Holly Rogers – författare

Music videos play a critical role in our age of ubiquitous streaming digital media. They project the personas and visions of musical artists; they stand at the cutting edge of developments in popular culture; and they fuse and revise multiple frames of reference, from dance to high fashion to cult movies and television shows to Internet memes. Above all, music videos are laboratories for experimenting with new forms of audiovisual expression. The Rhythm Image explores all these dimensions. The book analyzes, in depth, recent music videos for artists ranging from pop superstar The Weeknd to independent women artists like FKA twigs and Dawn Richard. The music videos discussed in this book all treat the traditional themes of popular music: sex and romance, money and fame, and the lived experiences of race and gender. But they twist these themes in strange and unexpected ways, in order to reflect our entanglement with a digital world of social media, data gathering, and 24/7 demands upon our attention.

This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the USA through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, re-mediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological, aesthetic, tropes in film media traversing the work of early pioneers such as Walther Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of Vjing.

This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the USA through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, re-mediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological, aesthetic, tropes in film media traversing the work of early pioneers such as Walther Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of Vjing.

This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the USA through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, re-mediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological, aesthetic, tropes in film media traversing the work of early pioneers such as Walther Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of Vjing.

This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the USA through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, re-mediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological, aesthetic, tropes in film media traversing the work of early pioneers such as Walther Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of Vjing.

College students and other young adults today experience high levels of stress as they pursue personal, educational, and career goals. These struggles can have serious consequences, and may increase the risk of psychological distress and mental illness among the age group now commonly referred to as "emerging adults." Scientific research has shown that practicing mindfulness can help manage stress and enhance quality of life, but traditional methods of teaching mindfulness and meditation may not be effective for college-age adults. This fully updated second edition of Mindfulness for the Next Generation describes an evidence-based approach for teaching the useful and important skill of mindfulness to emerging adults. The manualized, four-session program outlined here, Koru Mindfulness, is designed to help young adults navigate challenging tasks, and achieve meaningful personal growth. Rogers and Maytan, psychiatrists and developers of Koru Mindfulness, also discuss the unique stressors emerging adults face, identify effective teaching techniques for working with them, and review the now-robust research supporting mindfulness for stress reduction in a scientifically rigorous yet reader-friendly way. Among the features new to this edition are new data on the effectiveness of the curriculum, an introduction to the Koru mindfulness teacher certification program, and adaptations for culturally informed practice, reflecting the international appeal of Koru Mindfulness as well as its growing use outside of college settings, and extensively revised in-session scripts. Mindfulness for the Next Generation is written for therapists, teachers, health professionals, and student service providers.

College students and other young adults today experience high levels of stress as they pursue personal, educational, and career goals. These struggles can have serious consequences, and may increase the risk of psychological distress and mental illness among the age group now commonly referred to as "emerging adults." Scientific research has shown that practicing mindfulness can help manage stress and enhance quality of life, but traditional methods of teaching mindfulness and meditation may not be effective for college-age adults.This fully updated second edition of Mindfulness for the Next Generation describes an evidence-based approach for teaching the useful and important skill of mindfulness to emerging adults. The manualized, four-session program outlined here, Koru Mindfulness, is designed to help young adults navigate challenging tasks, and achieve meaningful personal growth. Rogers and Maytan, psychiatrists and developers of Koru Mindfulness, also discuss the unique stressors emerging adults face, identify effective teaching techniques for working with them, and review the now-robust research supporting mindfulness for stress reduction in a scientifically rigorous yet reader-friendly way. Among the features new to this edition are new data on the effectiveness of the curriculum, an introduction to the Koru mindfulness teacher certification program, and adaptations for culturally informed practice, reflecting the international appeal of Koru Mindfulness as well as its growing use outside of college settings, and extensively revised in-session scripts. Mindfulness for the Next Generation is written for therapists, teachers, health professionals, and student service providers.

College students and other young adults today experience high levels of stress as they pursue personal, educational, and career goals. These struggles can have serious consequences, and may increase the risk of psychological distress and mental illness among the age group now commonly referred to as "emerging adults." Scientific research has shown that practicing mindfulness can help manage stress and enhance quality of life, but traditional methods of teaching mindfulness and meditation may not be effective for college-age adults.This fully updated second edition of Mindfulness for the Next Generation describes an evidence-based approach for teaching the useful and important skill of mindfulness to emerging adults. The manualized, four-session program outlined here, Koru Mindfulness, is designed to help young adults navigate challenging tasks, and achieve meaningful personal growth. Rogers and Maytan, psychiatrists and developers of Koru Mindfulness, also discuss the unique stressors emerging adults face, identify effective teaching techniques for working with them, and review the now-robust research supporting mindfulness for stress reduction in a scientifically rigorous yet reader-friendly way. Among the features new to this edition are new data on the effectiveness of the curriculum, an introduction to the Koru mindfulness teacher certification program, and adaptations for culturally informed practice, reflecting the international appeal of Koru Mindfulness as well as its growing use outside of college settings, and extensively revised in-session scripts. Mindfulness for the Next Generation is written for therapists, teachers, health professionals, and student service providers.

