Sound Affects: A User's Guide is a collection of sonically-charged concepts ranging from those felt, 'heard' and repeated (silence, the oriental riff, shuffle), to the vocal (whispers, sing, the disembodied voice), to sounds at the threshold (tin/ny, thump, buzz) to sounds beyond the limits of audibility (inaudible tremors, distortion, sub-bass). Sound Affects invites the reader to reflect on the ways that sounds produce affects and the ways that affects can operate as sound.Each of the entries develops a particular perspective on sound and affect through a close analysis of audiovisual and/or sonic objects. The objects chosen not only illustrate the concept in question but also demonstrate how the object encourages us to rethink the relationships between sounds and affects. Influenced by the sound theory of Eugenie Brinkema (2011), the concepts of Sound Affects plot the shift in volume from silence that opens up a space to be heard to the audibly near, from the audibly near to sounds beyond the limits of audibility. Sound Affects is an intellectual adventure for those who theorize and listen. The book can also be enjoyed as a narrative of sounds, its absences and its shifting intensities.

Contributions from significant scholars/practitioners with expertise in the concepts and practices of sound and affect

List of IllustrationsAcknowledgementsThe Clatter and Clang of Sound AffectsSharon Jane Mee (University of New South Wales, Australia) and Luke Robinson (University of New South Wales, Australia)Part 1: Start, Stop, RepeatChapter 1. SilenceSandra Kazlauskaite (University of Lincoln, UK)Chapter 2. ShuffleJim Drobnick (OCAD University, Canada) and Jennifer Fisher (York University, Canada)Chapter 3. Oriental RiffRunchao Liu (University of Denver, USA)Part 2: Voices and VocalsChapter 4. aa ee ii oo uuuuuRachel Shearer (Te Wananga Aronui o Tamaki Makau Rau/Auckland University of Technology, Aotearoa New Zealand)Chapter 5. Sympathetic ResponseCharlotte Eubanks (Pennsylvania State University, USA)Chapter 6. WhispersChristian de Mouilpied Sancto (University of Rochester, USA)Chapter 7. SingKatherine Nolan (Technological University Dublin, Ireland)Chapter 8. The Disembodied VoiceJulius Greve (University of Oldenburg, Germany)Part 3: Threshold SoundsChapter 9. Tin/nyRob Garbutt (Southern Cross University, Australia)Chapter 10. VroomAndrija Filipovic (Singidunum University, Serbia)Chapter 11. ThumpAndrea Avidad (New York University, USA)Chapter 12: BuzzSharon Jane Mee (University of New South Wales, Australia)Part 4: Beyond AudibilityChapter 13: Inaudible TremorsLuke Robinson (University of New South Wales, Australia)Chapter 14: DistortionGreg Hainge (University of Queensland, Australia)Chapter 15. FeedbackManuel 'Mandel' CabreraJr. (Yonsei University, South Korea)Chapter 16. Sub-bassAidan Delaney (Middlesex University, UK)Chapter 17. Squish, Squelch, ShlshlshlurppppNorie Neumark (Victorian College of the Arts, University of Melbourne and La Trobe University, Australia)BibliographyMediographyContributorsIndex