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Composing for Sound: Sonic Rhetoric as Resonance
16 references·3 citing·34 second hop
Composing for Sound: Sonic Rhetoric as Resonance (2017)Composing for Sound: Sonic Rhetoric as Re…The Sounds of Climate Change: Sonic Rhetoric in the Anthropocene, the Age of Human Impact (2016)The Sounds of Climate Change:…The Movement of Air, the Breath of Meaning: Aurality and Multimodal Composing (2016)The Movement of Air, the Brea…(Re)Educating the Senses: Multimodal Listening, Bodily Learning, and the Composition of Sonic Experiences (2014)(Re)Educating the Senses: Mul…Ambient rhetoric: the attunements of rhetorical being (2013)Ambient rhetoric: the attunem…Vernacular eloquence: what speech can bring to writing (2012)Vernacular eloquence: what sp…Listening through the noise: the aesthetics of experimental electronic music (2011)Listening through the noise: …Sonic warfare: sound, affect, and the ecology of fear (2010)Sonic warfare: sound, affect,…Listening to Noise and Silence: Towards a Philosophy of Sound Art (2010)Listening to Noise and Silenc…The Movement of Air, the Breath of Meaning: Aurality and Multimodal Composing (2009)The Movement of Air, the Brea…The Future of Literacy Studies (2009)The Future of Literacy StudiesIntelligence work: the politics of American documentary (2009)Intelligence work: the politi…Describing one’s subjective experience in the second person: An interview method for the science of consciousness (2006)Describing one’s subjective e…Made Not Only in Words: Composition in a New Key (2004)Made Not Only in Words: Compo…The audible past: cultural origins of sound reproduction (2003)The audible past: cultural or…The Audible Past (2003)The Audible PastThe Tuning of the World (1983)The Tuning of the WorldRhetorical New Materialisms (RNM) (2022)Rhetorical New Materialisms (…Chapter 5. Disabling Soundwriting: Sonic Rhetorics Meet Disability Pedagogy (2022)Chapter 5. Disabling Soundwri…Is There a Transcript? (2021)Is There a Transcript?Understanding Media: The Extensions of Man (1964)Digital Divide 2.0: “Generation M” and Online Social Networking Sites in the Composition Classroom (2008)Composing for Recomposition: Rhetorical Velocity and Delivery (2009)Academic Ableism (2017)The Principles of Psychology (1891)The reflective practitioner: How professionals think in action (1984)The Reflective Practitioner: How Professionals Think in Action (1985)Les entretiens d’autoconfrontation et de remise en situation par les traces matérielles et le programme de recherche « cours d’action » (2010)Differential changes in self-reported aspects of interoceptive awareness through 3 months of contemplative training (2015)Psychedelics, Meditation, and Self-Consciousness (2018)Outline of a Theory of Practice. (1980)We have never been modern (1994)Reading images: the grammar of visual design (1996)Transnationalism and Literacy: Investigating the Mobility of People, Languages, Texts, and Practices in Contexts of Migration (2012)Translingual Practice as Spatial Repertoires: Expanding the Paradigm beyond Structuralist Orientations (2017)The Cambridge Handbook of Discourse Studies (2020)Immersion Into Noise (2011)Enacting Musical Time (2019)Stereophonica (2021)Sound Studies Meets Deaf Studies (2012)Sound studies without auditory culture: a critique of the ontological turn (2015)Listening geographies (2016)An anthropologist underwater: Immersive soundscapes, submarine cyborgs, and transductive ethnography (2007)The Relevance of Algorithms (2014)Digitalization (2016)Analysing popular music: theory, method and practice (1982)Pygmy POP. A Genealogy of Schizophonic Mimesis (1996)Senses of place: architectural design for the multisensory mind (2020)Sound Design is the New Score (2019)Digital Material : Tracing New Media in Everyday Life and Technology (2009)Sound Souvenirs : Audio Technologies, Memory and Cultural Practices (2009)Sound as affect: Difference, power and spatiality (2016)Multimodal Resemiotization and Authorial Agency in an L2 Writing Classroom (2017)Digital genres: What they are, what they do, and why we need to better understand them (2022)
this work references cited by second hop

References

  • 2003The Audible Past1,821 cited
  • 2003The audible past: cultural origins of sound reproduction978 cited
  • 2010Sonic warfare: sound, affect, and the ecology of fear919 cited
  • 2006Describing one’s subjective experience in the second person: An interview method for the science of consciousness766 cited
  • 1983The Tuning of the World706 cited
  • 2004Made Not Only in Words: Composition in a New Key312 cited
  • 2010Listening to Noise and Silence: Towards a Philosophy of Sound Art277 cited
  • 2009The Future of Literacy Studies227 cited
  • 2009The Movement of Air, the Breath of Meaning: Aurality and Multimodal Composing209 cited
  • 2011Listening through the noise: the aesthetics of experimental electronic music165 cited
  • 2013Ambient rhetoric: the attunements of rhetorical being156 cited
  • 2014(Re)Educating the Senses: Multimodal Listening, Bodily Learning, and the Composition of Sonic Experiences152 cited
  • 2009Intelligence work: the politics of American documentary132 cited
  • 2012Vernacular eloquence: what speech can bring to writing102 cited
  • 2016The Movement of Air, the Breath of Meaning: Aurality and Multimodal Composing93 cited

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  • 2016The Sounds of Climate Change: Sonic Rhetoric in the Anthropocene, the Age of Human Impact68 cited
  • Cited by

    • 2022Rhetorical New Materialisms (RNM)24 cited
    • 2022Chapter 5. Disabling Soundwriting: Sonic Rhetorics Meet Disability Pedagogy14 cited
    • 2021Is There a Transcript?7 cited