Sounding the Gallery explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images in a quick and easy manner. But video not only provided artists and composers with the opportunity to produce unprecedented forms of audiovisuality; it also allowed them to create interactive spaces that questioned conventional habits of music and art consumption. Early video's audiovisual synergy could be projected, manipulated and processed live. The closed-circuit video feed drew audience members into the heart of the audiovisual experience, from where they could influence the flow, structure and sound of the video performance. Such activated spectatorship resulted in improvisatory and performative events in which the space between artists, composers, performers and visitors collapsed into a single, yet expansive, intermedial experience. Many believed that such audiovisual video work signalled a brand-new art form that only began in 1965. Using early video work as an example, this book suggests that this is inaccurate. During the twentieth century, composers were experimenting with spatializing their sounds, while artists were attempting to include time as a creative element in their visual work. Pioneering video work allowed these two disciplines to come together, acting as a conduit that facilitated the fusion and manipulation of pre-existing elements. Shifting the focus from object to spatial process, Sounding the Gallery uses theories of intermedia, film, architecture, drama and performance practice to create an interdisciplinary history of music and art that culminates in the rise of video art-music in the late 1960s.

Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City''s music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images. But as well as creating unprecedented forms of audiovisuality, video work also producedinteractive spaces that questioned conventional habits of music and art consumption. This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music.

Sounding the Gallery explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images in a quick and easy manner. But video not only provided artists and composers with the opportunity to produce unprecedented forms of audiovisuality; it also allowed them to create interactive spaces that questioned conventional habits of music and art consumption. Early video's audiovisual synergy could be projected, manipulated and processed live. The closed-circuit video feed drew audience members into the heart of the audiovisual experience, from where they could influence the flow, structure and sound of the video performance. Such activated spectatorship resulted in improvisatory and performative events in which the space between artists, composers, performers and visitors collapsed into a single, yet expansive, intermedial experience. Many believed that such audiovisual video work signalled a brand-new art form that only began in 1965. Using early video work as an example, this book suggests that this is inaccurate. During the twentieth century, composers were experimenting with spatializing their sounds, while artists were attempting to include time as a creative element in their visual work. Pioneering video work allowed these two disciplines to come together, acting as a conduit that facilitated the fusion and manipulation of pre-existing elements. Shifting the focus from object to spatial process, Sounding the Gallery uses theories of intermedia, film, architecture, drama and performance practice to create an interdisciplinary history of music and art that culminates in the rise of video art-music in the late 1960s.

Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City''s music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images. But as well as creating unprecedented forms of audiovisuality, video work also producedinteractive spaces that questioned conventional habits of music and art consumption. This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music.

This collection of fourteen essays provides a rich and detailed history of the relationship between and music and image in documentary films, exploring the often overlooked role of music in the genre and its subsequent impact on an audience’s perception of reality and fiction. Exploring examples of documentary films which make use of soundtrack music, from an interdisciplinary perspective, Music and Sound in Documentary Film is the first in-depth treatment on the use of music in the nonfiction film and will appeal to scholars and students working in the intersection of music and film and media studies.

This collection of fourteen essays provides a rich and detailed history of the relationship between and music and image in documentary films, exploring the often overlooked role of music in the genre and its subsequent impact on an audience’s perception of reality and fiction. Exploring examples of documentary films which make use of soundtrack music, from an interdisciplinary perspective, Music and Sound in Documentary Film is the first in-depth treatment on the use of music in the nonfiction film and will appeal to scholars and students working in the intersection of music and film and media studies.

This is the first introductory survey of western twentieth-century music to address popular music, art music and jazz on equal terms. It treats those forms as inextricably intertwined, and sets them in a wide variety of social and critical contexts. The book comprises four sections - Histories, Techniques and Technologies, Mediation, Identities - with 16 thematic chapters. Each of these explores a musical or cultural topic as it developed over many years, and as it appeared across a diversity of musical practices. In this way, the text introduces both key musical repertoire and critical-musicological approaches to that work. It historicises music and musical thinking, opening up debate in the present rather than offering a new but closed narrative of the past. In each chapter, an overview of the topic's chronology and main issues is illustrated by two detailed case studies.

