare

Eleni Ikoniadou

Toby Heys

Tracing the the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. For as long as recording and communications technologies have existed, operators have evoked the potential of sound, infrasound, and ultrasound to access anomalous zones of transmission between the realms of the living and the dead. In Unsound:Undead, contributors from a variety of disciplines chart these undead zones, mapping out a nonlinear timeline populated by sonic events stretching from the 8th century BC (the song of the Sirens), to 2013 (acoustic levitation), with a speculative extension into 2057 (the emergence of holographic and holosonic phenomena). For the past seven years the AUDINT group has been researching peripheral sonic perception (unsound) and the ways in which frequencies are utilized to modulate our understanding of presence/non-presence, entertainment/torture, and ultimately life/death. Concurrently, themes of hauntology have inflected the musical zeitgeist, resonating with the notion of a general cultural malaise and a reinvestment in traces of lost futures inhabiting the present. This undead culture has already spawned a Lazarus economy in which Tupac, ODB, and Eazy-E are digitally revivified as laser-lit holograms. The obscure otherworldly dimensions of sound have also been explored in the sonic fictions produced by the likes of Drexciya, Sun Ra, and Underground Resistance, where hauntology is virtually extended: the future appears in the cracks of the present. The contributions to this volume reveal how the sonic nurtures new dimensions in which the real and the imagined (fictional, hyperstitional, speculative) bleed into one another, where actual sonic events collide with spatiotemporal anomalies and time-travelling entities, and where the unsound serves to summon the undead. Contributors Lawrence Abu Hamdan, Lendl Barcelos, Charlie Blake, Lisa Blanning, Brooker Buckingham, Al Cameron, Erik Davis, Kodwo Eshun, Matthew Fuller, Kristen Gallerneaux, Lee Gamble, Agnès Gayraud, Steve Goodman, Anna Greenspan, Olga Gurionova, S. Ayesha Hameed, Tim Hecker, Julian Henriques, Toby Heys, Eleni Ikoniadou, Amy Ireland, Nicola Masciandaro, Ramona Naddaff, Anthony Nine, The Occulture, Luciana Parisi, Alina Popa, Paul Purgas, Georgina Rochefort, Steven Shaviro, Jonathan Sterne, Jenna Sutela, Eugene Thacker, Dave Tompkins, Shelley Trower, and Souzana Zamfe.

AUDINT—Unsound:Undead

It's 1977. Sex, violence and punk rock. Skinhead meets punk girl. Some of skinhead's friends get involved with fascists. Actually a very, very enjoyable, intelligent, and clever romp through punk, politics and youth culture in the late 70s. A superb debut novel.

England Belongs to Me

AUDINT#Unsound:Undead

An illustrated version of the familiar song about riding on a train called the City of New Orleans.

The Train They Call the City of New Orleans

Kent McIntosh

Many schools have implemented academic response to intervention (RTI) and schoolwide positive behavioral interventions and supports (PBIS) as separate initiatives. This book provides keys to making these programs more effective, seamless, efficient, and sustainable by combining them into a single multi-tiered system of support (MTSS). Steps and strategies are outlined for integrating data structures, practices, teams, and district systems. Contributing authors present detailed case examples of successful MTSS implementation in three states. In a large-size format with lay-flat binding, the book features 27 reproducible checklists and evaluation tools. Purchasers get access to a companion website where they can download and print the reproducible materials plus other helpful resources. This book is in The Guilford Practical Intervention in the Schools Series, edited by T. Chris Riley-Tillman.

Steve Goodman

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