This is the first introductory survey of western twentieth-century music to address popular music, art music and jazz on equal terms. It treats those forms as inextricably intertwined, and sets them in a wide variety of social and critical contexts. The book comprises four sections – Histories, Techniques and Technologies, Mediation, Identities – with 16 thematic chapters. Each of these explores a musical or cultural topic as it developed over many years, and as it appeared across a diversity of musical practices. In this way, the text introduces both key musical repertoire and critical-musicological approaches to that work. It historicises music and musical thinking, opening up debate in the present rather than offering a new but closed narrative of the past. In each chapter, an overview of the topic''s chronology and main issues is illustrated by two detailed case studies.

This is the first introductory survey of western twentieth-century music to address popular music, art music and jazz on equal terms. It treats those forms as inextricably intertwined, and sets them in a wide variety of social and critical contexts. The book comprises four sections – Histories, Techniques and Technologies, Mediation, Identities – with 16 thematic chapters. Each of these explores a musical or cultural topic as it developed over many years, and as it appeared across a diversity of musical practices. In this way, the text introduces both key musical repertoire and critical-musicological approaches to that work. It historicises music and musical thinking, opening up debate in the present rather than offering a new but closed narrative of the past. In each chapter, an overview of the topic''s chronology and main issues is illustrated by two detailed case studies.

This is the first introductory survey of western twentieth-century music to address popular music, art music and jazz on equal terms. It treats those forms as inextricably intertwined, and sets them in a wide variety of social and critical contexts. The book comprises four sections - Histories, Techniques and Technologies, Mediation, Identities - with 16 thematic chapters. Each of these explores a musical or cultural topic as it developed over many years, and as it appeared across a diversity of musical practices. In this way, the text introduces both key musical repertoire and critical-musicological approaches to that work. It historicises music and musical thinking, opening up debate in the present rather than offering a new but closed narrative of the past. In each chapter, an overview of the topic's chronology and main issues is illustrated by two detailed case studies.

Recorded music creation and consumption underwent a huge shift in the first two decades of the 20th century: from physical artifacts to digital; from fixed personal computers to mobile devices; from downloading and owning to streaming and access. This had a significant impact on the music 'assemblage’ – the audio, performances, videos, films, books, games – that make up what we think of as ‘music,’ and gave rise to new forms of musical new media. Björk's Biophilia, widely acclaimed as the first ‘app album,’ is one response to this context. Drawing on her direct experience as part of the creative team who made Biophilia musicologist Nicola Dibben investigates how popular music practices intersect with digital technologies at their moment of emergence in two domains: music software applications (‘apps’) for touchscreen technologies of tablet computer and smartphone, and in extended reality. She shows the way these new media formats maintain musical traditions as much as they innovate, explores the future of the album as a musical artifact in the digital age, and identifies emerging new music forms and engagements which may come to define our digital musical futures.

Recorded music creation and consumption underwent a huge shift in the first two decades of the 20th century: from physical artifacts to digital; from fixed personal computers to mobile devices; from downloading and owning to streaming and access. This had a significant impact on the music 'assemblage’ – the audio, performances, videos, films, books, games – that make up what we think of as ‘music,’ and gave rise to new forms of musical new media. Björk's Biophilia, widely acclaimed as the first ‘app album,’ is one response to this context. Drawing on her direct experience as part of the creative team who made Biophilia musicologist Nicola Dibben investigates how popular music practices intersect with digital technologies at their moment of emergence in two domains: music software applications (‘apps’) for touchscreen technologies of tablet computer and smartphone, and in extended reality. She shows the way these new media formats maintain musical traditions as much as they innovate, explores the future of the album as a musical artifact in the digital age, and identifies emerging new music forms and engagements which may come to define our digital musical futures.

Transmedia Directors focuses on artist-practitioners who work across media, platforms and disciplines, including film, television, music video, commercials and the internet. Working in the age of media convergence, today's em/impresarios project a distinctive style that points toward a new contemporary aesthetics. The media they engage with enrich their practices – through film and television (with its potential for world-building and sense of the past and future), music video (with its audiovisual aesthetics and rhythm), commercials (with their ability to project a message quickly) and the internet (with its refreshed concepts of audience and participation), to larger forms like restaurants and amusement parks (with their materiality alongside today's digital aesthetics). These directors encourage us to reassess concepts of authorship, assemblage, transmedia, audiovisual aesthetics and world-building. Providing a vital resource for scholars and practitioners, this collection weaves together insights about artist-practitioners' collaborative processes as well as strategies for composition, representation, subversion and resistance.

Transmedia Directors focuses on artist-practitioners who work across media, platforms and disciplines, including film, television, music video, commercials and the internet. Working in the age of media convergence, today's em/impresarios project a distinctive style that points toward a new contemporary aesthetics. The media they engage with enrich their practices – through film and television (with its potential for world-building and sense of the past and future), music video (with its audiovisual aesthetics and rhythm), commercials (with their ability to project a message quickly) and the internet (with its refreshed concepts of audience and participation), to larger forms like restaurants and amusement parks (with their materiality alongside today's digital aesthetics). These directors encourage us to reassess concepts of authorship, assemblage, transmedia, audiovisual aesthetics and world-building. Providing a vital resource for scholars and practitioners, this collection weaves together insights about artist-practitioners' collaborative processes as well as strategies for composition, representation, subversion and resistance.

Transmedia Directors focuses on artist-practitioners who work across media, platforms and disciplines, including film, television, music video, commercials and the internet. Working in the age of media convergence, today's em/impresarios project a distinctive style that points toward a new contemporary aesthetics. The media they engage with enrich their practices – through film and television (with its potential for world-building and sense of the past and future), music video (with its audiovisual aesthetics and rhythm), commercials (with their ability to project a message quickly) and the internet (with its refreshed concepts of audience and participation), to larger forms like restaurants and amusement parks (with their materiality alongside today's digital aesthetics). These directors encourage us to reassess concepts of authorship, assemblage, transmedia, audiovisual aesthetics and world-building. Providing a vital resource for scholars and practitioners, this collection weaves together insights about artist-practitioners' collaborative processes as well as strategies for composition, representation, subversion and resistance.

Transmedia Directors focuses on artist-practitioners who work across media, platforms and disciplines, including film, television, music video, commercials and the internet. Working in the age of media convergence, today's em/impresarios project a distinctive style that points toward a new contemporary aesthetics. The media they engage with enrich their practices – through film and television (with its potential for world-building and sense of the past and future), music video (with its audiovisual aesthetics and rhythm), commercials (with their ability to project a message quickly) and the internet (with its refreshed concepts of audience and participation), to larger forms like restaurants and amusement parks (with their materiality alongside today's digital aesthetics). These directors encourage us to reassess concepts of authorship, assemblage, transmedia, audiovisual aesthetics and world-building. Providing a vital resource for scholars and practitioners, this collection weaves together insights about artist-practitioners' collaborative processes as well as strategies for composition, representation, subversion and resistance.

Popular music is rich in imaginative storytelling, from the songs of music hall, and street narratives of hip-hop to the 1970s heyday of the concept album. As an even broader audiovisual practice, including music video, sleeve art and star-texts of performers themselves, the possibilities for unique ways of telling stories multiply - capturing the public imagination more recently are examples like Beyoncé’s recent visual album Lemonade and experiments in popular music transmedia like Gorillaz.While music’s role as soundtrack for other narrative media has been extensively theorised, relatively little attention has been paid to how narrativity works within popular music itself. By building on writing around narrativity from popular music scholars, applying concepts from the storyworlds literature to music and vice versa, this book connects these two disciplines. It provides fresh takes on well-known case studies from David Bowie and The Beatles to Jeff Wayne’s Musical Version of War of the Worlds, while introducing the reader to lesser known examples from global popular music culture. Providing a long overdue overview of narrativity in popular music culture, this book connects the dots between innovative and exciting examples across its history.

In Resonant Matter, Lutz Koepnick considers contemporary sound and installation art as a unique laboratory of hospitality amid inhospitable times. Inspired by Ragnar Kjartansson’s nine-channel video installation The Visitors (2012), the book explores resonance—the ability of objects to be affected by the vibrations of other objects—as a model of art’s fleeting promise to make us coexist with things strange and other. In a series of nuanced readings, Koepnick follows the echoes of distant, unexpected, and unheard sounds in twenty-first century art to reflect on the attachments we pursue to sustain our lives and the walls we need to tear down to secure possible futures. The book’s nine chapters approach The Visitors from ever-different conceptual angles while bringing it into dialogue with the work of other artists and musicians such as Lawrence Abu Hamdan, Guillermo Galindo, Mischa Kuball, Philipp Lachenmann, Alvien Lucier, Teresa Margolles, Carsten Nicolai, Camille Norment, Susan Philipsz, David Rothenberg, Juliana Snapper, and Tanya Tagaq. With this book, Koepnick situates resonance as a vital concept of contemporary art criticism and sound studies. His analysis encourages us not only to expand our understanding of the role of sound in art, of sound art, but to attune our critical encounter with art to art’s own resonant thinking.